THE BAJRANGBALI OF BOLLYWOOD MUSIC IS BACK!! (BAJRANGI BHAIJAAN – Music Review)

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

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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

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7 thoughts on “THE BAJRANGBALI OF BOLLYWOOD MUSIC IS BACK!! (BAJRANGI BHAIJAAN – Music Review)

  1. Awesome Review Bhau !
    You nailed it yet again
    Its a tedious job to review such big albums but you seem to have done with a lot of ease
    Way To Go yet again (y) 🙂

    Like

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