Music Album Details:
♪ Music by: Pritam Chakraborty
♪ Lyrics by: Mayur Puri, Amitabh Bhattacharya, Kausar Munir, Shabbir Ahmed, Neelesh Mishra
♪ Music Label: T-Series
♪ Music Released On: 8th July 2015
♪ Movie Releases On: 16th July 2015


Bajrangi Bhaijaan Album Cover


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

To buy this album on iTunes CLICK HERE

Bajrangi Bhaijaan is an upcoming Bollywood action/comedy/drama (let’s say masala, but not quite masala) film, starring Salman Khan, Kareena Kapoor Khan, Harshaali Malhotra and Nawazuddin Siddiqui in the lead roles. The film is directed by Kabir Khan, and produced by Salman Khan and Rockline Venkatesh. The story of the film is about how a man named Pawan Chaturvedi (played by Salman Khan), a devout Hanuman bhakt, finds a small mute girl from Pakistan (played by Harshali Malhotra), who has wandered across the border into India. Since she has no way to get back over the border, it is up to Pawan to get her safely back to her home. But instead of being excited for the film, as is the case with many Slamn Khan films, this time, I’m more excited about its music. Why, you ask? Because the man behind it, is none other than Pritam Chakraborty, returning after a one year sabbatical after doing ‘Holiday’. Yes, it is Pritam’s third time working with Salman, if you count the single from ‘Bodyguard’. That just increases the expectations more, and from Pritam, the expectations are always sky-high, being one of the most renowned composers of the industry. Therefore, it was a pleasant surprise when news came out that Pritam would compose for this film. So, let’s see what Pritam comes up with as an Eid Dhamaka, and as his comeback!!

NOTE: Despite me being a huge fan of Pritam, the review is going to be totally unbiased, and will be judged fairly, just as all albums are.

1. Selfie Le Le Re
Singers ~ Vishal Dadlani, Nakash Aziz, Pritam, Rap By ~ Badshah, Additional Vocals ~ Aditya Pushkarna, Lyrics by ~ Mayur Puri

Something is just compulsory in a Salman Khan film. And that something is, an introductory song featuring Salman, which projects him as either, the most virtuous human being ever in existence (e.g, ‘Bodyguard’ title song, ‘Baaki Sab First Class Hai’ from ‘Jai Ho’), or the most naughty and casual human being in the world (e.g, ‘Character Dheela Hai’ from ‘Ready’, ‘Jumme Ki Raat’ from ‘Kick’). And the first song of the album, falls in the former category. It projects him as the biggest devotee of Hanuman that ever exists! And for such a song, mass appeal is a must, catchy tune is a must, great programming is mandatory, and lyrics have to spot-on and such, that it should stay with us for quite some time after the song plays in the movie, creating an impact of the character’s character. (That sounds confusing, but just read it again — it’ll be clear sometime or the other. :p ) The song, which is a fulltoo masala dhamakedaar number introducing the audience to the protagonist, works very well as far as mass appeal is concerned. The tune is really catchy, especially the hook going “Ae Le Le Ae Le Ae Le Ae Le Le Le Le Re”, with Nakash delivering with the perrrfect amounts of energy and gusto. Pritam, who always brings some memorable, crazy and infectious tunes, has proved yet again what an expert he is at it. Moving on to arrangements, it is really, really weird and unusual having techno synthesizer sounds in a desi song, but Pritam manages to make it sound as if it is the convention for years, to have techno sounds in such songs. Percussion of dhols, also probably techno, sounds great as well. Harmonium bits please the ears too. The vocals, done by an ensemble of singers, and headed by Vishal Dadlani are right up to the mark. Vishal’s spontaneous energy can never cause harm to any song at all, by now I have understood this fact. The first antara, he delivers flawlessly. Badshah’s rap makes up the second antara, another impressive rap in a row, after that awesome one in ‘Vande Mataram’ (ABCD 2). This one, he’s not rapping as a patriot, but a devotee of Hanuman, and the lyrics and rap both sound great! The only thing that really upset me here, is Mayur Puri’s lyrics. The creativity in the mukhda with the use of pure Hindi words, if applaudable, but that is all ruined when the title of the song comes in — “Selfie”. It doesn’t make sense at all. The song should have been only about a Hanuman devotee, and didn’t need any scope of Selfie whatsoever, in my opinion. Of course, it’s not his fault, but the makers’ fault. Selfies are in demand nowadays, and so will this song be, which is great in all aspects, except the ‘Selfie’ aspect, which makes the lyrics sound forced, and also the tune of the title line!


2. Tu Chahiye
Singer ~ Atif Aslam, Lyrics by ~ Amitabh Bhattacharya

Now time for some romance, after the craziness. Though this song is a romantic song, it has been given a treatment completely different from what is given to a romantic song. Yes, it starts like a normal romantic song, with soft guitar riffs, that instantly make you nod your head, but as soon as the hookline plays, you will understand a bit what I’m talking about, and will completely understand it by the first interlude. Pritam has given the song a total EDM treatment, with club beats, but still retains the soulfulness and calmness of the song. The groove is so funky, you can’t resist to nod your head, not as you nod it to other EDM tracks, but a bit calmer than that. Atif Aslam, singing for Pritam for the umpteenth time, but for Salman, the first time, nails the composition, but his slightly wavery voice may seem unusual at first. Later on, as you get accustomed to it, you would not imagine anybody else crooning this number. His transition from low notes to high notes within a millisecond is just extraordinary! Though I mentioned that Pritam has given a complete EDM treatment to the song, there are some parts which have wonderful instruments performing along with the techno beats. For example, strong violins and a heavenly sarangi in the first interlude, and strings in the antara, guitars almost everywhere else, they all lessen some boredom that EDM might give to certain lot of people, who don’t really like EDM (like me!) The wonderful kids’ chorus going “Woh oh oh..” is like an interesting advertisement on TV — it doesn’t let your mind wander off even in breaks! (interludes 😉 ) The composition is just beautiful again. Though I have to admit that the mukhda sounds very ordinary, the antara is something not anybody can do! The way that each line is at a pitch higher than the previous is just so pleasant! The best part of the song, however, is arguably the last one minute of the song. Pritam composes a sort of conclusion (it doesn’t seem like a proper antara) which takes the form of a gripping climax, if a song has one. The composition of that part is just something that invokes goosebumps. The way Atif says “Chhuann” and “Agann” is praiseworthy, and also blissful. Again, lyrics are nothing to be boastful about, but this time, they at least go well with the song and don’t sway from the theme. They appeal to the ears, however simple they are. Isn’t that Amitabh’s specialty? To make simple songs sound sweet, and philosophical songs sound genius, and other humorous songs do the needful! 😀 The Pritam-Atif combo hasn’t lost its spark even outside the Tips banner! A wonderful EDM-infused love song, sure to have you grooving even if you are sitting still, in one place! #5StarHotelSong!!



3. Aaj Ki Party
Singer ~ Mika Singh, Lyrics by ~ Shabbir Ahmed

It is a Salman Khan film, yaar! How can it not have an out-and-out celebratory and solely promotional track that would help the film gather audiences?? So of course, here it comes in the form of ‘Aaj Ki Party’, and Eid celebration track sung by the ideal desi party track singer, Mika paaji. Pritam goes the ‘Gandi Baat’ way, with a 6/8 standard dappankuthu rhythm, with very addictive beats. Here, instead of South Indian instruments as the nadswaram, thavil though, Pritam uses synthesizers to grace the song, supported by dhols, again technologized, quite like “Selfie Le Le Re” arrangements. Mika delivers the song very energetically, and is one of the main reasons to keep the listeners engaged for most of the time. The presence of a female singer would have been fun though, in such kind of a song. The kids’ chorus features in this song too, and at this point, it really makes me wonder who these kids are, because they do an awesome job here too, singing a vocal rhythm that is just so crazy, that you have to repeat it yourself, just for the sake of trying something stupid, but fun! What I’m talking about is: “Dum Dum Dukur Dukur, Dum Dum Dukur Dukur, Dum Dum Dukur Dukur, Dhing Fatafat Dhingdi Popo!!” Weird, but the next cool thing. Composition of the mukhda may be pretty ordinary, but the antara sees things getting more interesting, with something really unexpected, and that is a calm-ish and cooling portion in a dance track, the effect off which is magnified because of the arrangements. Shabbir Ahmed writes here too, what he always writes, and he seems to be an expert of what all happens at parties, which is why he always gets to write such songs. 😂 Not impressive, but the composition helps it to sounds at least a bit catchy. The repetition of the mukhda once more at the end, seemed really unnecessary, and has just increased the length of the song, with nothing new than what we already heard in the other parts of it. That’s why it stands as long as four and a half minutes long, when it could have been just three and a half or four. Enjoyable, but isn’t going to have a very long playlist life!! Good for promotional purposes, though, as it is a Salman film!


4. Bhar Do Jholi Meri / Bhar Do Jholi Meri (Reprise)
Singers ~ Adnan Sami / Imran Aziz Mian, Song ~ Traditional, Music Recreated By ~ Pritam Chakraborty, Original Lyrics ~ Traditional, New Lyrics ~ Kausar Munir

Finally, a song which I feel, has been added because it is actually important for the narrative, without caring about whether it will be loved by people or not, and without having any worries of criticism. A Qawwali track is the next in this album which has given nothing but variety until now, but only one excellent track. It being a Qawwali really made my hopes rise up like a rocket at launch time. And I was not at all disappointed. It features in two versions, so it is a double the treat for Qawwali lovers like me. Someone who you would never imagine could pull off a Qawwali, sings the first version, and that somebody is Pakistani pop singer Adnan Sami. No complaints, though! With his voice, he brings a total variation to the Qawwali genre, and those variations really bring a smile on the faces of people who love innovative things. His bold and distinct identifiable voice is a pleasant surprise in the track, and his various nuances make the ambience even more spiritual. The other version is sung by Imran Aziz Mian, who had sung ‘Main Sharabi’ for Yo Yo Honey Singh some three years ago. His voice sounds more like a traditional Qawwali artist’s, and hence doesn’t quite appeal, though it is perfect conventionally. Of course, I would choose the unconventional stuff over the conventional stuff, which is why Adnan won my heart here. However, Imran’s beautiful adlib-like intro sounds better than Adnan’s, with shades of the intro of Pritam’s own ‘Ye Tune Kya Kiya’ (Once Upon Ay Time In Mumbaai Dobaara). Also, his improvisations at the end of the track sound really perfectly placed, as if preparing the audience for some impending suspense right after the track ends. Talking about the composition, the mukhda has been recreated by Pritam from the classic folk Qawwali of the same name, previously sung by prominent voices as Sabri Brothers and Nusrat Fateh Ali Khan. Pritam has composed the antaras though, and how greatly! The spiritual factor doesn’t disappear at all, and the emotional connect is present throughout the track. Especially the second antara really upholds the divinity of the track. New lyrics in the antaras, by Kausar Munir are excellent, and again, sound really sacred. Arrangements are not very innovative, just tablas and dholaks, but perfect for a Qawwali; I just wish Pritam would’ve experimented a bit regarding them. His touch though, is recognizable in the interludes, when those harmonium, bulbul-tarang and tabla pieces kick in, reminding listeners of the ‘Once Upon A Time In Mumbaai’ albums. Even though I’ve not heard the original, I’m sure the makers have done utmost justice to it in terms of lyrics, arrangements, new composition and also vocals! Spiritual in the true meaning of the word! #5StarHotelSong!!


5. Chicken Kuk Doo Koo
Singers ~ Mohit Chauhan & Palak Muchhal, Yodeling By ~ Wylie Gustafson & Nernhard Betschart, Lyrics by ~ Mayur Puri

Next up on the album is something that defines Pritam. Time and again, he has been churning out crazy, yet lovable and cute songs that just get glued into the folds of your brain, and can never be removed from there, after that. Something exactly like that, is what makes up the next song, a silly, groovy and wild song that does nothing but what I have described above. Palak starts off the track, chanting some humorous lines in a voice, sounding the least ever like her normal voice in other songs. The sound effects accompanying her in these lines are just even more catchy. In no time, the song breaks into full sprint, with an utterly sweet Goanese flavour dominating the song, and awesome Hyderabadi-flavoured nadaswaram making short but unforgettable interruptions throughout. And to lead the song in the vocal front, we have someone who has been rarely heard from in Bollywood recently, the man with a golden voice, Mohit Chauhan. And he carries the song totally on his shoulders, with the perfect expression required for a comic song like this, yet not making it sound extremely immature either! The way he delivers some words, leaves a great impact on the listeners, sounding really addictive. Of course, another reason that he sounds so great, is that the underlying composition itself, is just irresistible. With shades of ‘Tu Mere Agal Bagal Hai’ (Phata Poster Nikhla Hero), it has just the right mixture of entertainment, comedy and catchiness, not to mention likability. It has a very sweet overall feel to it, which makes it stay with you for long. Palak barely has any important parts after her intro, but can be heard in the antaras, supportung Mohit, oh-so-sweetly. Pritam’s Goan-meets-South arrangements do create an impact, but those yodels are what really stand out in the song, very efficiently carried out by Wylie Gustafson & Nernhard Betschart. The guitars impart the Goan feel, nadaswaram does the same to bring a South flavour, and lively chicken sounds entertain throughout the song. The song sounds even more flavoursome, thanks to Mayur Puri’s impressive and entertaining lyrics, showcasing everything food. It makes the song sound very delicious! Too much cuteness! But who’s complaining! A must-not-miss! #5StarHotelSong!!


6. Zindagi Kuch Toh Bata / Zindagi Kuch Toh Bata (Reprise)
Singers ~ Jubin Nautiyal / Rahat Fateh Ali Khan & Rekha Bhardwaj, Lyrics by ~ Neelesh Mishra

So far, the album has been quite lively, energetic and entertaining. Also, not to mention, slightly massy. However, the wishes of those who were craving for a thought-provoking and pensive melody, will finally be fulfilled with the next track on the album. A no nonsense, utterly serious and philosophical song is up next in the album, something that would leave everyone awestruck. And that includes me. There is a slight confusion as to which version is the reprise, so I’ll just call them the ‘solo’ version (by Jubin) and ‘duet’ (by Rahat & Rekha) henceforth. So, first comes the solo version. Jubin finally gets something he deserves, and that is, his first song with a mainstream music director like Pritam, in a mainstream film like ‘Bajrangi Bhaijaan’. Guitar plucks make way for him into the melody, and when he starts, I have to admit, he sounds not so effective, but his voice works like slow poison, getting better and better with each passing second. The composition with endless twists and turns, makes you just want to lay down and listen to it on end for a long time, nonstop. The slight nasal twang in Jubin’s voice makes things better for the listener, and also makes the song appeal to whoever’s listening. The hookline has been crafted with uttermost love and passion, something that Pritam can do with his eyes closed. The conclusion, with the Western-style choir, makes the song end on an intense note, and does not disappoint at all. In the duet version, similar notes start off the song, but here, Rekha soon takes over with a short aalaap until Rahat steals the limelight from her, with his high-pitched, soulful and rustic voice. Conversely, the arrangements in this version are more to the Western side, with a dynamic soft rock template, consisting of guitars and drums, in a fast pace. This version, too ends with an awesome improvisation, this time with the Western chorus singing something, while simultaneously, Rekha sings some beautiful classically-crafted lines in the foreground. Lyrics by Neelesh are something you just can’t afford not to pay attention to! If you miss the wonderful lyrics, it’s something truly unfortunate for you. They’re just brilliant, and the same in both versions. Something you can’t miss!! Very thoughtful, and one of the best Salman songs in recent times! Both versions are great in their own places! #5StarHotelSong!!


7. Tu Jo Mila / Tu Jo Mila (Dekhna Na Mudke) / Tu Jo Mila (Reprise)
Singers ~ K.K. / Javed Ali / Papon, Lyrics by ~ Kausar Munir

To bring the album to a conclusion, we have another soft and melodious song, this one appearing in three versions! It would take you back to the ‘Tum Mile’ days, mostly because of the two versions by singers like K.K. and Javed, whose songs from that album were stupendous. It really is a treat to hear them singing for Pritam again after two years. K.K’s version comes up first, and he proves that he is an expert at such songs, his sugary-sweet voice just perfect for such compositions. The arrangements, mostly soft guitar strums, which get loud only in the hookline, and that too, the pleasant kind of loud. Breathtaking strings are also present in the arrangements. The sitar is a wonderful surprise thrown in by Pritam, and takes listeners aback when they hear its inclusion in a Westernized melody as this one. The second version has Javed coming behind the mic, and he too, sings with maximum care and ease, proving that he is no less than K.K. in singing such songs, either. His diction in some places is intentionally different from what it should be, like ‘Dharkan’ for ‘Dhadkan’, but it just sounds sweet and cute that way. His version sounds more sweet than K.K’s but that might be because the arrangements are slightly, just slightly, softer, and his voice texture is more fine. Lastly, comes Papon’s version, totally different than the other two in both the treatment, composition and even arrangements. It turns the positive song, into a slightly repentful and mourning song, with some shades of sadness and retrospect. Papon’s metallic voice helps this feel to enter the song very easily, and his wonderful vocal aalaaps, are a treat to hear. The antara has been given a new tune, not as catchy and instantly addictive as the other two, yet applause-worthy, mostly because of the intense arrangements that invoke those goosebumps. It has been given a truly theatrical feel to it, instead of the filmy romance that the other two have. Kausar’s lyrics are commendable, and worth noticing. Pritam’s tune might sound like it has been heard before, but is highly addictive nonetheless, and doesn’t let your mind wander anywhere else. A song which provides a grand finale to this huge, and beautiful album!! Pritam back in form!! #5StarHotelSong!!

Bajrangi Bhaijaan is one of the best albums for a Salman Khan-starrer in recent times. An assorted basket of variety, it offers silly, romantic, pensive, humorous and catchy stuff all in the same container. Not so many moments are in the soundtrack, when the listener gets bored. Rather, there are numerous moments when he is left spellbound and mute, just like the little girl in the movie. Pritam’s comeback after a whole year, and it was really worth the long wait!!


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: Zindagi Kuch Toh Bata > Tu Jo Mila > Tu Chahiye > Chicken Kuk Doo Koo > Bhar Do Jholi Meri > Aaj Ki Party > Selfie Le Le Re


Which is your favorite song from Bajrangi Bhaijaan? Please vote for it below! 🙂


Next ‘dish’: Bangistan, Chef: Ram Sampath


Music Album Details
♪ Music by: M.M. Keeravani (M.M. Kreem)
♪ Lyrics by: Manoj Muntashir
♪ Music Label: Zee Music Company
♪ Music Released On: 1st July 2015
♪ Movie Releases On: 10th July 2015

Baahubali - The Beginning (Hindi Version) Album Cover

Baahubali – The Beginning (Hindi Version) Album Cover


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

To buy this album on iTunes CLICK HERE

Baahubali – The Beginning is an upcoming Telugu period epic film, that is simultaneously being made in Tamil and dubbed into Hindi and Malayalam as well. The film stars an ensemble cast consisting of Prabhas Raju, Rana Daggubati, Anushka Shetty, Tamannaah Bhatia, Ramya Krishnan and Sathyaraj playing crucial roles. The film has been directed by S.S. Rajamouli, and produced by Shobu Yarlagadda and Prasad Devineni. In Hindi, the film is being distributed by Karan Johar’s Dharma Productions. It is touted to be the most expensive film in the history of Indian cinema. Also, the sequel is already in talks as the story is going to be presented in two parts! Now, time to speak about the part I’m concerned about — the music! Rajamouli has roped in someone for the music and background score, with whom he has had an aaliance ever since his first film, right up to their last film together, which was ‘Makkhi’ (‘Eega’ in Telugu). That someone is none other than M.M. Kreem. After giving us one spectacular song in ‘Baby’ this year, he has returned, this time with a dubbed album. Hopefully, his work is something appreciable (since I hadn’t like the album of ‘Makkhi’ much) and something that would give the film a good start. Manoj Muntashir has done the lyrics of the Hindi version of the soundtrack. So let’s see how this combo of M.M. Keeravani [Kreem] and Manoj Muntashir have done!

1. Mamta Se Bhari
Singer ~ Bombay Jayashri

The soundtrack starts with a song, that has been made from the point of view of a mother. We have heard many songs from the viewpoint of children in Bollywood, but very rarely do we come across a song having a mom sing prayers for her child’s success, in Bollywood. Well, thanks to Telugu cinema, now Bollywood listeners can hear such a song too after quite some time. 😃 As is my system for dubbed soundtracks, I try as much as it is possible, to ignore the misfits of the words in the tune, and do not criticise them unless too unbearable. This system, I will continue for this album too. So, in this song, though the lyrics sound a bit odd, they are pretty meaningful, about a mother singing for her son. Manoj Muntashir has written apt lyrics and managed to fit it well with the tune. The lyrics aren’t only from the mother’s point of view, but later on, the chorus also enters, acting as the subjects of the main character who’s a king. This also makes the song sound more like a song in an epic film set sometime long ago. Bombay Jayashri’s voice, heard in Bollywood very less, doesn’t sound perfect, but I think there was an intention to that. It also makes her sound more like a mother. The male chorus, uncredited, supports her well. Kreem’s composition is really apt for the situation, and very trademark South-Indian, with all the grand instruments like trumpets, nagadas, and flutes coming together to make the song sound epic, like a real ode to a warrior. Kreem and even Rahman have made such songs in the past very successfully, and Kreem just aces it once again. The percussion in the song is also wonderful. The santoor and violins in the beginning are also charming. Cello plucks are quite prominent throughout the song. A song, perfect to start the album with, as it is a sort of description of the main character, plus a song full of grandeur! #5StarHotelSong!!


2. Jal Rahin Hain
Singer ~ Kailash Kher

Kailash Kher’s name in the credits for the next song really got me excited. And when I played it, I was not disappointed at all, but that feeling lasted only for 30 seconds. The first 30 seconds of the song showcases the immense talent of Kailash Kher, but I guess the makers didn’t want to showcase any more of his talent, because he has ABSOLUTELY NO MORE LINES after these thirty seconds are over! After that, some backing vocalists, male and female, take over, and keep singing (or may I say, droning) some monotonous line over and over again. Manoj Muntashir’s lyrics might be good, but aren’t really something that you can catch hold of — they sound really outdated and I don’t think anybody would find any kind of instant connect with them. Of course, according to the film, they are perfect, but again, they are unintelligible. Kreem’s composition is really monotonous. I don’t even know how to describe it here, but I really don’t want to tell you to hear it and then be called names for making you hear it! 😂 However, one department in which the song excels is the arrangements. Those grand and epic arrangements really make you feel sorry that in all the other departments, the song fails. Trumpets, gongs, and strings help to at least make the background of the song likable. But what’s the use of good arrangements if the stuff they connect is just too monotonous to sit through??


3. Swapn Sunehere
Singers ~ Bombay Jayashri & Swetha Raj

Bombay Jayashri returns in this track, for a sombre piece with a very short duration of just one and a half minutes or so. She is supported by Swetha Raj, who I guess, sang the vocal “oh-oh-oh” in the starting, and does it well, imparting the needed soothing and slightly shady tone to the song. Once Bombay Jayashri joins, the song gets even more haunting, with the composition. A continuous cello plays in the background, which makes it even more serious. Lyrics are again, pretty old fashioned. The composition, however, is something that again, doesn’t appeal even after quite a few listens. The best parts of the song are the vocals and the string arrangements.


4. Khoya Hain
Singers ~ Kala Bhairava & Neeti Mohan

This one starts with entrancing female vocals, and some interesting arrangements consisting of percussion. Then Neeti Mohan starts off the main composition, and you finally develop an interest towards the album again, after those two slightly disappointing tracks. Neeti sings in a high-pitch here, sounding all the more sweet. The composition by Kreem takes absolutely no time to grow on you, and instantly would apeal to you, having wonderful twists and turns and a trademark South Indian stamp on it. (That’s a compliment!) The antara is especially, too awesomely composed. The hook sounds like it has a slightly Westernized yet dominantly Hindustani tune. The backing vocals that join in the hook, which is either Sanskrit or Telugu, are hauntingly charming as well. Neeti sounds extremely angelic in the song, thanks to wonderful programming on top of her already sugary voice. She gets to sing most of the song, the remaining part sung by a male singer, Kala Bhairava, who I’ve heard of for the first time. Anyways, his voice is a bit rough than what you would expect for an ideal male singer in a romantic song like this one. Dubbed Lyrics are good, and fit perfectly into the tune, not at all sounding odd anywhere. And now, to talk about the best part of the song — the arrangements!! Beautiful classical instruments have graced this song with their presence. The enchanting sounds of timpani, matkas, santoor, some entrancing techno sounds, flutes and awesome strings occasionally, really leave you spellbound. The percussion makes it sound like a really imposing song. The superiority of the arrangements are just unmatchable! Towards the end, a wholly Sanksrit conclusion to the song increases the divine feeling of it all. Just HEAVENLY!! Ignoring this song, is ignoring some of the best stuff that the album has to offer! #5StarHotelSong!!


5. Kaun Hai Voh
Singers ~ Kailash Kher & Mounima

So Kailash Kher is back, and before playing this song, one can’t help but to hope that he gets more time to display his singing talent in this song, at least. And the song, which starts with a divine percussion show of damroo, starts with a powerful Shiv Tandav, and then the chorus makes way for Kaikash Kher, who sings a catchy yet powerfully divine tune, which instantly grasps the listener, provided the listener likes classical music. Kreem’s composition is something that could be reserved for only classical music lovers and understand-ers. And the lyrics are again, really pure Hindi that might not be accepted very nicely by today’s generation. Kailash’s powerful vocals, however, really provide something worth hearing the song for. The divine composition doubled with his energetic vocals sums up to give a song that radiates energy no matter what. Whoever hears it, will instantly find himself full of energy thanks to the great arrangements and divinity of the song. The arrangements by Kreem are a class apart. Wonderful percussion is there, but apart from that, some stellar shehnaai solos steal your breath away. It gives you the feeling as if you have actually been transported through time, and that you have landed up at the time of this king, whom the film is about, and you are a resident of his kingdom. Wonderful brass fanfares sum up the great arrangements. Mounima is mostly in the background, along with the chorus, but she really spoils it when she comes to sing solo at the end of the song. She gets only one line, and that too, she sings with the least interest ever!! I can’t even imagine how she could sing so uninterestedly under a legend such as Kreem’s direction! So she ends the interesting song on a boring note. One of the better-off of the average songs in the album, just because of Kailash and the powerful tune and arrangements!


6. Panchhi Bole
Singers ~ M.M. Keeravani & Palak Muchhal

This one starts with wonderful and optimistic-sounding strings, which may remind you of Rahman’s ‘Saans’ (Jab Tak Hai Jaan). But the resemblance lasts for a short while, and soon the violins make way for a wonderful Keherwa rhythm on the dafli, making the song fall into that very-distinct 90s template, yet making it sound very appealing! Palak sings her lines with immense sweetness and sounds very happy singing it, just increasing the optimistic nature of the song. (I don’t know since when songs can be optimistic, but I guess I discovered this property of songs right now!) Kreem himself comes behind the mic to support her in this sweet romantic duet, but sadly, his voice doesn’t have that punch which would be required to complement a female singer as efficient as Palak in the song. Also, he sounds too exhausted which totally spoils the effect of the song. His composition is instantly likable, and I had loved it in the Telugu version, which had Karthik singing Kreem’s parts. Had he been retained in the Hindi version as well, this song would have definitely been better. Arrangements are awesome, with the dafli constantly playing the Keherwa taal in the background, and strings doing the rest of the magic. In the first antara, beautiful matkas, and bansuris join. The second interlude has a wonderful and very short santoor piece. Manoj’s lyrics, are typical 90s type romantic lyrics like “Dil ne dil se yeh vaada kiya…” and “Abb toh jeena hai tere liye…”. Sweet melody, beautiful arrangements, but spoiled by the presence of the composer as a singer!!


7. Manohari
Singers ~ Divya Kumar & Neeti Mohan

Heavy and intense percussion kicks off this song, followed by a wonderful vocal rhythm and an awwwwwwweeeessssssoooooommmmmmeeeee guitar piece, that is just so intoxicating! Neeti, when she starts, sounds really great!! Her voice has never been this addictive, and rustic at the same time. Divya and Neeti’s combo is unusual, but together, they actually rocked it!! Their combo is like a firecracker! Kreem’s tune is very creative and very addictive, and you never want to stop listening to it. It is probably the only song of the album with any mass appeal at all, and also the only one that would instantly connect with today’s audience. Divya and Neeti really give you a reason to hear the song, but I would credit Kreem before them, because he has stirred up such an intoxicating song, that you can just drown in and hear again and again. Wonderful arrangements in this song, as well, keep the interest of the listener maintained at a high level, making him find no faults whatsoever in the song! And the Antara, is just Bravissimo!!! Very 90s-ish, but not typical at all! Kind of like what Kreem and Rahman were experts at in the 90s — churning out something experimental (for those times) and at the same time being sure that it would become a mass hit. The conclusion of the song really leaves you craving for more, and hoping that the song was a bit longer. That feeling is created because of a heavenly sitar solo, in the tune of the mukhda of the song. Neeti’s sugary voice plus Divya’s rustic vocals provide for continuous repeat listens to a song that has been graced by wonderful arrangements, and composition by Kreem! The best track of the album!! #5StarHotelSong!!

Baahubali – The Beginning is an album that wouldn’t really appeal to each and every person who takes it up for listening. However, some tracks are such that, no matter who hears them, they will instantly catch on to the listener. Others are such that, no matter how many times someone hears them, he/she will never find them interesting. However, one thing is common amongst all songs, and that is the stupendicular arrangements on each track, wonderfully representing the era that the film is set in. Also, the recording has been done wonderfully. So Kreem has to get the appreciation he requires! It is evident he has worked hard to recreate the era, but just didn’t live up to standards. Not a bad album, but has very little appeal!! However, some tracks are a must-listen!! What I want to say is: “Ye Toh Bas Shuruaat Hai!!!”


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

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

Recommended Listening Order: Manohari > Khoya Hain > Mamta Se Bhari > Panchhi Bole > Kaun Hai Voh > Swapn Sunehere > Jal Rahin Hain


Which is your favourite song from Baahubali: The Beginning? Please vote for it below! 🙂


Next “dish” : Bajrangi Bhaijaan, Chef: Pritam Chakraborty


Music Album Details
♪ Music by: Amit Trivedi & Subhash Kapoor
♪ Lyrics by: Irshad Kamil & Subhash Kapoor
♪ Music Label: Zee Music Company / Sony Music
♪ Music Released On: 19th June 2015
♪ Movie Releases On: 3rd July 2015

Guddu Rangeela Album Cover

Guddu Rangeela Album Cover

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

To buy this album on iTunes CLICK HERE

Guddu Rangeela is an upcoming Bollywood action/comedy film, starring Amit Sadh and Arshad Warsi in the titular roles of Guddu and Rangeela respectively. The film also stars Aditi Rao Hydari in the lead female role, and Ronit Roy in a negative role. Subhash Kapoor, National Award-winning director for his last film, ‘Jolly LLB’, and director of ‘Phas Gaye Re Obama’, returns with yet another unconventional-looking film. The film is about two cousins living in North India, who try to make ends meet in the crime-infested surroundings. Their messing with a political gangster, and how they manage to overcome him together, is what the tale is all about. The film has been produced by Sangeeta Ahir. Subhash’s last outing ‘Jolly LLB’, for which he bagged himself many National Awards, was appreciated by critics and received mostly positive reviews from audiences. Moreover, the music of the film had a massy appeal as well, composed by ‘Tanu Weds Manu’ franchise fame, Krsna. However, this film, set in rural areas of the country, seems to be having a more massy touch to it, and so, the music should be just as massy, as well as catchy and energetic. This time, Subhash chooses Amit Trivedi to compose for his film, giving him a very short soundtrack to compose, with just three songs. After the success of the unconventionally great music of ‘Bombay Velvet’, both Amit and his fans must’ve been dying to see him back in his usual quirky form, and this album does contain some prospects for that to come true. On top of Amit’s three songs, the director Subhash himself, plays the guest composer for one song. So let’s see, how much buzz Amit manages to create for Subhash until this quite small-scale film hits the theaters!

1. Guddu Rangeela / Guddu Rangeela (Remix)
Singers ~ Amit Trivedi & Divya Kumar / Divya Kumar & Shahid Mallya, Backing Vocals (in Remix) ~ Keshia Braganza & Gwen Dias, Music by ~ Amit Trivedi, Lyrics by ~ Irshad Kamil

Those who were complaining about Amit Trivedi losing his ‘magic touch’ in ‘Bombay Velvet’ (Believe it or not, there were such complaints, which is totally fine!!) will definitely be satisfied with Amit’s work in this track. Right from the beginning, that T-cube (Typical Trivedi Touch) is present, and it just takes you back to the days when Trivedi used to compose all those massy albums like Ishaqzaade, Aiyyaa, Luv Shuv Tey Chicken Khurana etc. The same quirk that Amit loves to infuse in all of his massy albums, is evident in this song. And the genius thing is that, along with making the song sound desi, Trivedi has also managed to add a very obvious Irish touch to it! The bagpipe-like techno notes follow a very recognizable Irish/Scottish kind of tune. And the percussion consisting of dhol-taashe, and other unusual sound effects, sounds just spectacular when mixed with the techno sounds. The guitars wonderfully support the other instruments, and so do those beautiful bulbul-tarang interruptions! The second interlude witnesses rock guitars and bulbul-tarang, played on a splendid rock template, supported by drums! The composition, as stated before, is a very typical Amit Trivedi thing, but doesn’t fail in the entertainment department, with that nursery-rhymish catchy tune, and the wonderful vocal harmonics, that are a must in a Trivedi song. Divya Kumar, who was introduced to Bollywood by Amit, and then sang a few songs for him, the last being ‘Allah Meherbaan’ (Ghanchakkar), returns in his camp after all those Sachin-Jigar songs, and coincidentally, the song he gets, is quite similar to ‘Allah Meherbaan’ in terms of the composition. Anyways, he renders all the silly and crazy lines perfectly, and is given great support by Amit, singing in his non-perfect yet attractive and unique voice. Divya also carries out his high-pitched harmony parts very beautifully! Irshad’s lines as just as silly, and describe in a very entertaining manner, the relation between the two brothers, Guddu and Rangeela. All the words used to describe them, like “Thaali Ke Baingan”, are really something that nobody would think of, except the genius Kamil. Next comes the “Remix”, which isn’t a remix at all! It is a different version of the title track we already heard! 😀 In this, Amit aptly replaces himself with Shahid Mallya, who sings his parts greatly. Amit also appoints wonderful backing vocalists, Keshia Braganza & Gwen Dias, who turn up the quirk factor even more. This version is a more quirky rendition of the same title track. Techno sounds have been used great! Where the first version resembled ‘Allah Meherbaan’, this one bears a great resemblance to the title song of Bombay Talkies! 😛 Lyrics are unaltered, but the tune has been changed and the arrangements and tempo pepped up! The presence of Shahid and other fun factors make this one also an enjoyable listen! Both versions are fun and enjoyable, and both resemble an Amit Trivedi song of the past! But very creative arrangements and lively vocals!! And commendable lyrics!! #5StarHotelSong!!

2. Sooiyan
Singers ~ Arijit Singh & Chinmayi Sripada, Music by ~ Amit Trivedi, Lyrics by ~ Irshad Kamil

After the brotherly love, it’s time for some breezy romazce between the male and female leads. And for this, Trivedi goes into sublime mode, and dishes out some of the best notes, arranges them together and Voila! the result is ‘Sooiyan’. Starting with a  pleasant guitar riff, the song instantly makes you feel that whatever follows, will be worth the four minutes of your life. On top of that, singers like Arijit and Chinmayi are bound to get you excited. The last time they came together was for ‘Mast Magan’ (2 States) under Shankar-Ehsaan-Loy’s direction, and they gave us something beautiful. This time, they get to sing for Amit. Chinmayi is surprisingly singing for him for the first time, surprising because her voice is so great, I was expected this to happen way earlier! Amit has composed a pleasant and cheerful tune which doesn’t sway from its ‘romantic’ tag for even one second, yet manages to entertain for the whole time. The nok-jhok number like old Bollywood songs, gets a re-entry into Bollywood with this song, with the two leads teasing each other. Irshad Kamil’s lyrics are another highlight of the song. Very smartly he’s penned down what would happen if a boy is behind a girl, who’s clearly not interested. Amit has done extraordinary programming, too, apart from the wonderful tune. Though it starts unlike an Amit Trivedi song, with guitars playing in the background, as it progresses towards the hookline, it turns more and more Trivedi-ish and in the hook, you can feel the full-on Trivedi Touch. The genius that Amit is, has introduces wonderful matka with banjo in the hookline, giving it a desi yet country cowboy-ish feel. And it sounds just heavenly! The mukda and antara are both adorned with awesome and unusual arrangements, and those in the antara are bound to soothe you down very much. The singers, of course, play a great role here, and all the expressions are carried out perfectly by the two. Chinmayi’s rendition of the line “Yun Galat Patey Pe Chitthiyaan…” just touches the heart! Arijit sings in a composition, the kind of which he hasn’t been heard in much, and aces it too! All-in-all, a spectacular affair, with Trivedi successfully bringing heaven to earth! #5StarHotelSong!!

3. Sahebaan
Singers ~ Chinmayi Sripada, Shahid Mallya & Amit Trivedi, Music by ~ Amit Trivedi, Lyrics by ~ Irshad Kamil

This song also starts with guitars, but somehow, it immediately is understood that this song is going to be more mature than the previous song. And the sarangi which follows the guitars, proves the point even more. Where in the previous track, it seemed like an amateur love, or a love just for fun, in this track, things change, and the love has matured into real and serious love. The Amit touch vanishes, and he sets all his stereotypes aside, and churns out a sublime melody, which really seems surreal, thanks to the wonderful arrangements, sugary vocals, mature lyrics and lilting melody. Chinmayi sings for Trivedi for the second time in one album itself. And that shows how much he was impressed by her, and it clearly shows in the song that his reasoning was totally right. She carries the melodic piece almost alone on her shoulders, and it seems like things can’t get any better, but right when you think so, Shahid Mallya enters and blows your breath away! His rustic and earthy voice really suits the composition, and he returns in the romantic avatar in which he sang his first popular song, ‘Rabba’ (Mausam) for Pritam. Trivedi also comes in to conclude the song with slightly modern vocal rhythms, which end the song on a note very different from how it started. He also hums in parts of the song when Chinmayi is singing. Arrangements are also beautiful. They are mostly soft and calm guitar riffs in Chinmayi’s part, but the sarangis in interludes really make a huge impact. However, the real magic starts when Shahid comes in. He is supported by wonderful, rustic sounds of sarangi and above all, the great beats of the dafli. The mouth organ also makes appearances in places. Last but not the least, Irshad Kamil’s lyrics really make it sound even more mature. The romantic line he wrote in ‘Sooiyan’ and in this song really contradict each other, and show that the romance has grown and matured. Sugar-coated, and filled with lots of love!! Lovely vocals, arrangements, composition and lyrics!! #5StarHotelSong!!

4. Mata Ka Email
Singer ~ Gajendra Phogat, Music by ~ Subhash Kapoor, Lyrics by ~ Subhash Kapoor

To end up the album, we have something wacky, insane and something that has been tried innumerable times in Bollywood, but has always failed. An attempt to compose a mata ka jagrata. We last heard one in ‘Dilliwaali Zaalim Girlfriend’, where it was very poorly composed. However, here, the director Subhash Kapoor takes over. As soon as it starts, you know Amit hasn’t done it, because the whole feel is different. Even if you don’t read the credits you can tell Amit hasn’t composed it! Heck, even a newborn will think Amit hasn’t done it and he’ll be awarded for his great music sense! 😜😜 Anyways, this jagrata doesnt actually fail as such, because Subhash had made sure it has a catchy ring to it. At the same time, it seems like he’s mocking the tradition of these jagratas. The Indian banjo (bulbultarang) opens up the track, and harmonium accompanies it later, followed by dholaks and dholakis, which give an awesome bass effect. Other arrangements are also spot on. The microphone effect is also great, and so are the claps. Gajendra Phogat, a Bhojpuri singer who sings these jagratas in his own albums, has been roped in to sing it, and does sing good. Where the song fails, though, is the composition, which only manages to attract attention for a short time. The fact that the song is 2½ minutes long, might surprise you, because you might be thinking that there wouldn’t be anything to be disappointed with in such a short period of time. But there is! And also, the lyrics are just the cheap kind of humorous. So, apparently, the Goddess has sent this guy an email and invited him to Facebook. Her website is and her profile picture is a lion. This is the gist of the lyrics. 😂 Crazy, aren’t they? Hear it, but don’t expect to love it! Just expect to like it as something to pass your time with.

Guddu Rangeela is surprisingly, a very good album, considering the low status the film has managed to get itself, because of the limited appeal it has. Amit comes back to his own territory after treading Bollywood legends’ territory in ‘Bombay Velvet’, and makes an album that, all in all, turns out to be an entertaining affair. Though the director’s song doesn’t have much scope to be loved by all, the other songs are sure to be loved, but just need good promotion, especially ‘Sahebaan’. Irshad’s genius lyrics really help in the appeal of the songs, too. And the singers behind the songs would attract listeners like flowers attract bees. I would conclude by saying that, the sooiyan (needles) of this album are musical and totally harmless! Well done, Amit Trivedi, again!

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: Sahebaan > Sooiyan > Guddu Rangeela > Guddu Rangeela (Remix) > Mata Ka Email