ROCK WITH A DESI TWIST! (QAIDI BAND – Music Review)

Music Album Details
♪ Music by: Amit Trivedi
♪ Lyrics by: Kausar Munir, Habib Faisal, Sidhant Mago & Peter Muxka Manuel
♪ Music Label: YRF Music
♪ Music Released On: 25th July 2017
♪ Movie Releases On: 25th August 2017

Qaidi Band Album Cover

 

To hear the full songs of this album on Saavn CLICK HERE

To buy this album on iTunes CLICK HERE


Qaidi Band is an upcoming Bollywood musical drama, starring debutants Aadar Jain and Anya Singh in lead roles. The film is directed by ‘Do Dooni Chaar’, ‘Ishaqzaade’ and ‘Daawat-e-Ishq’ fame Habib Faisal, and produced by Aditya Chopra. The film tells the story of seven innocent under-trials, who form a musical band in prison. They get the chance to perform on Independence Day and their song becomes a national sensation. However, their hopes of acquittal are dashed when a local politician cancels their trials in hopes of winning the upcoming elections using their songs. The film explores how they secure their release with the help of their music. The director has made delightful films before, and I am sure this one will be great too. Meanwhile, the strength of a musical lies in its music. This time Habib teams up with his ‘Ishaqzaade’composer Amit Trivedi. Having been absent from the Bollywood music scene for eight months after ‘Dear Zindagi’ last year, Trivedi will finally open his account this year, before his music for yet another musical ‘Secret Superstar’, releases. This film was announced out of the blue, and what is special is that YRF relleased the album in one go! That made it all the better to pounce on it right away and gulp all the songs down together! So it was rather fun how the poster, trailer and album of this film released in such close succession! Anyway, let’s see how the Band of “Qaidi”s (Captives) fares!


1. I Am India / I Am India (Escape Version)

Singers ~ Arijit Singh & Yashita Sharma / Amit Trivedi & Yashita Sharma, Lyrics by ~ Habib Faisal

Amit Trivedi starts off the album with a song that has the least amount of rock elements you would expect,in a film about a rock band. The song is basically a patriotic street-play kind of song, with an insanely catchy rhythm and composition, quite closely following the usual composition style of Trivedi. The composition is simple, very Trivedi-ish (if that’s an adjective now, after ten years of Trivedi being in the industry). The composition, though, isn’t what catches you at the first listen. The hook composition is cool and catchy, but the rest grows on you in successive listens. What really grabs you in the first place are the arrangements, vocals and lyrics. The song appears in two versions, differing in arrangements and vocals. The first version by Arijit & Yashita is what will get more famous among the public, because, obviously, it’s Arijit. But, plot twist! Arijit’s vocals have been kept so raw and untouched, that he sounds exactly like Amit Trivedi. The required amount of naughtiness, though, is present in his vocals. Yashita too, complements him well, with her nice and husky voice. This version has a nice prelude with a lot of percussion sounds (Sanket Naik) that resembles Taufiq Qureshi’s style of percussion a lot. A wonderful beatbox, by Alan D’Souza, something that we rarely hear in desi songs like this, also accompanies the prelude. And when the harmonium (Akhlakh Hussain Varsi, Feroz Khan) pitches in, you know Trivedi has some awesome street-smart song waiting for us. The percussion remains for he whole song, to entertain us, and what an entertaining percussion it is! The fusion between that percussion and he harmoniums, in the interlude, is a sight to behold. Towards the end we get the tempo upped, and that portion really sums up the song — the patriotic flavour comes out the best in those lines. The second version is nice too; here, Amt Trivedi himself takes over as the male vocalists, complemented by Yashita again. It doesn’t make much of a difference with his voice, because even Arijit had sounded like him. In this version, Yashita sings what Arijit sang in the first version, and Amit sings what she had sung over there. The arrangements are better here, with a nice dhol-taasha Maharashtrian touch given to the arrangements. The prelude is sloughed off here, and the song plunges directly into the mukhda. The harmonium and percussions, as stated above, are way more prominent, making it sound much more like an actual street performance. Habib Faisal’s lyrics are aptly patriotic; the comparisons are unthinkable, but when you listen to them it’s just a matter of fact. For example, India is a gol gappa, and Indians are the water inside! A patriotic song with quirky lyrics and a fun arrangement!

Rating: 4/5 for the Original Version, 4.5/5 for the Escape Version

 

2. Hulchul

Singers ~ Arijit Singh & Yashita Sharma, Lyrics by ~ Kausar Munir

The rock kicks in, in full swing, with this next song, a rock ballad full of pain and emotion. The starts in a mellow way, characteristic of Trivedi’s romantic songs, so much so that you almost are sure that something calm is about to follow. But then a strain of melancholia, accompanied by the first bar of the mukhda, appears, and then the tune just breaks into a very energetic and hard-hitting rock song. The transition is very quick, but very seamless. The hookline is amazing, and the way the male and female vocalists alternate their lines, making it a true-blue duet, is amazing. More on the vocals later though. The composition continues to amaze — the lilting portions really stand out in the very high-octane arrangements. The electric guitars are the stars of the song, and the way they start, in the first hookline, is just shockingly beautiful! They keep playing throughout, and never fail to amaze. The drums (Jai Row Kavi), naturally, are amazing too. The interlude is all electric guitar, and it sounds amazing, as if we really are in a rock concert. The strong composition just helps the song to be put forth better to the listeners. The vocals are pitch perfect. Arijit’s raw and grungy vocals have been retained yet again, and his voice sans programming is such a beauty to listen to, especially in this era where composers can’t go without tweaking voices. Yashita Sharma complements him very well. Both of them sing the song so intensely, the emotion is almost tangible. Backing vocalists give a good push to the song. The lyrics are amazing here as well, with the band members expressing the desire to be let free. A touching song, but might take time to grow.

Rating: 4.5/5

 

3. Phir Nayi

Singer ~ Yashita Sharma, Lyrics by ~ Kausar Munir

Yashita gets a solo song to sing next; and I must say, she deserved it, and shines in it! Amit’s composition is fresh yet nostalgic. It doesn’t have any shades of his previous song (or not that I can think of) but it still seems so nostalgic and evokes a sense of happiness in the listener. The mukhda starts the song off very promisingly, and Amit, as usual, lives up to that promise, because what follows is no less beautiful. The hookline is nice, and I like the way the drums pause when the hook appears. It gives it a very important feel, and lets the magic of the composition be heard on its own. The antaras are wonderful as well, and it just helps more that Kausar Munir’s lyrics are so beautiful. It makes the song such a delight to listen to. The arrangements are splendid; the usual drums (Jai Row Kavi) are accompanied this time by mellifluous strings (Chennai Strings Orchestra — conducted by M. Kalyan). Of course, the guitars do appear, but here, they are relatively relegated to the background, as the strings and the flute (Naveen Kumar) are more intriguing. A wonderful santoor portion (Tapas Roy) is what draws the listeners into the song, and also features in the interlude; it seems so surreal in an album about a rock band! Yashita herself, carries the beautiful composition with elegance, never making the listeners get bored or lose interest. The grace with which she handles the notes is pleasantly surprising, as almost all her previous songs have been these upbeat numbers, whereas this one is a lilting feel-good melody! Full marks to everyone for this beauty of a song!

Rating: 5/5

 

4. Junooni

Singers ~ Arijit Singh & Yashita Sharma, Lyrics by ~ Sidhant Mago & Kausar Munir

Another high-octane rock song follows that surreal melody. This one too, starts off very melodiously, and suffers from a sever hangover of ‘Pashmina’ (Fitoor), as is clear from the guitar and flute beginning. Of course though, the flute (Naveen Kumar) is what makes us listen more enthusiastically, curiously, to know how this will turn into a rock song. Sure enough, with Trivedi’s genius, he manages to swerve the melody into a nice and energetic rock song. Though the full-fledged rock doesn’t arrive till the hookline here (unlike ‘Hulchul’ where it hardly took one line), it still works wonders. And the portion before he rock breaks too, is just magical. Amit’s composition for the antara, is just mesmerizing, and it is his trademark compositional style hat reflects in that antara. It is kind of noticeable how the composition style of the rest of the song is clearly non-Trivedi-ish, and follows the rock template to the tee. Nevertheless, the song turns out to be one of my favourites of the album. The second antara, is just another repetition in the same tune as the mukhda, but somehow it sounds better in the middle of the song, than it did at the beginning. And what can I say about the hookline! As soon as that rock hits you, you suddenly get goosebumps. Of course, it is a romantic rock song, and so it should be haunting and melodious along with the trademark rock characteristics. And it packages both the qualities perfectly. Arijit and Yashita yet again, prove their mettle, and this is actually one of the rare songs on the album where Arijit sounds like himself! Yashita sounds a lot like Neeti Mohan in her sweet and sugary voice, and that’s a plus point for the song. Again, both of their voices’ intensities drive the song way ahead of what it could have been, if it had been sung in a lifeless manner. Kausar and Sidhant Mago write a nice mix of romantic and passionate lyrics. A rock song that follows the rock template very sincerely, yet manages to impress!!

Rating: 4.5/5

 

5. Udanchoo

Singers ~ Arijit Singh & Yashita Sharma, Lyrics by ~ Kausar Munir

This next song was a bit weird, after the very templated sound of the previous three songs. That’s because this one is a clear Amit Trivedi song, which dates to go unconventional. Sadly, the composer seems to have gotten it topsy turvy. Not that it is a bad song, it is just less impressive than the others. The composition is an upbeat one, again, relying on rock guitars and drums to give it a good beat — and it succeeds. The composition is a bit weak, Especially the hookline, which seems forced. The antaras are amazing, fortunately. The arrangements have a retro touch — an 70s-80s rock touch. The kind of rock that was prominent in the West at that time. And that’s the strongest point of the song; that’s what will trick people into loving the song! Vocals are great again, with a lot of enthusiasm. I loved Arijit particularly in this song. The lyrics are clearly about escaping. Experimental, but doesn’t go the right way.

Rating: 3.5/5

 

6. Jag Mag

Singers ~ Arijit Singh & Yashita Sharma, Rap Written & Performed by ~ Peter Muxka Manuel, Lyrics by ~ Habib Faisal

Amit goes the experimental way with the next song as well. And I’m happy to say that this time, it works fantastically, as it usually does with Trivedi. The composition is a feel-good one, and instantly brings a smile to your face! The characteristic style of Trivedi shows itself right at the beginning of the song, and you start loving it then and there. The hookline is one of the cutest things I’ve heard recently. The antaras are nice and along the same lines — happy-sounding and pleasant. The arrangements are so minimal, but a continuous beatbox (Alan D’Souza) keeps going on in the background. Of course, Trivedi garnishes the song with guitars, percussion and his signature quirky digital sounds. (Something I’ve heard after a long time!) The vocals are string here as well — now I’m beginning to think I should just let you take it for granted that the vocals are beautiful in every song!! There’s a nice Caribbean-styled English rap midway into the song, and it is one of the most refreshing raps I’ve ever heard! At least it is something different! Peter Muxka Manuel renders it with a huge amount of confidence! The cute patriotic lyrics that feature in the song are the USP of the song. They’re so fun! A patriotic song that tells you that it doesn’t always have to be heavy and preachy to make a good patriotic song!

Rating: 4/5

 

7. Poshampa

Singers ~ Arijit Singh & Yashita Sharma, Lyrics by ~ Kausar Munir

Now the next song bursts into a very different side of the album; a very enjoyable, retro feel accompanies the catchy composition. It sounds like something out of an R.D. Burman album, and recreated by Amit Trivedi. The composition is vey catchy, and instantly has you grooving to the music. What draws you in at first though, is the amazing musical prelude that seems like a continuation of the wonderful ‘Mehbooba’ (Sholay), complete with the amazing trumpets (Kishore Sodha), rabaab (Tapas Roy), and of course, drums (Jai Row Kavi). It is this prelude that makes the listener keen on listening to the rest of the song, with rapt attention. The rabaab keeps on playing throughout the song, everytime the hookline is over, and it just gives amazing retro vibes. The amazing arrangements really help in transporting us to that era. The trumpet and percussion is what stands out prominently, and the interludes are amazing! I loved it when Trivedi decreases the tempo in one interlude, and graces it with a heavy Punjabi dhol, and it sounds amazing! Of course it goes back to the retro trumpet in no time! The vocals are amazing here (again!) and Arijit and Yashita sing at the top of their energies. The way Arijit sings the “I Don’t understand why” and “dafaa chaar-sau-bees boli” lines, is just so entertaining. The end of the song comprises an uptempo conclusion that just leaves the “jaa bhai jaa” hook permanently imprinted into your memory. The lyrics are evidently situational, but revolve around the escape theme again. A wonderfully catchy song, an entertaining mix of rock with a retro feel!

Rating: 5/5

 

8. Phir Wohi

Singer ~ Yashita Sharma, Lyrics by ~ Kausar Munir

After that electrifying retro number, Trivedi decides to end with a mellow melancholic number. The song is basically the sad version of ‘Phir Nayi’, and is renamed ‘Phir Wohi’. {What a coincidence; we just had another sad song called ‘Phir Wahi’ last month in ‘Jagga Jasoos’!} Trivedi has contrasted this song from its original in such a beautiful way — of course the tempo is a bit slower, the tone has completely transformed from a happy-go-lucky one to a very melancholic one. Some of the elements he uses to do this, are, of all the things you would expect, PERCUSSIONS! Yes. Trivedi employs an irresistible march-past-like rhythm to signify the sad tone of the song. And it works so wonderfully! Also, in that version, Yashita sang very flamboyantly, but here, she sings very differently — and it creates a great effect! Some places, I thought she went off-tune, but then I understood it must be intentional, to signify the character sounding like she was crying — the way Trivedi made Neeti Mohan “cry-sing” in “Dhadaam Dhadaam” (Bombay Velvet)! Flute (Naveen Kumar) is yet another beautiful attraction here. Another beautiful addition, is a very satisfying backing chorus, which, in its low pitch, wins your heart in a jiffy. Kausar reprises her happy lyrics to make them aptly sad. A very apt reprise of a song that I would never imagine, would sound so good with a sad version!

Rating: 4.5/5


Qaidi Band is one of those Amit Trivedi albums, in which the composer doesn’t quite experiment too much, and plays with already established musical styles. Of course, he manages to make it sound amazing even then. The album is full of variety, and follows a very prominent rock theme throughout. Patriotism, fun, romance, happiness and melancholia is portrayed wonderfully through the songs, and that’s what makes it so special. I know many people might think I’ve rated it too high, but I seem to be the only person who loved it so much! Habib Faisal and Amit Trivedi hit the jackpot yet again, this time with a desi rock theme!

 

Total Points Scored by This Album: 4 + 4.5 +4.5 + 5 + 4.5 + 3.5 + 4 + 5 + 4.5 = 39.5

Album Percentage: 87.78%

Final Rating for This Album: सा < रे < ग < म < प < ध < नी < सां

Note: The letter which is underlined is the final rating.

Recommended Listening Order: Phir Nayi = Poshampa > Phir Wohi = Junooni = Hulchul = I Am India (Escape Version) > I am India = Jag Mag > Udanchoo

 

Which is your favourite song from Qaidi Band? Please vote for it below! Thanks! 🙂

MULTICOMPOSERS KI KHATTI-MEETHI BARFI!! (BAREILLY KI BARFI – Music Review)

Music Album Details
♪ Music by: Tanishk Bagchi, Arko Pravo Mukherjee, Tanishk-Vayu, Samira Koppikar & Sameer Uddin
♪ Lyrics by: Shabbir Ahmed, Pravesh Mallick, Arko Pravo Mukherjee, Tanishk-Vayu, Puneet Sharma & Akshay Verma
♪ Music Label: Zee Music Company
♪ Music Released On: 11th August 2017
♪ Movie Releases On: 18th August 2017

Bareilly Ki Barfi Album Cover

 

To hear the full songs of this album on Saavn CLICK HERE

To buy this album on iTunes CLICK HERE


Bareilly Ki Barfi is an upcoming Bollywood rom-com, starring Kriti Sanon, Ayushmann Khurrana, and Rajkummar Rao in lead roles. The film is directed by ‘Nil Battey Sannata’ fame Ashwiny Iyer Tiwari, and produced by Nitesh Tiwari and Shreyas Jain. The movie revolves around the Mishra family, who are in search for a suitable groom for their daughter, played by Sanon. The complexities and pressure of getting married is too much for Bitti, Sanon’s character, and she decides to run away. On the run, she finds a book, ‘Bareilly Ki Barfi’ at the train station, and picks it up, only to realise that the female protagonist thinks a lot like her! Thus she embarks on a quest to look for this someone who thinks so much like her. The story seems very content-driven, but that’s not to stop it from having some good music; in fact, most content-driven films have better music than others! Ashwiny Iyer Tiwari’s first film, ‘Nil Battey Sannata’, had an awesome album completely composed by a newcomer duo, Rohan-Vinayak. This time, the makers go for the multicomposer route. Tanishk Bagchi, Tanishk-Vayu, Arko Pravo Mukherjee, Samira Koppikar and Sameer Uddin are composing the music for this film. As I am expecting an overall good album, and since every name is a known name (even Sameer Uddin, who is the one who had done those remixes in ‘Bluffmaster’ long ago) I don’t think I need to say what I expect from each of them individually! So let’s help ourselves to this ‘Barfi’!


1. Sweety Tera Drama

Singers ~ Dev Negi, Pawni Pandey & Shraddha Pandit, Music by ~ Tanishk Bagchi, Lyrics by ~ Shabbir Ahmed, Rap Written and Performed by ~ Pravesh Mallick

An aptly U.P. flavoured start to the album, the first song is a fun and upbeat dance number, along the lines of ‘Badrinath Ki Dulhania’s title song. Coincidentally, the man behind it is Tanishk, the composer of that song. The composition is very fun and enjoyable, and the composer has kept it relevantly short; such songs are least enjoyable if they ramble on for four minutes and longer. The shortness gives it a crisp feel, and leaves you wanting more. There is one mukhda and one antara, both composed entertainingly. The arrangements too resemble those of ‘Badrinath Ki Dulhania’ title song, with the dholaks (Naveen Sharma), harmoniums and bulbultarang (Pradip Pandit) and quirky digital beats. The star music is amazing, especially that sarangi bit by Sangeet, that is so easy to miss! Tanishk adds very fun sound effects like that rap by Pravesh Mallick, then a random but funny “Myujik” that just plays anytime. His digital instrumentation is fun as well. The song has been sung by three singers and the rapper. The rapper, as stated before, brings out the U.P. flavour very well, and begins on a promising note. Dev Negi is his usual fun self, while Pawni and Shraddha, the two female vocalists, with two lines each, make a difference even with the little scope! Shabbir Ahmed’s lyrics are fun too! A fun dance number that strives to be simple but sweet!

Rating: 4/5

 

2. Nazm Nazm / Nazm Nazm (feat. Ayushmann Khurrana) / Nazm Nazm (feat. Sumedha Karmahe)

Singers ~ Arko Pravo Mukherjee / Ayushmann Khurrana / Sumedha Karmahe, Music by ~ Arko Pravo Mukherjee, Lyrics by ~ Arko Pravo Mukherjee

Arko steps forth to present his song, and as is the requisite whenever Arko composes for a multicomposer album nowadays, he gets to do the romantic song of the album. Well, since he is so good at making these, it seems logical. This song here, is yet another example of his romantic song composing skills. The composition is charming, but there is one small drawback, and that is that it takes a long time to grow. It consists of many twists and turns, and isn’t instantly hooking like most of his other songs. The second antara is particularly beautiful. The hookline manages to get the audience charmed. The lyrics though, are beautiful, and are another instance of how beautiful Arko himself writes!! The song appears in three versions, though, and one does feel that it is one too many. Arko doesn’t sing this song as well as he sang ‘Kaari Kaari’ (Dobaara), ‘Dariya’ (Baar Baar Dekho) or ‘Saathi Rey’ (Kapoor & Sons), and thus, his version comes across as slightly boring. The arrangements in this version also resemble ‘Tere Sang Yaara’ (Rustom) with those extra sugary Duff rhythms and synthesizer tune (Keys by Aditya Dev). It reduces the likability a bit. Ayushmann increases the ear-friendliness of the song with his trademark charming voice, and renders it with ease. His style of rounding the vowels makes the song sound so much like he has composed it himself. The variations he takes on many notes, which Arko had not, makes the song sound more layered. The arrangements too, get more Ayushmann-ish, with acoustic guitars (Krishna Pradhan), but the Arko-ness is retained with the amazing piano notes. Thankfully, the Duff rhythms are done away with. The last version happens to be a female version; a version I personally feel was least required. So Zee Music releases videos of singers singing covers of hit songs, and I almost know that this version will be used as that. Not to take it away from Sumedha though; she sings beautifully! Arko arranges this one with a soothing flute, but nothing else really stands out! A romantic song that features so many times, we have no choice but to love it!

Rating: 4/5 for Arko’s Version, 4.5/5 for Ayushmann’s Version, 3.5/5 for Sumedha’s Version

 

3. Twist Kamariya

Singers ~ Harshdeep Kaur, Yasser Desai, Tanishk Bagchi & Altamash, Music by ~ Tanishk-Vayu, Lyrics by ~ Tanishk-Vayu

The next song has Tanishk coming back together with his partner with which he debuted, Vayu. They keep coming back together occasionally, and it is quite fun. Though their last song ‘Beat It Bijuriya’ could’ve been better, this one is a real treat. The composition is very simple, and if it were not for the amazingly quirky beats and arrangements, the song would not have sounded half as good. Of course, a very templated dhol rhythm accompanies the song, but a very quirky digital sound also comes along with that and everything sounds so innovative. The interlude is amazing, with the dhols and shehnaai. Rock guitars are really electrifying in the antara. The hookline, the way it is sung, is so cool. The pause between ‘Twist’ and ‘Kamariya’ really makes the difference. Im probably hearing Harshdeep Kaur in this zany avatar for the first time. I mean, she has sung upbeat numbers, but not so crazily funny! Tanishk-Vayu’s lyrics are a clever mix of Bhojpuri and Hindi and English. A song that calls for loud whistles and cheers in the theatre! U.P. folk meets techno music!

Rating: 4/5

 

4. Bairaagi / Bairaagi (Samira Koppikar Version)

Singers ~ Arijit Singh / Samira Koppikar, Music by ~ Samira Koppikar,  Lyrics by ~ Puneet Sharma

Samira Koppikar, who really pleasantly surprised me with her song in ‘Dobaara’ earlier this year, jumps onto the album next, with a melancholic song that is sung by –obviously — Arijit! The song is good, I can’t take that away from it. But somewhere the composition evokes so many memories of previous Arijit songs that were composed on the same rock lounge-ish template. It actually sounds like a Pritam song when that beautiful backing chorus comes in, and that’s probably the best effect of the song. The composition too, is beautiful, and hits the heart straight. I just don’t think I would listen to it a lot. The vocals are, obviously spot-on. What can be expected when it is Arijit? Fortunately, there’s another version, possibly for the music lovers. Samira sings this one, and it starts with a heavenly chorus by her. She sings in beautifully, and is first of all supported by a wonderfully soothing folksy string instrument, evoking memories of ‘Sahiba’ (Phillauri). Later that Punjabi feel is increased, when a nice dholak-led rhythm sets in. This version is definitely better than Arijit’s. The lyrics by Puneet Sharma are aptly romantic and melancholic at the same time. The word ‘bairaag‘ is a word I don’t think I’ve heard in a Bollywood song after ‘Laal Ishq’ (Ram-Leela)! Beautiful song, but might not stay with me for long.

Rating: 3.5/5 for Arijit’s Version, 4/5 for Samira’s Version

 

5. Badass Babua

Singers ~ Abhishek Nailwal, Neha Bhasin & Sameer Uddin, Music by ~ Sameer Uddin, Lyrics by ~ Akshay Verma

A relatively newer addition to the album (as the composer Sameer Uddin wasn’t credited in the trailer or first poster of the film), this one is a funky “gangsta” song, probably made for Rajkummar’s character in the movie. The U.P. vagabond and rowdy feel is brought out with entertaining lyrics rendered with spunk by Abhishek Nailwal and the composer himself. The gangster feels are brought out by the rap, the techno beats and the overbearing sinister tone. The composition is catchy, but again, not a very lasting tune. The arrangements are more of what the song might be remembered for, if at all. The vocals are fine, and obviously the male singers have done an amazing job, or else, it wouldn’t have sounded so much like a gangster song full of attitude. Neha Bhasin is sidelined unfortunately, and reminds me of Ambili’s portions in ‘Hum Hain Bank Chor’ (Bank Chor). Entertaining, but not everlasting.

Rating: 3/5


Bareilly Ki Barfi is a relatively good multicomposer album. I think these days, the quality of multicomposer albums is definitely increasing, because makers now know the formula for it. You obviously need two upbeat numbers to increase the album’s hit status, and of course, a romantic song, a sad song (preferably by Arijit) and then a couple of versions. Zee seems to have mastered the formula, and they produce another album like ‘Behen Hogi Teri’, which is a mix of styles from different composers, yet comes together as a united album. With a mixed variety of songs, these multiple composers have come up with a nice, khatti-meethi Barfi!

 

Total Points Scored by This Album: 4 + 4 + 4.5 + 3.5 + 4 + 3.5 + 4 + 3 = 31

Album Percentage: 76.25%

Final Rating for This Album: सा < रे < ग < म < प < ध < नी < सां

Note: The letter which is underlined is the final rating.

Recommended Listening Order: Nazm Nazm (Ayushmann Khurrana) > Twist Kamariya = Sweety Tera Drama = Nazm Nazm = Bairaagi (Samira Koppikar) > Bairaagi = Nazm Nazm (Sumedha Karmahe) > Badass Babua

 

Which is your favourite song from Bareilly Ki Barfi? Please vote for it below! Thanks! 🙂

APTLY SIMPLE AND MINIMALISTIC!! (PARTITION: 1947 – Music Review)

Music Album Details
♪ Music by: A.R. Rahman
♪ Lyrics by: Navneet Virk
♪ Music Label: T-Series
♪ Music Released On: 4th July 2017
♪ Movie Releases On: 18th August 2017

Partition: 1947 Album Cover

 

To hear the full songs of this album on Saavn CLICK HERE

To buy this album on iTunes CLICK HERE


Partition: 1947 is an upcoming historical film, starring Hugh Bonneville, Gillian Anderson, Manish Dayal, Huma Qureshi and Late Om Puri in central roles. The film is directed by Gurinder Chadha, and produced by Paula Mayeda Berges, Gurinder Chadha and Deepak Nayar. The film has already released as ‘Viceroy’s House’ in the United Kingdom, and is ready for a Hindi release in India, in the Independence month, August. A.R. Rahman has scored the background music for the English version, but in the Hindi album, T-Series released only three songs, all the vocal songs (which are also not in the English soundtrack). So we get a short album. Let’s see whether it does justice to the movie’s theme.

P.S. I don’t know whether the Traditional songs are by Rahman, so I’ve not credited him for them. If you have any idea, do let me know.


1. Do Dilon Ke

Singers ~ Shreya Ghoshal & Hariharan, Music by ~ A.R. Rahman, Lyrics by ~ Navneet Virk

The only A.R. Rahman-composed song makes its place as he first song of the album, and ironically, it is going to be the end credits song for the movie. Just like any other A.R. Rahman song, this one takes time to grow, but eventually grips you. The composition is very similar to Rahman’s songs of the 90s, and particularly has a great hangover of ‘Tu Hi Re’ (Bombay). The antaras are beautiful, while the mukhda takes time to get accustomed to. What increases the déjà vu of the song, is Hariharan’s beautiful voice. It takes you back to the 90s Rahman vibe, and you just drown into his voice. Even better is Shreya, singing for him after quite some time. Her voice is the perfect mixture of sweet and silky and grave and solemn. The solemnity with which both of them render the song gives it an amazing aura. The arrangements are good, and very minimal. The piano stands out wonderfully, and strings towards the end make the song sound more rich. The richest part of the song, are the lyrics, by Navneet Virk, which are a beautiful metaphor seeing the 1947 Partition as a heartbreak. A good song, but lacks repeat value, as I believe it should!
Rating: 4/5

 

2. Duma Dum Mast Kalander

Singer ~ Hans Raj Hans, Music & Lyrics Traditional

The most famous folk song, probably, in India gets yet another recreation here. This is not much of a recreation though, as Hans Raj Hans is just singing the folk song in the least innovative manner possible. Of course, the experience of hearing the song yet again is wonderful, but I would’ve appreciated it had there been some variations, as Mikey McCleary had done in ‘David’. But since this is a historical film, I guess it is fitting they didn’t do that. The arrangements are jovial, with the amazing tablas and dholaks, accompanied by the harmonium, sounding rich and earthy. The tumbi and chimta, an essential part of Punjabi folk, make their way in here too. Hans Raj Hans’ vocals are amazing, as expected. Would this song have sounded any better if Rahman had been given the opportunity to recreate it? That is, assuming, he hasn’t!
Rating: 3/5

 

3. Jindwa

Singer ~ Hans Raj Hans, Music & Lyrics Traditional

Another folk song, one that I’ve never heard this time, makes its way into the album. This one sounds much better than ‘Duma Dum Mast Kalander’ because of the freshness and the fact that it is not something we have heard before. Of course, the composition overlaps many other songs we have heard that are based off of Punjabi folk songs, and now we know where those songs were inspired from. The arrangements here are so beautiful, with rich ethnic flutes and that tabla percussion going on throughout. Guitars also make it sound more fresh. The harmonium is an obvious part of it. There are sudden portions that escalate into high-octane dhols and bhangra. The flute actually sounds like the flute in ‘Chalo Chale Mitwa’ (Nayak), which was by Rahman, so I do suspect that Rahman was indeed, in charge of these two folk songs. Who knows!
Rating: 3.5/5


Partition 1947 is another one of those albums that sticks true to the film’s script. If all the songs are by Rahman, and there’s no way to know if they are or not, thanks to T-Series’ vague crediting style, the album is a letdown, particularly with the folk songs, because we know that Rahman can compose folk songs beautifully. Anyway, the album is aptly short, and situational!

 

Total Points Scored by This Album: 4 + 3 + 3.5 = 10.5

Album Percentage: 70%

Final Rating for This Album: सा < रे < ग < म < प <  < नी < सां

Note: The letter which is underlined is the final rating.

Recommended Listening Order:  Do Dilon Ke > Jindwa > Duma Dum Mast Kalander

 

Remake Counter
No. of Remakes: 22 (from previous albums) + 02 = 24

 

Which is your favourite song from Partition 1947? Please vote for it below! Thanks! 🙂

JAB IMTIAZ MET PRITAM — AGAIN!! (JAB HARRY MET SEJAL – Music Review)

Music Album Details
♪ Music by: Pritam Chakraborty, Diplo (Thomas Wesley Pentz) & Rocky Wellstack
♪ Lyrics by: Irshad Kamil
♪ Music Label: Sony Music
♪ Music Released On: 3rd August 2017, 10:30 pm
♪ Movie Released On: 4th August 2017

Jab Harry Met Sejal Album Cover

 

To hear the full songs of this album on Saavn CLICK HERE

To buy this album on iTunes CLICK HERE


Jab Harry Met Sejal is a Bollywood rom-com film, starring Anushka Sharma and Shah Rukh Khan, directed by Imtiaz Ali, and produced by Gauri Khan. The film is about two strangers who meet in Europe, and try to find the engagement ring of Sejal (Sharma’s character). Obviously, as is the main theme in an Imtiaz film, they discover themselves through the journey. I think even more exciting than the movie itself, is the music. Imtiaz has said in many interviews that he enjoyed doing the music of this film, and that’s showing in the final outcome. The film is a musical (not full-fledged like ‘Jagga Jasoos’) and has 13 songs, by Pritam, who was Imtiaz’s go-to music composer before Rahman. With this film, they reunite, and after ‘Jab We Met’ and ‘Love Aaj Kal’, two super-hit soundtracks by both of them, this is their third collaboration! Expecting just as much variety in this album, and also expecting the elements of whatever Imtiaz has picked up from Rahman while doing the music of those films (namely ‘Rockstar’, ‘Tamasha’ and ‘Highway’)! So I hope this album will be like a blend of Pritamish Imtiaz and Rahmanish Imtiaz! Plunging into the album very positively, hoping it will astound me!!

P.S. Thanks to my friend Chiranjeev Gorur for acquiring and sharing the full musician credits to the album! 🙂


1. Radha

Singers ~ Sunidhi Chauhan & Shahid Mallya

“Main bani teri Radha, maine sakhiyon se, ankhiyon mein rakhna hai tujhko piya, thoda zyaada zyaada!
Main bani teri Radha, tuney sapnon tadapnon mein rakhna hai mujhko piya thoda zyaada zyaada!
Main bani teri Radha!”

Pritam starts off the album with an amazingly energetic song that makes you want to dance right along to its tune, right away. Now I know everyone has heard this song many times by now, and it’s a huge hit across the nation. It is essentially a Punjabi folk-plus-EDM fusion track, and the way Pritam employs these genres, is spellbinding. The composition itself follows a very desi compositional format, in that it appeals to us Bollywood music listeners right away with its inherent catchiness and energetic vibe. The hook, especially, leads the song, as it should. But it is the mesmerizing antara that was the best part for me. Pritam gives it this rapid tune that you are only able to sing after repeated listening, and that’s how it grows on you eventually. A very amazing Punjabi flavour has been given to the Punjabi portions sung by the male singer. The high pitch might bother some, but it is way more comfortable than listening to a high pitch song by Arijit Singh like the recent ‘Ik Vaari Aa’ (Raabta). And if the first antara takes you by surprise, the second antara, which just released with the album version of the song, is pure bliss. The harmony between the two singers is blissful! The arrangements follow suit and Pritam fuses folk and EDM, like I mentioned above. The flute and khartal (which is a Rajasthan folk instrument, but apparently being used in a Punjabi song) open the song in a very light-hearted and feel-good way. Throughout the mukhda, it’s the flute and khartals that play. Until Pritam introduces the mandatory dhol (Sukanto Singha & Sunny M.R.) in the hookline, you won’t be able to even tell that the song is a Punjab-based song. (Because even the lyrics aren’t proper Punjabi; they’re kind of like a mix between Punjabi and Hindi). Another awesome folksy instance in the song is the second interlude where the sarangi is played, and muffled by the programming! The EDM programming by Sunny MR, and Rohan Chatham’s vocal cuts during the “Raa-aa-aa-aaa” portion, serves for a wonderful catchy hook, which would definitely make people hit the repeat button! The coexistence of the dhols and EDM sounds so good. The vocals are a class apart. Pritam reverts to a singer that used to sing many songs for him back in the day, Sunidhi. This is her first song for Pritam after ‘Dhoom 3’, and we know how much Pritam’s music has boosted after that! She sings it so mellifluously, you don’t even realise the rapidity of the tune. Especially the antara, for which she should get standing ovations from all of us listeners! Shahid is top-notch too, his heavy Punjabi accent reflecting through his singing and making the folksy portions of the song what they are. Irshad Kamil’s lyrics are cute too, but there’s a certain Panipat line that had me surprised and worried and disappointed at the same time! 😂 It doesn’t even fit with the rest of the song! Anyway, overall he has written a cute little romantic song. Pritam’s experimentations almost never fail, do they?
Rating: 5/5

 

2. Beech Beech Mein

Singers ~ Arijit Singh, Shalmali Kholgade & Shefali Alvares, Backing Vocals ~ Arjun Chandy & Akashdeep Sengupta

“Hai safar mein zameen, chal raha aasmaan,
Dono ki jo kahaani, ho ki na ho bayaan,
Begaani jagah mein nadaani, karein na, karein toh kahaan?
Jal dheeme, yeh pal dheeme, kyun hai jalte hua?”

The next song on the album falls under a genre that I feel Pritam always aces. A club song. However, this time it is different. The club song isn’t the normal Pritam club you would expect, with heavy EDM and Benny Dayal. Instead, it has a completely retro feel to it, and has been composed as a retro funk song! I can’t remember the last time Pritam composed a retro funk number, because it’s always EDM when he does club songs. So this seems like a very new thing from him. The composition is instantly catchy, and the unconventionality of it all makes it even more appealing! It starts with a very insanely catchy vocal loop repeating the name of the song over and over again, and it is from there that your interest increases. The mukhda (which is the hookline too), is cool, and so is the ‘Shola Shola..’ line! The hook repeats many times throughout the song, but it doesn’t sound repetitive. The crux of the song’s composition lies in the antara, though, where Pritam makes a disco song, melodious! And the cross line which it takes to get back to the refrain, is extra cool!! That’s that about the composition. But it is the arrangements, as always, that really suck you into the song. A groovy guitar (Warren Mendonsa & Ernest Tibbs) riff starts the song off, behind the “beech beech mein” repetitions. The fun arrives, however, only when the drums enter, because they’re so amazing! The drums in this song are really some of the best drums I’ve heard (in non-rock songs) this year! The brass instruments (Trombone by Andrew Lippman, Trumpet & Flugelhorn by Ludo Louis) do their thing by fascinating us in the interludes, and in the antara, they have a really special role to play, when things get a bit melodious. Their harmony is just so enchanting. So now you get why the song can be called retro! 😀 For the vocals, Pritam uses his go-to female singers for club songs, Shalmali and Shefali, both. Of course the male portions are by Arijit. All three sing well; Arijit leads the way while each of the female singers are relegated to the background except for one or two lines. Irshad Kamil’s lyrics are fun. A song that should change the way we think about club songs in Bollywood!
Rating: 4.5/5

 

3. Safar

Singer ~ Arijit Singh

“Iss yaqeen se main yahaan hoon,
Ki zamaana ye bhala hai, Aur jo raah mein mila hai,
Thodi door jo chala hai, Woh bhi aadmi bhala hai,
Pata tha, zara bas khafa tha!
Woh bhatka sa rahi, mere gaanv ka hi,
Woh rasta puraana jise yaad aana,
Zaroori tha lekin, jo roya mere bin,
Woh ek mera ghar tha,
Puraana sa darr tha,
Magar ab main na apne ghar ka raha…
Safar ka hi tha main, Safar ka raha!!!”

Imtiaz’s favourite theme, travel, makes itself prominent right from the title of the next song, and all throughout it as well. The song is titled ‘Safar’ (meaning Journey), and it is a journey in itself for music lovers. Pritam’s composition is a slow and lilting composition that grows on you slowly surely. The mukhda is very beautiful and soulful, and sets off the song on a very jazzy and slow rhythm that is magically appealing. The hook is simple but sweet, and effective in the song. The antara is an amazing high-pitched portion where Pritam’s lines flow into each other so seamlessly, you can’t tell where one ends and the other starts! Towards the end, there’s almost a half-minute musical portion, where I feel Pritam could have added a small conclusion stanza, like he usually does in songs. The arrangements are very beautiful and impressive, with a very urban touch — acoustic and electric guitars (Arijit Singh & Aditya Benia), being the main instrumentation! The guitar riffs are wonderful throughout the song. Arijit’s vocals are very raw and rustic, with the gritty texture standing out very prominently; it actually gives the song a wonderful travel-esque feel. The places where his voice cracks, are actually some of the most brilliant parts of the song! Irshad Kamil’s lyrics are high on food for thought, and each and every line makes you think, connect and relate! The whole song is like a story that is being told about the character’s change of lifestyle. An unconventional song, which won’t be loved by one and all, but should be loved by the music lovers!
Rating: 5/5

 

4. Butterfly

Singers ~ Dev Negi, Jyoti Nooran, Sultana Nooran, Sunidhi Chauhan & Aman Trikha, Backing Vocals ~ Laddi Dhaliwal, Jelly Manjitpuri, Neetu Bhalla, Babita, Asa Singh, Amit, Tushar, Akashdeep, Abhishek, Manoj, Shubham

“Mujhmein ishq ya ishq mein hoon main,
Hua mujhe ehsaas re,
Khel raha hoon saath yaar ke,
Main khwaabon ki taash re,
Tu hi usko khoj raha hai, ae dil mere, yeh na soch,
Woh bhi tujhko dhoondh raha hai jiski tujhe talaash re!!”

This song starts right off with the boisterous Punjabi-ness that an Imtiaz Ali-Pritam combo always consists of. The song is a happy-go-lucky and cute Bhangra tune that really has you dancing to it right away. Pritam’s composition is very earthy and raw, and not superficial and hollow like most other Punjabi songs that release these days. The mukhda especially, starts the song off very beautifully, and you can imagine a village romance getting conjured before your eyes. The hook is the cutest part of the song, but catchy too. In the antara, things go haywire though, and you take time to understand the tune of those lines soon. The tune fluctuates so much, that it is quite difficult to grasp. However, both the parts of the Nooran Sisters, have been composed wonderfully, the one at the beginning, and the one that concludes the song on a very nice note. Both parts are heavy on the earthiness quotient and transport you to the fields of Punjab, with its melodious composition. The arrangements are the run-of-the-mill 2006-2009 era Pritam Punjabi arrangements, with loud dhols (Naseeb Singh), effervescent tumbi (Jelly Manjitpuri), a folksy alghoza (Gurpreet Singh) and of course, a nice technical production. The vocals are energetic, and Dev Negi as the forerunner makes things easier for the audience by not singing too loud, and keeping a gentle yet steady voice constant. Sunidhi disappoints, singing in such a high pitch that I can’t fathom. Nooran Sisters are the stars of the song, starting and ending it with a bang. Irshad Kamil’s lyrics are quite staid for the majority of the song, but again, the Nooran portions have been written very well, with the “Woh Bhi Tujhko Dhoondh Raha Hai Jiski Tujhe Talaash Re” line translating the film’s tagline ‘What you seek is seeking you’, very efficiently. A fun and cute Punjabi song, but falls flat in places where it tries to do too much.
Rating: 4/5

 

5. Hawayein / Hawayein (Film Version)

Singer ~ Arijit Singh

“Banaati hai jo tu, woh yaadein jaane sang mere kab tak chale,
Inhi mein toh meri, subah bhi dhale, shaamein dhalein, mausam dhale!
Khayalon ka safar, tu jaane tere hone se hi aabaad hai,
Hawayein haq mein, wohi hai aate jaate jo tera naam le,
Deti hai jo sadaayein, hawayein, hawayein,
Na jaane kya bataaye, hawayein, hawayein,
Le jaaye tujhe kahaan, hawayein, hawayein,
Le jaaye mujhe kahaan, hawayein, hawayein,
Le jaaye jaane kahaan, na mujhko khabar, na tujhko pata!”

The next song took my breath away, the first time I listened to it. It is just so marvellous and so ideal and so dreamy. It is the ideal romantic song. A trademark Pritam tune, with the trademark Pritam guitars and Sufi template, and the legendary Arijit Singh singing it. What more can you ask for, to obtain a wholesome and pleasant romantic song? Well, I know, I can’t ask for anything more! The composition by Pritam is utterly fascinating, and hooks you right from the first listen. The mukhda starts off quite slowly, but as soon as the hookline plays, you know that the song is one of the best songs of the year! The hookline is something that conforms to every Bollywood music lover’s music sensibilities! There are two antaras; one with a new tune, which is beautiful too, and one with the same tune as the mukhda. The first antara has a wonderful line that goes on and on, and merges with the hookline so seamlessly. The part where the backing vocalists go “Hawayein, Hawayein” has been structured and placed so beautifully. It reminded me of ‘Daayre’ (Dilwale). Overall, Pritam’s composition here is so much close to his usual style of composition, but still so lilting and dreamy! The vocals by Arijit are top-notch, and he repeats the magic of many previous Pritam-Arijit collabs, in one song. The vocals have shades of ‘Gerua’, ‘Channa Mereya’, ‘Daayre’ and ‘Saware’, and it just helps you love the song even more. Irshad Kamil’s lyrics are soothing too, and so poetic! Read out as a poem too, they will be just as impactful. In fact here, Pritam’s strong tune is overbearing. The song appears in two versions — an original, and a film version. Both have splendid arrangements. The first version sticks to Pritam’s trademark arrangement style, with the guitars strongly dominating the arrangements. The Acoustic guitars (Roland Fernandes) are relegated to the background as the electric guitars (also by Fernandes), do that wonderful neverending loop thing that they love to do in Pritam songs! 😄 The ethnic strings (Tapas Roy) provide an amazing first interlude that brings in the earthiness into the beautiful composition. Increasing the Indian-ness of the song, is the nice Sufi template employed in the hook portions, with the Duff and tablas sounding very appealing. The film version has a slightly more haunting arrangement, and sounds straight out of Coke Studio, with a beautiful Hang drum (Sunny MR), and ethnic strings (Tapas Roy) setting up a wonderfully haunting sound that sounds least like it is by Pritam. The Pritamish tune and the haunting Rahmanish arrangements really complement each other, though I never thought they could! A nice and charming wind instrument keeps playing throughout the song, and the guitars (Roland Fernandes) are amazing. All in all, both versions of this song are just as beautiful!!
Rating: 5/5 for Original, 5/5 for Film Version

 

6. Parinda / Parinda (Search)

Singers ~ Pardeep Singh Sran / Tochi Raina & Nikhil D’Souza

“Ikk pardesi, oh yaar banaya,
Main usnu dil de takht bithaya,
O seene de naal usnu laaya,
O apne dil da haal sunaaya,
O maar udaari kithe nikal gaya,
Maar udaari kithe nikal gaya,
Kade bigad gaya, kade machal gaya,
Kade nikal gaya ni hun taan,
Dhoondhan nain bichaare, ni aaj parinda maahi!”

Pritam ups the ante with the next song, a pulsating rock song that is really foot tapping. The composition is a nice, folksy, Punjabi-flavoured composition, that immediately grows on you. The hookline in particular is just beautiful, what with the amazing high notes. The mukhda and antara both have the same tune, and I love the fluctuations in the tune. The arrangements are high-octane rock arrangements, and it is probably the first time in a long time that I’ve enjoyed rock so much, in the first go! The drums by Alan Hertz are very, very exciting, and of course the guitars (Electric and Acoustic by Josh Smith & Nyzel D’Lima; Bass Guitars by Ernest Tibbs) complement the drums very well, as they always do! The lyrics by Kamil are completely in Punjabi, but very interesting, and I loved them. The two versions of the song only differ much in their vocals. Pardeep Sran in the first version oozes the Punjabi energy that should accompany such a high-energy song, and does an electrifying job! Tochi Raina, however, in the second version, brings a more toned-down version of the same, but still, it isn’t low in energy at all! Nikhil D’Souza has an English portion in this version, which sounds AMAZING! It also has an extra stanza at the end, which has a very energetic composition. Both these singers have worked with Pritam many times in the past, but this song marks them working with him after a long, long time, so I’m very happy!! The backing chorus in both versions is spot-on! Kamil’s lyrics actually contradict the upbeat nature of the song, and give a hint of emotion — the song is actually much more meaningful than it seems! A rock song that shows how fusion between Punjabi folk and Rock should be done!
Rating: 4.5/5 for the Original, 5/5 for the Second Version

 

7. Ghar

Singers ~ Nikhita Gandhi & Mohit Chauhan

“Khaali hai jo tere bina, main woh ghar hoon tera,
Ghoome phire, tu chaahe sab shehar, tu hai mera!”

The next song is what Pritam is all about. This is why people love his music so much. These kind of songs is why he has become so popular. It is a very soothing and calm, semi-classical kind of song, that depends solely on acoustics to propel it. The composition kind of resembles that of Pritam’s own ‘Tu Jaane Na’ (Ajab Prem Ki Ghazab Kahani) and ‘Daayre’ (Dilwale) and even the recent ‘Main Agar’ (Tubelight). The hook is what makes you get sucked into the song right away; it sounds so pleasing, that you just get lost in it. The first antara is the peak of the song, and the second one by Mohit is no less. The arrangements are very soothing too, with a lounge-ish treatment, complete with amazing electric and acoustic guitars (Warren Mendonsa) which give off the trademark Pritam touch, and a wonderful tabla (Jeetu Shankar) to complement that. The vocals are just too impressive. I think this is Nikhita’s career best, and after two hit songs from Pritam albums, she finally gets a huge portion in a mind blowing song! The way she introduces variations in the same line each time, shows her versatility, and hints at her classical training, if she has had any! Mohit, again, with Pritam after a long time (maybe because of the Imtiaz connection), does spectacularly in his high-pitched portions. Irshad’s lyrics are amazing, romantic lyrics with a thought-provoking concept. A soothing lounge-ish song that manages to touch your soul! The best of the album till now!
Rating: 5/5

 

8. Yaadon Mein

Singers ~ Jonita Gandhi, Mohammed Irfan & Cuca Roseta, Portuguese Lyrics by ~ Mario Pacheco

“Yaadon mein, jalte rehna, hai tera mera,
Yaadon mein, jalte rehne ko, miley hain kya?
Yaadon mein jeena toh sabse badi sazaa lagey,
Yaadon se, jaana ki faasley hain kya!”

A strong Latino vibe hits you right from the beginning of this next song, which happens to be a kind of Portuguese folk song kind of musical genre called “Fado”, and you get sucked in right away. The composition starts with a melancholic portion that sounds very similar to many Spanish/Portuguese folk songs we have come across in pop culture and other sources. And what a wonderful feeling it gives, to actually see a song like this being made for a Bollywood movie. Usually, whenever European or Portuguese styled music is used in Bollywood, it is for those dance numbers a la ‘Senorita’ (Zindagi Na Milegi Dobara), ‘Hawaa Hawaa’ (Rockstar), ‘Udi’ (Guzaarish), and though these were beautiful, too, the unexplored and soothing side of that compositional style really comes across beautifully here, and it sounds oh-so-operatic and chilling! The composition is beautiful, though it is mostly the hook repeating most of the time, but those variations in the hook just kill you then and there. The antaras are nice, especially the female one, and the Portuguese portion by Roseta is wonderful as well. That’s that for the composition. The arrangements by Pritam go beyond what Bollywood has tried in Portuguese music thus far, and goes to a more spine-chilling mixture of the traditional Portuguese guitars (by local guitarist Mario Pacheco) and Pritam’s wonderful strings. The beats get very Pritam-ish in Mohd. Irfan’s antara, but it is a refreshing turn of events. The Portuguese guitar obviously keeps us entertained throughout the songs, and instances of harmonicas are heard as well. The vocals are spot-on. Jonita starts off with a booming introduction, which I would never have believed was sung by her, if it weren’t for the credits! She has changed her voice so beautifully, to make it actually sound like a Portuguese singer. Sure enough, the actual Portuguese singer, Cuca Roseta, sounds very similar to Jonita, but gets a way smaller portion than her. Irfan does well in his parts, in what is also his first song for Pritam too! However, somehow, I felt a lack of connect during his part. The ladies bring that connect back. Irshad Kamil’s lyrics are heart-wrenching. Mario Pacheco, the guitarist, has written the Portuguese lyrics. All in all, a wonderful song that mixes up the pathos of a typical Bollywood song, and the richness of Portuguese folk.
Rating: 4.5/5

 

9. Raula

Singers ~ Diljit Dosanjh & Neeti Mohan

“Aankhon ne khwaabon pe aise hai aitbaar kiya,
Jaise do anjaanon ne khulke ho pyaar kiya,
Hota tha pehle jo door kabhi,
Abb woh mujhe paas lage,
Jaane kyun achha sa lagey,
Dil ne jo iss baar kiya!”

A very trademark Pritam feel-good vibe sets in as the next song rolls in, after that poignant melody. This is another song to go with Shah Rukh’s Punjabi character in the movie — a fun and upbeat Punjabi wedding song. The composition is one of the cutest I’ve heard this year, and instantly has you hooked. The hookline itself is so cute, that everything starts sounding beautiful due to it. The first antara, is something straight out of a 90s Bollywood album, with a noticeable Jatin-Lalit vibe. The bridge from the first antara to the hook is kind of bumpy, but things are great from there. Neeti has the second antara all to herself, and it is pure bliss. Pritam composed that one in trademark 90s Rahman style, and I can’t believe it is by Pritam; the variations in tune sound like the Rahman of the 90s has composed it! It was a pleasant surprise to see Pritam in that form. The vocalists have fun themselves and transmit the energy and boisterous nature of the song to us through the earphones. Diljit is clearly having the time of his life, and his additions like “chak de phatte naap de killi“, are so fun to listen to. Neeti sounds amazing, especially in her solo portion. The arrangements are fun as well, and in a traditional Imtiaz Ali pattern, they are high on dhols, and very interestingly, also have beautiful brass instruments interjecting, with a trademark Laxmikant-Pyarelal vibe. Flamenco Guitars (Josete Ordoñez) are audible in the second interlude. The dhadd and Plucked instruments (Tapas Roy) in Neeti’s solo portion, are so cute! The repetition of the hookline’s tune on those plucked instruments is too cute as well! Irshad Kamil’s lyrics are again, high on the fun quotient, and quirky as well, Especially with those “sangya” (noun), “visheshan” (adjective) and “sarvanaam” (pronoun) additions in Neeti’s parts. One of the most catchy Punjabi songs I’ve heard after ‘Nachde Ne Saare’ (Baar Baar Dekho).
Rating: 4.5/5

 

10. Jee Ve Sohaneya

Singers ~ Jyoti Nooran & Sultana Nooran, Music and A Portion of the Lyrics Traditional

“Kabhi kabhaar sandesa de de, Kya hai tera haal,
Rut pardesi rakhti hogi, shaayad tera khayaal,
Yahaan tere bin patjhad sa hai, har ek mausam hi..
Jee ve sohneya jee, chaahe kisi ka hokar ji!
Maana ke tu ab nahi mera, kabhi tha mera bhi!!”

The singers who enhanced ‘Butterfly’ manifold, Nooran Sisters, get a song all to themselves now, and coincidentally, the song is a built-up on their portion in that song. They sang “Jee Ve Sohneya Jee..”, in that song; here, the rest of the lines follow to make an entire song. The composition is traditional, but Pritam enhances it with his trademark Electric guitars (Roland Fernandes) and digital beats. That’s pretty much all for the arrangements. The stars of the song are actually its lyrics. Irshad Kamil takes the traditional lyrics as a basis to weave a poetic song that is about the relatives of a person who has gone and settled in a foreign land, pleading for him to come back. The lyrics just tug at your heartstrings and remind you of the iconic ‘Ghar Aaja Pardesi’ (Dilwale Dulhania Le Jayenge), which was also sung in an earthy manner. This song has increased the earthiness and rustic nature a lot, by having Nooran Sisters sing it. Their amazing voices really bring out the song’s essence even better! A song whose lyrics and vocals are what will help it to make its way into the hearts of everyone who listens to it!
Rating: 5/5

 

11. Phurrr (Film Version)

Singers ~ Mohit Chauhan & Tushar Joshi, All Hindi Melodic Compositions by ~ Pritam, Music Programming by ~ Diplo & Rocky Wellstack

NOTE: There was another version of this song which Sony Music released a day before the album. That one was a mix by Diplo, which was terrible compared to the ‘Film Version’. You can listen to it HERE. The one included in the album is actually Pritam’s mix, with Diplo’s drop used from the remix of ‘Agony’ by Pinchers.

“Teri hasrat ho, ya ibaadat ho,
Tujhko paana hai, jo bhi soorat ho,
Har taraf sach mein, sach ki chaahat ho,
Lafz na ho pyaar, balki aadat ho!”

The album finally sheds itself of all the folksiness it had built up for itself (almost every song had some Indian-ness to it) and goes outright Western for this finale. The only thing in this song that is remotely and typically ‘Indian’ is how they say “Phurrrrrrr” to signify a bird’s flying. The song is actually very cool and it is an effort that should be appreciated! The composition is by Pritam, and half of the production by Pritam’s team, and the rest by Diplo. The composition itself is very paltry, but still sounds amazing with the whole Western treatment. It is trippy, no doubt. I mean, if people can withstand trash like “Swalla”, they can go through this without flinching! The drop by Diplo suits here very well, and sounds like it was always meant to be for this song. The entire digital treatment is something Pritam rarely does; he usually takes the help of guitars and live instruments, but it actually turned out pretty good. I loved those electronic tablas sounds. And the programming between 2:02 to 2:24 in the song, is just rad! I would like to appreciate the idea of a collaboration too, however good or bad it has turned out. You like the drop of some song, you contact that person and get him on board — that’s the professional way of doing things! A round of applause for Pritam and Imtiaz here! The vocals are good too. Mohit Chauhan is back for the second time in one album, and he renders the fun song with a swag that is unmatched. Tushar Joshi, Pritam’s new blue-eyed boy, does well too! Irshad Kamil’s lyrics are very conveniently sidelined in the song, thanks to all that’s going on. If one were to still make a conscious effort to listen to them though, he wouldn’t find any hidden gem. A song that isn’t really enough to start a new collaboration wave in Bollywood, but will be remembered for its braveness.
Rating: 4/5


Jab Harry Met Sejal, no matter how late the album released, no matter how badly the film tanked, no matter how much Imtiaz disappointed everyone with the film, no matter how many people actually liked it, and no matter how late this review is going up, is really an album that should be applauded first of all, solely for the makers’ interest in creating an album that’ll cater to music lovers and music listeners. The amazing mix of world music and Punjabi music in this album, is spellbinding. It is such an excitement to listen to the album again and again, because every time, something new that we didn’t get before, pops up. The album also marks Pritam and Imtiaz’s reunion after eight years, and evidently, both Imtiaz and Pritam have evolved over the years. The knowledge Imtiaz got from Rahman’s style of work, has reflected in the album, and the sound that Pritam has developed for himself over the 2013-2017 phase of his career, also shows in the album. It is probably only “Butterfly” that smells of old Pritam and old Imtiaz. But in conclusion, I’m happy that Imtiaz met Pritam (Again)!!

 

Total Points Scored by This Album: 5 + 4.5 + 5 + 4 + 5 + 5 + 4.5 + 5 + 5 + 4.5 + 4.5 + 5 + 4 = 61

Album Percentage: 93.84% {Making it surpass ‘Meri Pyaari Bindu’ and making it secure the top rank now!! 🎉🎉🎉}

Final Rating for This Album: सा < रे < ग < म < प < ध < नी < सां

Note: The letter which is underlined is the final rating.

Recommended Listening Order: From Track 1 to Track 13 nonstop 🙂

 

 

Which is your favourite song from Jab Harry Met Sejal? Please vote for it below! Thanks! 🙂

A TRIPLE-DEBUT TREAT TOILET!! (TOILET: EK PREM KATHA – Music Review)

Music Album Details
♪ Music by: Vickey Prasad, Manas-Shikhar & Sachet-Parampara
♪ Lyrics by: Siddharth-Garima
♪ Music Label: T-Series
♪ Music Released On: 13th July 2017
♪ Movie Releases On: 11th August 2017

Toilet – Ek Prem Katha Album Cover

 

To hear the full songs of this album on Saavn CLICK HERE

To buy this album on iTunes CLICK HERE


Toilet – Ek Prem Katha is an upcoming Bollywood satire, starring Alshay Kumar, Bhumi Pednekar, Divyendu Sharma and Anupam Kher,  directed by Shree Narayan Singh, and produced by Aruna Bhatia, Shital Bhatia, Abundantia, Viacom Motion Pictures, Arjun N. Kapoor and Hitesh Thakkar. The film comes in support of PM Modi’s ‘Swacchh Bharat Abhiyaan’ by raising fingers at the issue of open defecation, prevalent in remote and underdeveloped parts of the country. Now it is a really good topic, but somehow, by the trailer and promos, I am not sure whether it will be carried out in a humorous way without looking dramatic. Anyway, the music, very surprisingly, has been scored by three debutant music composers, two duos and one individual. Vickey Prasad, Manas-Shikhar and Sachet-Parampara are the five lucky people who got to debut in Bollywood with an Akshay Kumar album, and how wonderful an opportunity is that!! I hope they make great use of it though, and provide us with a nice and clean ‘Toilet’! {Sorry for the desperate joke!}


1. Hans Mat Pagli

Singers ~ Sonu Nigam & Shreya Ghoshal, Music by ~ Vickey Prasad

The first newcomer starts off the album with a cute romantic song which sends off a great rural-setting vibe. The song’s composition is nothing innovative as such, but it still manages to hook the listeners, since it is so cute and such a throwback to Bollywood of the 90s. The only grouse I have with the composition is that the hookline sounds a lot like the antara of ‘Pardesi Pardesi’ (Raja Hindustani), which would be where the 90s vibes are coming from. The song is structured quite oddly, with a male mukhda, a male antara, and then a female mukhda followed by a female antara. Why couldn’t they just club the mukhdas together and the antaras together? That way, the listener would get some variation from male to female and then back to a male voice. Anyway, as they wish. The composition for all these stanzas is very cute again. The recording seems a bit faulty and raw, but that’s probably deliberate? The arrangements are again, not anything new or innovative, but that soft Qawwali setting to the hookline gives a soothing feeling, and the dholaks have been played beautifully, as are the plucked string instruments throughout the song, and the guitar itself. There is a wonderful rapid tabla piece before Sonu sings his antara. The rhythm is heard before, but the cuteness of the composition helps you listen to such a rhythm yet again without complaining. The vocals send you back to 2005-2007, when Sonu-Shreya duets were the thing. Every director wanted a Sonu-Shreya duet in their film; sadly, nowadays, that happens only in films where the director knows only about the old singers, and hence his music ends up sounding outdated. But here, there is no datedness whatsoever. It is more like a nostalgia. Both singers do an amazing job, though I somewhere thought that Shreya was struggling with such a high-pitched line in the antara. Siddharth-Garima choose the perfect line for the hookline; it increases the cuteness quotient of the song. The rest of the lyrics are cute too, but not too innovative. A good song to start the album with, but it has its own faults.
Rating: 4/5

 

2. Bakheda

Singers ~ Sukhwinder Singh & Sunidhi Chauhan, Music by ~ Vickey Prasad

Vickey has the second song to his credit as well, making him the main composer on this album. This song takes a more lively route, but stays a romantic song. As soon as it starts, the folksy vibe hits you, and you are also relieved that Vickey has used a more modern recording style for this one; it proves that the recording was deliberately done that way for the previous song. The composition is a lively one, but the hookline is really a letdown — it is so staid and bland. Also, we have heard such a hook so many times where the mukhda builds up to it, and then after a pause, the hookline takes the song forward. The antaras are very well composed. Sukhwinder, at his usual energetic self, renders the song with ease, and creates a good impact on the listeners. The problem lies in Sunidhi’s vocals, which seem less energetic as usual. It really sounds like she wasn’t interested, or maybe the pitch was too low. That makes her portion sound very odd, despite the beautiful composition of the antara. The arrangements are lively folksy arrangements with the percussion leading, and a nice plucked instrument entertaining throughout. A sarangi can also be made out occasionally. The percussion is the star of the song though. Siddharth-Garima, again, write an effective song to go with the film, but the impact of the lyrics doesn’t reach the audience out of the film. A functional song, but won’t really stay with you for long.
Rating: 3/5

 

3. Gori Tu Latth Maar

Singers ~ Sonu Nigam & Palak Muchhal, Backing Vocals ~ Umesh Joshi, Vijay Dhuri, Swapnil Godbole, Karan Kagale & Rishikesh Patel, Music by ~ Manas-Shikhar

The Rahman vibe hits you as soon as this one starts with the beautiful chimey music at the beginning. Manas-Shikhar, another debutant duo, enter the album with this song, and with only one song to prove their worth, they seize the opportunity and let me tell you, they make the best use of it, better than both of the other composer teams on this album! They employ a very lively setting to a supposed-to-be sad song. It is the festival of Holi, but of course, Bhumi Pednekar’s character is mad at Akshay’s character, because of we know what! So this is a situational song, in which Akshay pleads to her for forgiving him. Against the backdrop of a Holi song, a very emotional song, and I’ve heard something like this for the first time. Siddharth-Garima’s lyrics reveal all the emotion in the best way possible. Now let’s go back to Manas-Shikhar’s music. Their composition is just so catchy, especially the mukhda, which should be catchy in order to hook the listeners right away. It sounds like something straight out of a Rahman song. The hookline also succeeds in being a very beautiful, and catchy line. The antara is the female part of the song, and it has a very beautiful tune as well, which will remind you of the 90s songs, that used to slow down in the middle for the female parts. There’s a nice tempo-rise towards the end, in which we hear the already popular “Radhe Radhe” chorus. Sonu Nigam renders the tune with such brilliance, knowing when to emote which emotion, and wonderful aalaaps. Palak too, sings beautifully, and the brilliant composition of her portion helps her do that wonderfully. The arrangements are ever fluctuating, with the emotional and soft sound from the mukhda alternating with the usual Holi sound of the dholaks and other percussions. The shehnaai is played in a very beautiful tune. Those bells at the beginning are the most beautiful though. A wholesome song that defines what Bollywood is all about — colour, festivity, emotion and dance! Oh, and congratulations to Manas-Shikhar for a smashing debut!
Rating: 5/5

 

4. Subha Ki Train

Singers ~ Sachet Tandon & Parampara Thakur, Backing Vocals ~ Sukriti Kakar & Rituraj Mohanty, Music by ~ Sachet-Parampara

The last of the debutants bring up the finale of the album, which happens to be yet another cute romantic song. This one is a little less folksy than the others, but it does have the effect that it should. Sachet Tandon and Parampara Thakur have composed a lilting melody, that, though situational, and very predictable, still makes you smile and feel good. The prelude gave off some vibes of “Tere Sang Yaara” (Rustom). The mukhda is very sweet and simple, and instantly grabs your attention. The letdown here is the hook, which is as staid and heard-before as imaginable. But the antara is mind-blowing; especially the second line of it. The arrangements too, follow a very simple template, with that cute Duff rhythm, and in a wonderful second interlude, the flutes assortment and strings orchestra just mystifies. The first interlude with the mouth organ is splendid too. Sachet and Parampara handle the vocals themselves, and strangely enough, employ Rituraj Mohanty and Sukriti Kakar as backing vocalists for the aalaaps. Parampara’s is a voice to look out for, while Sachet’s voice just blends in with the multitude of new male voices we have in Bollywood, other than Arijit. 😅 Again, Siddharth-Garima stick to situational yet catchy lyrics; the hook lyrics made me smile. A good finale, and a promising debut, but not a song that will stay in my head for more than a month.
Rating: 3.5/5


Toilet – Ek Prem Katha is an album just like Akshay Kumar movie albums usually are — fun, vibrant and groovy, but with an overbearing romantic theme. What makes it even more special is that all the composers are debutants and it is commendable of the makers to have accepted the three for a film which will reach so many people! Seizing the opportunity, all three newcomers do a good job, and especially Manas-Shikhar do an amazing one. The album is a triple-debut treat!!

 

Total Points Scored by This Album: 4 + 3 + 5 + 3.5 = 15.5

Album Percentage: 77.5%

Final Rating for This Album: सा < रे < ग < म < प < ध < नी < सां

Note: The letter which is underlined is the final rating.

Recommended Listening Order: Gori Tu Latth Maar > Hans Mat Pagli > Subha Ki Train > Bakheda

 

Which is your favourite song from Toilet – Ek Prem Katha? Please vote for it below! Thanks! 🙂

33rd MUSIC MASTANI MONTHLY AWARDS (JULY 2017)

Important Statistics

♪ Number of Albums Reviewed: 8

♪ Albums Reviewed: Mom, Guest Iin London, Munna Michael, Mubarakan, Jagga Jasoos, Raag Desh, Lipstick Under My Burkha & Indu Sarkar

♪ Music Composers: A.R. Rahman, Raghav Sachar, Amit Mishra, Tanishk Bagchi, Javed-Mohsin, Vishal Mishra, Gourov-Roshin, Tanishk-Vayu, Meet Bros, Pranay Rijia, Amaal Mallik, Rishi Rich, Yash Anand, Rana Mazumder, Siddharth Pandit, Zebunnisa Bangash & Anu Malik

Now on with the awards:

33rd Music Mastani Monthly Awards

♪ MAIN AWARDS

Singer of the Month (Female) : Shashaa Tirupati for Chal Kahin Door (Mom)

• Singer of the Month (Male) : Arijit Singh for Phir Wahi (Jagga Jasoos) AND Tushar Joshi for Musafir (Jagga Jasoos)

• Composer of the Month (Song) : Rana Mazumder for Tujhe Namaami Ho (Raag Desh) AND A.R. Rahman for Chal Kahin Door (Mom)

• Composer of the Month (Album) : Pritam Chakraborty for Jagga Jasoos

• Album of the Month: Jagga Jasoos (Music by: Pritam Chakraborty; Lyrics by: Amitabh Bhattacharya & Neelesh Misra; Singers: Arijit Singh, Nikhita Gandhi, Vivienne Pocha, Amit Mishra, Tushar Joshi, Pritam, Amitabh Bhattacharya, Geet Sagar, Antara Mitra, June Banerjee, Ashwin, Himanshu, Aaroh & Sunny; Music On: T-Series)

• Musical Jodi of the Month (Best Duet) : Arijit Singh & Nikhita Gandhi for Ullu Ka Pattha (Jagga Jasoos)

• Lyricist of the Month: Amitabh Bhattacharya for Musafir (Jagga Jasoos) AND Irshad Kamil for Chal Kahin Door (Mom)

 

♪ SONG AWARDS

• Best Romantic Song: Jhumritalaiyya (Jagga Jasoos)

• Best Dance Song: Ullu Ka Pattha (Jagga Jasoos)

• Best Sad Song: Phir Wahi (Jagga Jasoos)

• Best Club Song: Kooke Kawn (Mom)

• Best Classical-Based Song: Be Nazaara (Mom)

• Best Song With A Western Influence: Raakh Baakhi (Mom)

• Best Song With A Folk Influence: Jigi Jigi (Lipstick Under My Burkha)

• Song With The Best Use Of Fusion: Chal Kahin Door (Mom)

• Best Backing Vocals: Vivienne Pocha for Ullu Ka Pattha (Jagga Jasoos) AND Suzanne D’Mello for Kooke Kawn (Mom)

• Best Sound Effects in A Song: Kooke Kawn (Mom)

• Best Retro-Styled Song: Le Li Jaan (Lipstick Under My Burkha)

• Best Humorous Song: Khaana Khaake (Jagga Jasoos)

• Best Rap in A Song: Blaaze in Kooke Kawn (Mom)

• Best Remake: Hawaaon Mein Woh Aag Hai (Raag Desh)

♪ SPECIAL AWARDS

• Bandar Kya Jaane Adrak Ka Swaad (Best Album That Went Pretty Much Unnoticed) : Raag Desh (T-Series)

• Newcomer(s) of the Month:

– Newcomer of the Month (Singer – Female) : Darshana KT for Muafi Mushkil (Mom)

– Newcomer of the Month (Singer – Male) : Tushar Joshi for Musafir (Jagga Jasoos)

– Newcomer of the Month (Composer) : Rana Mazumder for ‘Hawaaon Mein Woh Aag Hai’, ‘Tujhe Namaami Ho’ and ‘Ghar Chaado’ (Raag Desh)

• Music Label of the Month: T-Series (Jagga Jasoos, Raag Desh, Lipstick Under My Burkha, Mom, Mubarakan, Guest Iin London)

• Most Unusual, But Awesome Choice of Singer: Jonita Gandhi for Raakh Baakhi (Mom)


Reviews Next Month: Jab Harry Met Sejal, Toilet Ek Prem Katha, Haseena Parkar, A Gentleman, Babumoshai Bandookbaaz, Qaidi Band

A PATRIOTIC VIBE THAT TOUCHES THE HEART!! (RAAG DESH – Music Review)

Music Album Details
♪ Music by: Rana Mazumder, Siddharth Pandit & Ram Singh Thakuri
♪ Lyrics by: Sandeep Nath, Revant Shergill, Rana Mazumder & Pt. Vanshidhar Shukla
♪ Music Label: T-Series
♪ Music Released On: 25th July 2017
♪ Movie Released On: 28th July 2017

Raag Desh Album Cover

 

To hear the full songs of this album on Saavn CLICK HERE

To buy this album on iTunes CLICK HERE


Raag Desh is a Bollywood period drama, based on the Indian National Army set up by Netaji Subhash Chandra Bose, and the war fought to liberate India from the British Government, which was fought on the shores of Irrawaddy in Burma. The film stars Kunal Kapoor, Amit Sadh and Mohit Marwah as the three INA soldiers who were court-martialled, Colonel Prem Sehgal, Colonel Gurbaksh Singh Dhillon, and Major Shah Nawaz Khan. The film is directed by Tigmanshu Dhulia and produced by Gurdeep Singh Sappal. This film, right from when its first look came out, I was not even expecting it to have music album. However, it does have four songs. The composers are relative newcomers. The leading composer, Rana Mazumder, is somebody we have heard singing in various albums for a long time, but with this film, he ventures into music direction and composed two songs, one in two versions. The second composer, Siddharth Pandit, debuted with ‘Laali Ki Shaadi Mein Laaddoo Hua Deewaana’ earlier this year; as a member of composer duo (Revant-Siddharth). Here, only he has composed, but Revant has written the lryics and sung the song so practically, they’re still together. I do not know what to expect from the album yet, but hopefully, it is a good patriotic album!


1. Hawaaon Mein Woh Aag Hai

Singers ~ K.K. & Shreya Ghoshal, Music by ~ Rana Mazumder, Composition of INA Anthem by ~ Ram Singh Thakuri, Lyrics by ~ Sandeep Nath, Lyrics of INA Anthem by ~ Pt. Vanshidhar Shukla

The album dives right into the patriotism, with a hard-hitting, anthemic song that just makes you feel proud to be an Indian. (Assuming you are one, otherwise, hello from India!) The composer cleverly makes use of INA’s anthem, “Qadam Qadam Badhaaye Jaa”, in a way that seems as if the two songs were meant to be together. The seamless transition from Rana Mazumder’s new composition, to the INA anthem, is wonderful. The song starts with an amazingly patriotic sound, with trumpet fanfare, progressing into a vibrant marching beat. The composition is just as abrupt and staccato as the beats; it jumps right into the patriotism with no dilly-dallying. It lifts your spirits instantly. A wonderfully melodious stanza in the middle by Shreya Ghoshal wins your heart. The instrumentation is grand and royal; with the brass band and the drum beats being the most prominent. The orchestra does a wonderful job playing the short notes in the upbeat portions, and the drawn-out and dreamy notes in the short melodious portion. Even rock guitars make their presence felt. Rana’s composing finesse is exposed when he goes seamlessly from the upbeat to the melodious portions. And the clever usage of the INA anthem is something I can go on and on about. The vocals are splendid. K.K. and Shreya Ghoshal, two vocalists we are used to having heard together so many times in the late 2000s, do a wonderful job. It isn’t a duet as such; K.K. leads the proceedings with a strong anthemic resonance to his voice, and the Backing chorus repeats after him. Shreya gets that one portion in the middle, but she aces it. When she sings her aalaap at the end of the song, though, you feel that it was worth hearing her for just that small portion! The lyrics by Sandeep Nath are aptly patriotic. A wonderful and motivating start to the album!

Rating: 4/5

 

2. Tujhe Namaami Ho

Singers ~ Sunidhi Chauhan, K.K., Shreya Ghoshal & Rana Mazumder, Music by ~ Rana Mazumder, Lyrics by ~ Sandeep Nath

As soon as this song starts, you know there’s something brilliant in store for you. The xylophone (santoor?) notes are enough to make you engrossed right away. And then, as Sunidhi Chauhan starts singing, you just get a chill sent through your body; it is so beautiful! Rana composes yet another mind blowing song; this time very heavily depending on the composition. The composition doesn’t let you down, and with its calm and composed nature, wins over your heart. The mellifluous tune is enough to have you listen to the song on loop. The antara beautifully traverses the high notes, and the four vocalists do great justice to the composition. The instrumentation is heavenly as well. Strings, santoor, and the sitar make up the main part of the arrangements. The orchestra especially, does an amazing job. The “Janmabhumi, Matrubhumi” hook has a wonderful show of strings in the background. About the vocals, whatever can be said is not enough. Rana’s decision to have four singers sing this song is quite a less-opted-for decision these days, but he manages all four of them very well, without using any autotune for any of them. Sunidhi sounds a lot like Kavita Krishnamurthy when she starts! She handles the calm notes beautifully like she always does. K.K. sounds great as always, and so does Shreya. The voice that stands out though, is Rana’s. We have heard him in many songs, and his earthy and raw voice is such a boon to this song; it give it such a humble feel! The chorus vocals are haunting, and give the song an amazing feel. The lyrics are as beautiful as patriotic lyrics can get! A heart-moving patriotic number that should get the recognition it deserves!

Rating: 5/5

 

3. Ghar Chhaado

Singers ~ Rana Mazumder & Shreya Ghoshal, Music by ~ Rana Mazumder, Composition of INA Anthem by ~ Ram Singh Thakuri, Lyrics by ~ Rana Mazumder, Lyrics of INA Anthem by ~ Pt. Vanshidhar Shukla

The next song is just the Bengali version of “Hawaaon Mein Woh Aag Hai”, and the song sounds so relevant in Bengali, Subhash Chandra Bose being a Bengali man himself. Rana replaces K.K. as the lead singer here, and sings it wonderfully. The Hindi lyrics from “Qadam Qadam” though, haven’t been replaced. Shreya’s Bengali is to die for, as always! Here, however, Rana does away with the earthiness in his voice, and renders it straightforwardly. A relevant reprise of the anthem.

Rating: 4/5

 

4. Teri Zameen

Singers ~ Shriya Pareek, Revant Shergill & Siddharth Pandit, Music by ~ Siddharth Pandit, Lyrics by ~ Revant Shergill

Siddharth Pandit, from composer duo Revant-Siddharth, another relatively new composer, brings up the caboose of the album, with a song that haunts you with its intensely patriotic vibe. The composition is just as lilting as that word can get. It starts right away, giving us goosebumps right from the first note. The line “desh ke maathe pe..” has been composed in such an ethereal way, and it shakes you with its haunting vibe. The song is more like a background number, but it sounds amazing in headphones. The “Qadam Qadam” song gets a little portion of this song as well, but Pandit gives it a different tune, unlike how it was incorporated with its own tune in ‘Hawaaon Mein Woh Aag Hai’. The mukhda’s tune repeats in the last stanza, and it haunts yet again. Though the song has almost the same hook running throughout (It has three hooks that repeat), it doesn’t feel boring even once. The arrangements are just as haunting as the composition. The percussion is breathtaking, and the chimey sounds, and the sounds of the plucked string instruments, all set up a very sublime ambience. The way the song starts, like a classical song, with the hum of the tanpura, and then folksy strings accompanying it, is probably the most catchy start to such a song ever. The vocalists do proper justice to the composition — Shriya Pareek, debutante, sounding a lot like Neeti Mohan, sings her portions in a spellbinding manner! The two male vocalists do well too, especially the one singing “Elaan kar Kakkar bhar”. The lyrics by Siddharth’s companion, Revant, are top notch as well, again, having to do with patriotism, of course! A perfect haunting finale to the wonderful patriotic album!

Rating: 5/5


Raag Desh was an album I was expecting very less from, to be frank. However, the outcome just blows my mind. Two newcomers (one almost newcomer), and both giving such heart-rending melodies to the album, is quite a rare thing to hear! I wish to hear more from them now!! All three songs (and the Bengali version) are beautiful and full of patriotic vibes, keeping with the theme of the film. A short and sweet album, with also serves as the medium for a smashing debut for Mazumder!

 

Total Points Scored by This Album: 4 + 5 + 4 + 5 = 18

Album Percentage: 90%

Final Rating for This Album: सा < रे < ग < म < प < ध < नी < सां

Note: The letter which is underlined is the final rating.

Recommended Listening Order: Tujhe Namaami Ho = Teri Zameen > Hawaaon Mein Aag Hai = Ghar Chaado

 

Remake Counter:
No. Of Remakes: 20 (from previous albums) + 01 (from Raag Desh) = 21

 

Which is your favourite song from Raag Desh? Please vote for it below! Thanks! 🙂