Song

 The 11 are:

Hey Kharari — Sadhu Tiwari

Aavagaman — Sadhu Tiwari

Parvati — Sadhu Tiwari

Saasa Haale — Sadhu Tiwari & Guru Goraksh Nath

Bajrang Baanka — Sadhu Tiwari

Raam Bhajan Ki Or — Nivedita Padmanabhan & Rishi Pathak

Maine Tere Hi Bharose — Suneel Lodhi

Jai Hanuman — Shreyas Dharmadhikari & Rishi Pathak, with Samarth Ramdas credited

Siyavar Ramchandra Ki Jai — Shantanu Sudame & Dhirendra Mulkalwar

Vaishnav Jan To — Rishi Pathak

Hriday Mein Jinke Sitaram — Vishal Chaturvedi. 

The official album listing gives these 11. 

1. Maine Tere Hi Bharose

This is perhaps the simplest and most beautiful song of the album.

Maine tere hi bharose, Hanuman,

Saagar mein naiya daal dai.

“Hanuman, trusting entirely in you, I have launched my little boat into the ocean.”

The song then asks what the boat, oar and support are made of. The answer is wonderfully symbolic:

Ram Naam ki naav — the boat is made of Rama's Name.

Bhakti ki patwaar — devotion is the oar.

Gyaan — knowledge is the supporting chain/strength.

Hanuman — the one who takes the boat across.

Then comes the beautiful reference to Sita: just as Sita passed through the forest and Rama brought her through her trials, the devotee too trusts that the Divine will carry them across.

The complete traditional wording is available from the published lyrics source. 

The thought:

I don't need to know how I will cross the ocean. I only need to know whom I trust.

2. Jai Hanuman

This is one I particularly want you to notice.

The soundtrack credits Sant Kavi Samarth Ramdas along with the singers. 

The song presents Hanuman through his relationship with Rama and Shiva.

Its central ideas are:

Ram ke tum ho sakha

— You are Rama's companion.

Shiv ke tum ho swaroop

— You are a manifestation/form of Shiva.

Hanuman is therefore not being presented merely as the immensely strong monkey warrior.

He is:

Rama's servant,

Rama's friend,

Shiva's manifestation,

and the protector of devotees.

That is a very traditional Indian way of approaching Hanuman: strength is valuable because it has surrendered itself completely to Rama.

3. Raam Bhajan Ki Or

The title itself means:

“Towards the singing of Rama's name.”

The movement of the song is inward.

Instead of looking for happiness in the outside world, the devotee turns:

towards Rama → towards His name → towards bhajan → towards inner peace.

It is essentially an invitation:

Turn your mind toward Rama.

And this fits beautifully with the film's larger spiritual atmosphere.

4. Siyavar Ramchandra Ki Jai

This one is different.

Siyavar Ramchandra Ki Jai!

means:

“Victory to Ramachandra, the beloved Lord of Sita!”

Siya-var literally carries the sense of Sita's beloved/husband.

So when devotees say:

Siyavar Ramchandra ki Jai!

they aren't simply saying “Jai Shri Ram.”

They are invoking Rama together with Sita.

And in a Hanuman story, that is particularly meaningful.

Hanuman's entire existence revolves around Sita and Rama.

5. Vaishnav Jan To

This is the famous bhajan traditionally attributed to Narsinh Mehta.

Its opening:

Vaishnav jan to tene kahiye

Je peed paraayi jaane re

means:

“A true Vaishnava is one who understands the suffering of another.”

That is followed by qualities such as:

helping another without pride,

remaining humble,

speaking truth,

controlling one's desires,

treating others with respect,

keeping one's mind pure,

and remaining devoted to God.

This is a particularly appropriate song in a film about a saintly life because it defines spirituality through conduct, not merely belief.

6. Hriday Mein Jinke Sitaram

The title itself gives away the heart of the song:

Hriday mein jinke Sitaram

“Those whose hearts contain Sita and Rama.”

The thought is very Hanuman-like.

Hanuman does not merely worship Rama.

Rama has become the very centre of his being.

That is why the familiar image of Hanuman opening his chest to reveal Sita-Rama within his heart has such extraordinary devotional power.

The song therefore points toward a simple question:

Is God someone I worship outside myself—or someone who has entered my heart?

7. Bajrang Baanka

Bajrang comes from Vajra-ang — a body as strong as a thunderbolt.

Baanka conveys the idea of one who is striking, powerful, formidable, distinctive.

So the title presents Hanuman as the mighty Bajrang warrior.

But the important contrast in Hanuman bhakti is:

immense physical power + complete humility.

He can cross the ocean, uproot mountains and defeat demons, yet before Rama he is simply:

Dasoham — I am Your servant.

That contrast is the secret of Hanuman's appeal.

8. Aavagaman

Aavagaman means:

coming and going — the cycle of birth and death.

This is a much more philosophical song than its title might initially suggest.

Indian thought often describes worldly existence as:

Janma → Mrityu → Punah Janma

birth → death → rebirth.

Aavagaman asks us to look beyond this continual movement.

The spiritual destination is not merely to have a better journey through samsara.

It is to discover that which takes us beyond samsara.

And in the devotional framework of the film, that path is connected with Rama-bhakti and surrender.

9. Parvati

This song brings Parvati into the spiritual landscape of Hanuman.

That may initially seem surprising in a Hanuman story.

But there is a deep traditional connection:

Hanuman is widely regarded in several traditions as having a divine relationship with Shiva, often described as an amsha or manifestation of Shiva.

Thus the song brings together the Shiva–Parvati dimension with Hanuman's story.

It reminds us that Hindu devotional traditions are not sealed compartments.

Rama, Shiva, Parvati, Hanuman, Sita — the devotional universe continually touches itself.

10. Saasa Haale

This is one of the more folk-flavoured pieces, credited to Sadhu Tiwari and Guru Goraksh Nath in the album listing. 

The language and musical character are different from the more Sanskritised devotional songs.

That is worth noticing.

The film doesn't restrict spirituality to classical Sanskrit prayers.

It brings in the folk voice—the language in which ordinary people have traditionally expressed devotion.

That is very much part of India's spiritual history:

Sanskrit in the temple,

vernacular poetry in the village,

folk song in the courtyard,

and bhajan on the lips of the ordinary devotee.

11. Hey Kharari

This is another Sadhu Tiwari composition and is one of the more earthy pieces in the soundtrack. 

Kharari is a regional/folk expression, and the song belongs to the same world of Bundeli/Braj-flavoured devotional expression that gives Hanuman Ansh its distinctive atmosphere.

That is important because the film isn't presenting spirituality as something belonging only to scholars.

It is spirituality as lived by people.

What I find most interesting about the whole album

After looking at all 11 together, I think there is a pattern.

The songs move through three layers of devotion:

Hanuman the power

Bajrang Baanka

Hey Kharari

Jai Hanuman

The mighty Hanuman.

Hanuman the devotee

Maine Tere Hi Bharose

Ram Bhajan Ki Or

Hriday Mein Jinke Sitaram

Siyavar Ramchandra Ki Jai

The Hanuman whose entire being is surrendered to Rama.

The deeper spiritual journey

Aavagaman

Vaishnav Jan To

Parvati

Saasa Haale

Here the story becomes larger than Hanuman himself—life, death, compassion, Shiva, devotion, and the search for what carries us across.

And perhaps that is why the soundtrack feels different from an ordinary film album.

It is not simply songs about Hanuman.

It is almost a journey through different ways Indians have approached the Divine—folk song, bhajan, Vaishnava devotion, Shaiva imagery, Rama-nama, surrender and finally the question of crossing the ocean of life.

The official album is only 36 minutes 48 seconds, so it is quite possible to listen to the entire thing as one continuous devotional experience.