HEROIC IN ALL ASPECTS!! (HERO – Music Review)

Music Album Details
♪ Music by: Amaal Mallik, Jassi Katyal, Meet Bros. Anjjan & Sachin-Jigar
♪ Lyrics by: Kumaar & Niranjan Iyengar
♪ Music Label: T-Series
♪ Music Released On: 14th August 2015
♪ Movie Released On: 11th September 2015

Hero Album Cover

Hero Album Cover

 

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

To hear “Main Hoon Hero Tera (Sad Version)” on Saavn CLICK HERE

To buy this album on iTunes CLICK HERE

To buy “Main Hoon Hero Tera (Sad Version)” on iTunes CLICK HERE

Hear “Main Hoon Hero Tera (Sad Version)” on YouTube:


Hero is a Bollywood romantic action drama film, released on 11th September, 2015. It starred Sooraj Pancholi (Aditya Pancholi’s son) and Athiya Shetty (Suniel Shetty’s daughter) in the lead roles, and serving as the launch vehicle for both of them. The film also stars Aditya Pancholi and Sharad Kelkar in supporting roles. It was directed by Nikhil Advani, and produced by Salman Khan and Subhash Ghai. The film is a remake of the 1983 film of the same name, which had starred Jackie Shroff. It got mostly negative reviews from critics and the public. Anyways, the music of the film was composed by multiple composers, the list consisting of T-Series’ hot favourites Amaal Mallik and Meet Bros. Anjjan, along with Punjabi composer Jassi Katyal who had composed an avoidable song in ‘Dilliwaali Zaalim Girlfriend’ this year, and two songs by Sachin-Jigar. I was really looking forward to the album before it released and when it did, all I can say was that I had heard such a good album full of variety after a long time! Read on to find out my exact views about each song! 🙂


1. Main Hoon Hero Tera (Salman Khan Version) / Main Hoon Hero Tera (Armaan Malik Version) / Main Hoon Hero Tera (Sad Version)
Singers ~ Salman Khan / Armaan Malik / Armaan Malik, Music by ~ Amaal Mallik, Lyrics by ~ Kumaar

The title song of this film gets the first slot in the soundtrack, and the ever-promising Amaal Mallik gets the chance to compose it. As you already know, the song became a rage, and also the most famous song from ‘Hero’, but that’s just the public appeal side of it. What did I think of it? Well, don’t worry! I loved it just as much as everyone else did! 😀 Salman is roped in to sing the first version, and it being his production, he probably wanted it to be something special, and that’s why he sang, maybe. Well, however bad I found his voice in Himesh’s ‘Kick’ songs ‘Jumme Ki Raat’ and ‘Tu Hi Tu’, the reprises of which he sang, here his voice has been garnished with all the technicalities and leave it up to Amaal to make it sound as if he’s (almost) a professional! All the technical aspects have been dealt with properly, resulting in Salman sounding better than usual. The second version is by a professional Armaan, so naturally, as far as the vocals go, I prefer Armaan’s version over Salman’s. It is even on a higher pitch, and Armaan’s vocals are way more mellifluous than Salman’s! He even sings the tune a bit differently from Salman when the line “khud Se naaraaz hoon” plays. And the way he sings it, you just can’t suppress that Waaah! from escaping your mouth. When you read the song’s title, you would expect an typical Bollywood upbeat hero introductory song, with dhinchak beats or whatever, but when it plays, you realize that it is a very serene, calm and soothing melodious song. Amaal returns to that genre after doing some crazy stuff here and there like ‘Chaar Shanivaar’, ‘Saiyyan Superstar’ and whatnot, but I’m glad that he hasn’t lost his prowess in composing such soulful songs. The arrangements set up a just as tranquil environment and ensure that we have our attention wholly and solely on the song. The guitars and piano really help in doing that. In the hookline, splendid percussion joins in and gives the song a bit of an Indianized flavour. And those backing vocals going “Haaayeee” compel us to say the same thing when they play. The tune of the antara has been kept really simple, yet sweet. The strings interlude in the second interlude sounds great, and is actually the tune of the hookline of Amaal’s second song in the film, to come later on in the album. And then Kumaar’s lyrics are something that propel the song to heights, in the conversational form which they are written in. The sad version has Armaan behind the mic again, with a slight alteration in the lyrics, to make it sound sad. It goes “Kya main hoon hero tera?”. Duration has been shortened drastically for that version, and arrangements have been minimised as far as they could be, yet having a great impact in the song, especially the wonderful string orchestration, that builds up to the climax, only to calm down after some time, and again increase, finally ending the song on a orchestral low and with Armaan singing “Haan main hoon hero tera”. A soulful start to the album by Amaal Mallik, in three beautiful versions! Kudos to him for doing all the necessary processing to portray Salman’s voice in a melodious way! #5StarHotelSong!!

 

2. Yadaan Teriyaan (Version 1) / Yadaan Teriyaan (Version 2)
Singers ~ Rahat Fateh Ali Khan / Dev Negi & Shipra Goyal, Music by ~ Jassi Katyal, Lyrics by ~ Kumaar

The next song on the album also comes in two versions. One by Pakistani Sufi singer Rahat Fateh Ali Khan, and the other by relatively newbies, Dev Negi & Shipra Goyal. Jassi Katyal, who had composed some very atrocious ‘Mata ka jagrata’ called ‘Maa De Dandeya’ in ‘Dilliwaali Zaalim Girlfriend’, hadn’t really impressed me there, so I wasn’t expecting anything from him. And of course, I was expecting another upbeat and atrocious track. But then I saw Rahat’s name and that left me utterly confused. For all I knew, Rahat wouldn’t sign any atrociously sick party track. After hearing the song, I got to know that it was a typical Punjabi rock romantic song. It starts with the breathtaking sound of a sarangi, followed by the very rustic and lovely voice of Rahat. The twinkling sounds make it sound even more soothing. When the drums kick in, it starts sounding a bit too typical, and coupled with the electric guitars, even more so. The sarangi keeps making inputs throughout the song, and Rahat’s beautiful singing along with those arrangements sounds awesome. The composition does get a bit dull and boring at places, and the length doesn’t help much either. Flutes have also been used in a mind blowing way, something that I would never have expected from Jassi after that disgusting first impression of his. The lyrics are pure Punjabi lyrics, as soulful as the arrangements. The second version takes the form of a duet between Dev Negi and Shipra Goyal, and the arrangements are mainly the same, but the difference is that the switching from male to female voices in the duet version provides the necessary change, which in turn, makes this version a bit more enjoyable and interesting. Shipra’s voice is sweet and Dev also sounds beautiful with his deliberately husky voice. All that and more, made me like the duet version more than Rahat’s solo. An unexpectedly great composition from Jassi, just getting a bit too typical at times, but I would recommend the duet version, which is a #5StarHotelSong!!

 

3. Dance Ke Legend
Singers ~ Meet Brothers & Bhoomi Trivedi, Additional Vocals by ~ Sunaina Singh, Music by ~ Meet Bros. Anjjan, Lyrics by ~ Kumaar

As soon as it starts, you can’t help but wondering where you’ve heard that tune before. I was very, very sure I had heard it somewhere in some song, yet I couldn’t recall which song exactly! And I ended up getting trapped into the net of catchiness that the tune has set out for listeners like us. It is my common experience that almost everything Meet Bros. Anjjan offer to us, it always turns out to be catchy and something likable in terms of the tune. Here too, I observed the same! The song is the boys vs. girls kind of dance face-off we have grown up watching many times in Bollywood movies, but this time with a modern touch. The club beats and all is fine, but apart from that, the tune doesn’t really stand out as something extraordinary, making the sound seem a bit on the weaker side in that department. Had there been a better tune especially to the mukhda, the song would have excelled. That part does the job of making sure the listener has all attention on the song, and if that itself fails to catch the listener’s attention, then it’s an attempt that fails, no matter how good the stuff that follows is. The catchiest part has to be that hookline which really makes you behave as if you yourself are the ‘Dancing Floor Ke Legend’, since you dance along to the beats and tune. About the vocals, Meet Bros make a very smart move yet again by singing the song themselves instead of making Mika sing a song that seems tailor-made for him. They sound good, too, except that the two voices sound a bit annoying, always together, never solo. 😛 Bhoomi Trivedi, who sang really well in her first Bollywood song, ‘Ram Chahe Leela’ (Ram Leela), doesn’t get as much scope here, but does a satisfying job whatever she sings. Sunaina sounds really cheap, however when she sings “Show meeee… Votcha gott” like a typical German. 😂 Arrangements are pretty cool, especially the interludes, the first one being a kind of weird techno beats that really sounds awesome with great sound effects, and the second one with an out-and-out Latino-Brazilian touch with the brass instruments, and vocal interruptions. Kumaar’s lyrics are interesting, and provide the necessary entertainment which the tune other than the hookline fails to give. They are what make the song a memorable, for at least some time, girls vs. boys face-off. If only the composition had been better, this one would have been really good!! But since it isn’t, all there is to pay attention to, is mainly Kumaar’s entertaining lyrics!

 

4. Khoya Khoya
Singers ~ Mohit Chauhan & Priya Saraiya, Backing Vocals by ~ Tanishka Sanghvi & Arpita Chakroborty, Music by ~ Sachin-Jigar, Lyrics by ~ Niranjan Iyengar

Sachin-Jigar, fresh from the success of their awesome album ‘ABCD 2’, now jump into the album, to treat us to the first of their two songs in this album. When this one started, I couldn’t help but drown into the very dreamy, Gujarati/Rajasthani folk lines sung by Sachin’s daughter, Tanishka, who had spellbound us with ‘Vande Mataram’ (ABCD 2) earlier this year. The programming done with her voice serves as a hindrance to some, but some may find it to be beautifying her voice. As soon as Mohit starts, the striking resemblance to Sachin-Jigar’s own ‘Jeene De’ (Tere Naal Love Ho Gaya) can’t be ignored, and coincidentally both songs are sung by Mohit. It lasts for a very short time, and Priya with her beautifully programmed voice, comes and rescues the song from sounding too familiar, and the tune of her lines is awesome, as is the hookline that Mohit sings after them. Arpita does some wonderful classical vocals in the first interlude, sounding very sweet. Sachin-Jigar’s awesome arrangements, mostly traditional and sounding very North-Easternized thanks to the awesome dafli percussion, matkas, and serene flutes, meeting the modern guitars, are tremendously attractive. The second interlude has a tune that starts off sounding a lot like ‘Jaane Dil Mein Kabse Hai Tu’ (Mujhse Dosti Karoge); well, that’s the new ‘Hero’ signature tune. The antara continues with the beautiful composition, vocals and arrangements, and before you know it, the song is over. Though it is a bit above 5 minutes in duration, it has not a single boring moment, except that the hookline may sound a bit like ‘Rabba’ (Heropanti), but only if you are bent on finding faults in the song. If you forget about it, it sounds pretty normal. Niranjan Iyengar’s lyrics are romantic and sweet, cute at the same time, like a youth romantic song should sound. Everybody associated with this song has done a lot of hard work, and that’s why it sounds so good as a result! #5StarHotelSong!!

 

5. O Khuda
Singers ~ Amaal Mallik & Palak Muchhal, Music by ~ Amaal Mallik, Lyrics by ~ Kumaar

Amaal Mallik’s second song in the album starts off with a captivating harmonica, followed by wonderful flute, supported by Spanish guitars and sounds like castanets. And then guess who starts singing? I would’ve expected Armaan to sing, as he sings mostly for Amaal, but here, the composer himself steps behind the mic and beautifies everything with his just-as-soothing voice! His debut as a singer has bore fruits and I hope he sings even more in the days to come. About the composition, it is something that will just transport you to another land, possibly that is what they call the Land of Dreams in all those fairy tales we’ve read as little kids. But seriously, this song has some sort of magical power that just makes you speechless for the five minutes of its duration, and even when it’s over, you might be unable to shake yourself out of that trance. Palak has just one line in each antara, so it didn’t really matter to me how she sung; I liked it anyhow. The serene and free-flowing composition ensures that you are completely, totally immersed in it’s awesomeness and no matter how simple it may be, it has the power to grasp you. Arrangements are just as beautiful throughout the song, as they are in the prelude, with grand strings, Spanish guitars, flutes and some awesome theatrical percussion. Rock guitars also make a cameo and impress in their short performance too. In the second interlude, Amaal plays on the cello, the same ‘Hero’ signature tune which we heard in ‘Khoya Khoya’, and it is supported by a wondrous chorus, which also provides a great impact in other parts of the song as well. The hookline, in all its simplicity, is one of the most captivating hooks for a sad song in recent times. Kumaar’s lyrics clearly depict the sadness of two parted lovers, kept apart due to circumstances against them. The Spanish touch to an emotional romantic song, plus the awesome vocals and composition, and perfect lyrics, makes it a sureshot #5StarHotelSong!!!

 

6. Jab We Met
Singers ~ Rahul Pandey & Shalmali Kholgade, Backing Vocals by ~ Divya Kumar & Jigar Saraiya, Music by ~ Sachin-Jigar, Lyrics by ~ Niranjan Iyengar

To end the album, we have the dependable Sachin-Jigar coming back with their second song, which starts off resembling quite a lot their own ‘Haseena Tu Kameena Mein’ (Happy Ending), with that peppy sound and weird vocal sounds by Jigar. Nevertheless, it captivated me right from the first second. Rahul Pandey (also a singer on that song from ‘Happy Ending’) starts the song in a great way, with his slightly husky voice, sounding a lot like Nikhil D’Souza. Shalmali kicks in with a very bold and accentuated voice, sounding really great as well. And she sings the part of the song that leads up to the hookline, a very crazily created, catchy, zany, insane, wacky thing that will just make you gyrate your body to its tune. Divya and Jigar make sure that it reaches the heights of craziness and peppiness, still keeping it catchy and groovy. They start it after taking a little pause, making it all the more catchier! The awesome Punjabi dhols and popping sounds, and the Bhangra “haay! haay!” all provide the listener with things that would not leave him bored for even a second! In the interludes things get a bit emotional, with that ‘Hero’ tune playing on a flute, but they get lively once more with the onset of the antara. Shalmali’s English portion, sounds really professional and it is worth hearing again and again. In the second antara, she does some full-fledged emotional humming portion, which gives a small relief from the craziness, and makes you ready for the craziness to continue after that small part is over! The song being the longest in the album, it doesn’t seem so, only because of the many interesting elements that Sachin-Jigar have included in it, so that we have a good time hearing it. Niranjan’s lyrics are quite suitable for a romantic comedy movie, unlike this one, but maybe the situation in the movie called for it, so I can’t say much on that. However, if the situation is a light romantic one, I’m quite sure that these lyrics are both entertaining and relevant at the same time! An entertaining mix of Punjabi folk and modern sounds! Great and successful attempt by Sachin-Jigar in making this song so addictive! And special marks for Divya’s loud parts in the hookline! He shines! #5StarHotelSong!!


Hero is a multi-composer album that just proves wrong whatever assumptions I have about multi-composer albums in general! All the songs are catchy in some or the other way, suit the situations in the film, and none of them are such that you would skip them right away! With four composers, it rarely happens that they come together and blend together in a seamless manner, but it has happened here, with Nikhil Advani’s ‘Hero’. Though there are some small faults here and there in my opinion, they are small enough to be ignored, because all the songs together provide the variety that is required in a commercial action / romantic film’s album! An album that would emerge as a hero among multi-composer albums!!

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: O Khuda > Jab We Met > Main Hoon Hero Tera (Armaan Malik Version) > Khoya Khoya > Main Hoon Hero Tera (Sad Version) > Main Hoon Hero Tera (Salman Khan Version) > Yadaan Teriyaan (Version 2) > Dance Ke Legend > Yadaan Teriyaan (Version 1)

 

Which is your favourite song from Hero? Please vote for it below! 🙂

DOESN’T DESERVE TO BE WELCOMED!! (WELCOME BACK – Music Review)

Music Album Details
♪ Music by: Meet Bros. Anjjan, Anu Malik, Mika Singh, Music MG (Milind Gaba), Siddhant Madhav, Yo Yo Honey Singh & Abhishek Ray
♪ Lyrics by: Kumaar, Manoj Muntashir, Shabbir Ahmed, Music MG (Milind Gaba), Arafat Mehmood, Nitin Raikwar, Deane Sequeira, Manvendra & Abhishek Ray
♪ Music Label: T-Series
♪ Music Released On: 6th August 2015
♪ Movie Released On: 4th September 2015

Welcome Back Album Cover

Welcome Back Album Cover

 

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

To buy this album on iTunes CLICK HERE


Welcome Back is a Bollywood action comedy film, that stars an ensemble cast consisting of John Abraham, Shruti Haasan, Anil Kapoor, Nana Patekar, Paresh Rawal, Naseeruddin Shah, Dimple Kapadia, Shiney Ahuja and Ankita Shrivastava. The film is directed by Anees Bazmee, and produced by Firoz Nadiadwala. As even the newest born baby in the country must be knowing by now, owing to the delay my review has made in arriving, the film is a sequel to the 2007 superhit ‘Welcome’. The absence of Akshay Kumar was already a cause of negative buzz surrounding the film even before its release, and after release, it’s as if the film has been forgotten by most people. Anyways, the music has been given by a horde of music directors, which you can read up in the “Album Details” section, because I’m really too lazy to even copy-paste all that (mostly because of the GENIUS music composers that the list contains). It seems to be an album where T-Series has very little say in what songs to include and what to not, because it has turned out very BAD, frankly. So my review for it will be written with the same amount of interest that the composers have seemed to put into the making of the songs; be ready! 😀 Also look out for many lines where you can point out how irritated I was with the composers as I went through this unnecessarily loooooonnnnnggggg album!


1. Tutti Bole Wedding Di
Singers ~ Meet Bros. Anjjan & Shipra Goyal, Backing Vocals by ~ Ambresh, Ved, Ashish, Ruchir & Bipin, Music by ~ Meet Bros. Anjjan, Lyrics by ~ Kumaar

To open up this grand album, we have a wedding song that tries to be grander than it should. Larger-than-life arrangements coupled with a staid band-baaja tune is something that is doomed to fail. The Bollywood audience has already had enough of the wedding themes in the 90s and early 2000s itself, and another song along the same lines, without any hint of innovation or evolution is definitely not going to all of a sudden change the mind of the public. Meet Bros. Anjjan, releasing one of their pre-split songs, must’ve been too over-excited after getting a song in such a big-budget movie, that they lost their senses halfway through the process of making it. The stale pe-pe-pein template, a must in Bollywood wedding songs, makes an appearance in this song as well, and it couldn’t have got any more clichéd than this. I have to admit, the good recording and arrangements do give some reason to hear the song despite the boring composition. Meet Bros, making a smart move by not hiring Mika for the song, have also avoided another chance of making the song sound even more stereotypical. Their voices sound way better than Mika would have sounded! Shipra also sounds good in her parts, but again, could’ve added a bit more energy to hear voice. On the arrangements front, dholaks, tumbi, flutes, trumpets and all the other wedding instruments don’t shy away from making appearances at least once in the song. A guitar interlude before the second antara, is worth paying attention to, though! Kumaar’s Hinglish lyrics are neither catchy, nor do they generate any interest in the listener, which is normally the case with Hinglish lyrics. Towards the end, a tempo increase makes things livelier but not at all interesting, and it ends up sounding like a mess! Not an impressive start to the album by Meet Bros. Anjjan!! Arrangements are what makes it tolerable, or else you better just go hear some 90s wedding song — it would be more enjoyable!

 

2. 20-20
Singers ~ Anu Malik, Mamta Sharma & Shadab Faridi, Music by ~ Anu Malik, Lyrics by ~ Manoj Muntashir & Shabbir Ahmed 

Anu Malik enters the soundtrack with the second track itself, as if trying to say, “Fear not, I’m here!” But then, does it even apply here? Earlier this year, he gave us a great soundtrack in ‘Dum Laga Ke Haisha’, composing songs that both catered to the audience as well as suited the theme of the movie. He had to compose in 90s style there, as the film was set in the 90s. But does that mean he should eternally compose as if it is always the 90s? Because apparently, he seems to be under the impression that what worked 20 years ago, will work even now, even though not required in the film. So, he churns out a song that seems to have been rotting in his music bank ever since he debuted! Right from the beginning, you instantly feel that you are in that era when stupid lyrics and a “catchy” tune would work no matter what. The arrangements make sure you feel that way. And what should I say about the composition? I’ve already said it sounds like a stale 90s item song, and that is it! Nothing more, nothing less. Add Mamta Dharma’s annoying vocals to it, and crude interruptions from Anu himself, and you can increase the cheapness value by infinity! :/ The only one who seems to shine as far as vocals go, is Shadab Faridi (that too, backing vocals!) And his is the only part I liked! About the lyrics, I would say that I never expected Manoj Muntashir to participate in such a song; Shabbir is at least imaginable! Watching a 20-20 cricket match a thousand times would be a more productive work than listening to this thing which has been unfortunately called a “song”! SKIPPPPP!

 

3. Welcome Back (Title Track)
Singers ~ Mika Singh, Geeta Jhala & Music MG (Milind Gaba), Music by ~ Mika Singh & Music MG (Milind Gaba), Lyrics by ~ Music MG (Milind Gaba)

Of course, the title track of ‘Welcome’ was one of the main attractions in the soundtrack and so, as is Bollywood’s regular convention for a sequel, a remake of the title track is mandatory, isn’t it? So here, Sajid-Wajid’s catchy title track is bestowed into the hands of Mika and Milind Gaba, to try and make it more attractive for today’s audience. If you ask me, well, the two have done their job well, and have to be given credit for it! And by ‘it’, I mean turning the song into a complete club song with club beats and the stereotypical club sound and spoiling it. And also ordering everybody to jump while listening to it, even though what they’ve done isn’t even enough to make anybody react in any way whatsoever. It’s pretty much how you sit in history class, expressionless. Mika’s part that goes “Lachke…” is so irritating, that you keep waiting for it to get over, and when it is over, Music MG kicks in with a super-annoying rap, which will not surprise you even though he says it very fast. Geeta Jhala’s voice is one of those thousands of female voices these days that are programmed to suit the club atmosphere, and we never get to know what they really sound like! The beats are totally techno beats and might offer some respite from the obnoxious lyrics and tune, but just some. Sajid-Wajid should hear this, and laugh at Bazmee. Only good for clubs and functions, where half the people don’t even care or know what song plays!

 

4. Meet Me Daily Baby
Singers ~ Siddhant Madhav & Pawni A Pandey, Backing Vocals ~ Hyasinth D’Souza, Music by ~ Siddhant Madhav, Lyrics by ~ Arafat Mehmood

Till now, we have heard three songs of the album, all three by established and well-known people of the industry, Meet Bros Anjjan, Anu Malik and Mika Singh. None of them really impressed me as such. So when the next song happens to be by a newcomer, naturally my reaction would be something like “Woah! Wait a minute! You mean to say that you’re gonna make me hear a song by a newcomer, after three atrocious songs by non-debutants? How do you expect me to trust you there?!” So I start listening without many expectations. Imagine how surprised I must have been when the song started in a funky, groovy and catchy way! Trumpets and other brass instruments welcome us into the song, and in a really catchy and addictive way. Pawni, whose voice has matured to the fullest by now, starts singing some English lines which don’t really matter as far as what they mean is concerned. The actual song starts when Siddhant Madhav, the composer comes behind the mic and sings his lines in a voice resembling that of Neeraj Shridhar a lot. The composition has been done with care and time, and that’s why I guess it has at least some power to grasp you. Everything is fine until the hookline comes which sounds really cheap and amateur, what with the bad blend of English and Hindi. The lyrics just keep getting worse in the antaras, with phrases like “you know na tere bin main kitni adhoori”, “Within a second tooney Ki Dil Ki chori” and other mixes of Hindi and English we would never even think of using in day-to-day life. Arafat Mehmood seems like another Shabbir Ahmed in making. Siddhant’s arrangements are really engaging, with a slight Latino touch to them, thanks to the wonderful brass instruments, guitars and other techno elements working in favour of the same. As far as the singers are concerned, Siddhant sounds a bit old at places, but that’s the requirement of the film (watch the video — he’s singing for Anil Kapoor and Nana Patekar, so…. You get it!) Pawni sounds as cheap as cheap can get in some places, kind of overdoing the accent when she has to sing some English words. Both the singers put unnecessary extra stress on the word “Baby” everytime they sing it, and they say it so many times in the song, it sounds like an overdose of babies. And the way they say it, it sounds like “Bayybaa”. 😒 Overall, one of the better songs of the album, but sometimes overflowing with cheapness. Anyways, since it’s one if the better songs, I would say, don’t underestimate the power of a newcomer!

 

5. Time Lagaye Kaiko
Singers ~ John Abraham & Anmol Malik, Music by ~ Anu Malik, Lyrics by ~ Nitin Raikwar

Those guitars start the song, and I immediately think of Salman Khan’s ‘O O Jaane Jaana’ for some reason. I guess the guitars have been played in a similar way in that song too. 😂 Anyways, this song is the second song by Anu Malik on the soundtrack, and is another one of the decent ones on it. The guitars have a pretty soothing effect, and the composition is tolerable too. But only until the singers don’t kick in. Because when they do, you might get confused and ask, “These are singers?” Well, I’ll tell you. The male voice isn’t that of a singer. It’s an actor. John Abraham singing his first song. Hello John, just because Salman, Alia, Shraddha et al are singing songs in their movies, it doesn’t mean that it’s compulsory for you! He has sung the song, and just had his voice programmed to try to make it sound good, but it doesn’t even sound good. And Anmol, who’s supposed to be a singer, sounds utterly atrocious, trying to torture us with that deliberate nasal twang in her voice. Shruti Haasan should’ve sung it, for all there was, because she’s featuring in the video. At least she would’ve sounded better. Anu Malik has rescued the song from doom by adding interesting guitar arrangements, though, so as long as you hear it by your own will, it’s all fine. The beats aren’t really captivating, by they’re not bad either. One con about the song is its duration, which is well over five minutes, and that is pretty much unbearable for such a song. Nitin has penned lyrics as if an actual tapori is singing. He has added that Mumbaiya language to the words and messed up English, to put in that effect. Nothing great, but just perfect to suit the visuals and situation, I guess. The composition is good at places, but the listener would lose interest in the antaras. But for the extremely stretched length, and the atrociously bad vocals, this one is pretty good!

 

6. Nas Nas Mein
Singers ~ Shabab Sabri, Rani Hazarika & Meet Bros. Anjjan, Rap by ~ Deane Sequiera, Music by ~ Meet Bros. Anjjan, Lyrics by ~ Kumaar

Meet Bros. Anjjan return for their second song, and it takes the form of a gangster party track. Who knew gangsters partied with sinister music and I-wanna-kill-you type music? :p The song starts with a tune played on a really high-pitched horn or something like that. Deane says her rap portions, which really sound like a witch is singing them, thanks to their sinister feel. Techno sounds accompany her, which might make you groove for some time initially, but gradually the whole setup gets awfully boring and it starts sounding too monotonous. Shabab tries his luck at the club genre, and gets it right here, too. He sounds really great in this type of song. The antara sounds better, because it is slightly slower and calmer, plus Shabab shows some of his classical finesse in the notes of the antara. Rani Hazarika gets her one line only in the antara, one line in each of the two antaras, and when she says it, it sounds so much like a man at first, that you can’t make out the difference between her voice and Shabab’s. Deane’s second rap portion in the second interlude is much better than the one she got in the prelude, and keeps listeemers listening at least till the second antara. Meet Bros. Anjjan’s composition is a tad bit too grim and dark, and it sounds really over-the-top at places, and it gets the listener thinking, “Hasn’t Bollywood gotten over the days when gangsters used to party in clubs like this?” Because such songs were pretty common once upon a time. It just sounds outdated in today’s era. Lyrics are good, and suit the composition, with just as much grimness as the tune. The evil feel could have been slightly milder! Wonderful vocals by Shabab are the only attraction here!

 

7. Damaa Dam Mast Kalandar
Singers ~ Mika Singh & Yo Yo Honey Singh, Music by ~ Mika Singh & Yo Yo Honey Singh, Lyrics ~ Traditional, Additional Lyrics by ~ Kumaar

This song really has the capacity to keep you moving and grooving to the music for as long as it plays, for four minutes. Yes, it has the names of two of the people whose songs I rarely like, Mika and Yo Yo Honey Singh, but this time, I’ve got to admit, they’ve co-composed something really funky yet divine! And that’s another rendition of the classic traditional song, ‘Damaa Dam Mast Kalandar’. I know the composition can’t be credited to them wholly, but the arrangements they’ve done are spectacular! Funky club beats grace the entire composition, and the awesome bass effect enhance the sound even more. Mika always sounds really sweet and awesome when he sings this song, be it under Shankar-Ehsaan-Loy’s direction in D-Day, or this one that he designed with Yo Yo Honey Singh. If you remember, they had released this as a single two years ago, and it had become a rage, playing on TV and radio numerous times. But in this time, it seems to have been forcefully thrust in, just because of lack of a superhit song in the album! Yo Yo’s parts are really low-pitched, and one of my favourite parts in the whole song! It sounds so divine, the way he kind of raps-cum-chants the words he has to sing. The lyrics are mostly the same from the original song, with additional verses written by Kumaar, like what Yo Yo has to sing. Something that I find tough to digest — the best song in the album is a remake, and that too, by Mika and Yo Yo, and the only #5StarHotelSong!!!

 

8. Welcome Back (Theme)
Singer ~ Abhishek Ray, Rap by ~ Abhishek Ray, Music by ~ Abhishek Ray, Lyrics by ~ Manvendra

The last song on the soundtrack (finalllyyy! — that seemed like eons!) is an utterly atrocious trying-to-be-too-cool kind of track, which calls the Welcome Back Theme. It consists of Abhishek Ray singing.. Or belching out words that don’t make an ounce of sense together, and they just seem to have been placed in the song to make it sound cool. The arrangements are bad except for when the tablas play occasionally. Female vocals keep saying “Woahh-ho-hoaa” throughout the song. Manvendra (who’s DAT?) didn’t have much to write here, just the most idiotic lines that could ever cross his thoughts. What an UNINTERESTING ending to this almost neverending album!


Welcome Back is an album that is a disgrace to Bollywood music. Neither does it contain anything original and good (because the best thing in it is remade), nor does it contain anything someone would want to come back and here multiple times. All the song have pathetic lyrics, most have bad vocals, and some even have bad arrangements. Only one song is perfect in all departments, that too is a remake. The album to its prequel also still sounds fresher than this album itself! :\ That says a lot! It  is an album that doesn’t deserve any special welcome at all! It really needs a farewell, however, from our playlists!

 

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

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

Recommended Listening Order: Damaa Dam Mast Kalandar > Time Lagaye Kaiko > Tutti Bole Wedding Di > Meet Me Daily Baby > Nas Nas Mein > Welcome Back (Title Track) > 20-20 > Welcome Back (Theme)

 

Which is your favourite song from Welcome Back? Please vote for it below! 🙂

 

 

16th MUSIC MASTANI MONTHLY AWARDS (AUGUST 2015)

A short awards session, for August 2015, taking place in October 2015 — Sorry! 😛

Let’s jump right into it!

 

16th Music Mastani Monthly Awards

♪ MAIN AWARDS

• Singer of the Month (Female) : Shreya Ghoshal for Gaaye Jaa – Female Version (Brothers)

• Singer of the Month (Male) : Shahid Mallya for Nachda (Phantom)

• Composer of the Month (Song) : Himesh Reshammiya for Tu Milade (All Is Well)

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

• Album of the Month: Phantom (Music by: Pritam Chakraborty; Lyrics by: Amitabh Bhattacharya & Kausar Munir; Singers: Syed Asrar Shah, Akhtar Channal, Arijit Singh, Nakash Aziz & Shahid Mallya; Music On: T-Series)

• Musical Jodi of the Month (Best Duet) : Neeti Mohan & Sonu Nigam for Sapna Jahan (Brothers)

• Lyricist of the Month: Amitabh Bhattacharya for Sapna Jahan (Brothers) AND Puneet Krishna for Maula (Bangistan)

 

♪ SONG AWARDS

• Best Romantic Song: Sapna Jahan (Brothers)

• Best Dance Song: Afghan Jalebi / Ya Baba (Phantom)

• Best Sad Song: Gaaye Jaa (Brothers)

• Best Club Song: Saturday Night (Bangistan)

• Best Classical-Based Song: Maula (Bangistan) AND Gaaye Jaa (Brothers)

• Best Song With A Western Influence: Saturday Night (Bangistan) AND Brothers Anthem (Brothers)

• Best Song With A Folk Influence: Afghan Jalebi – Dumbek Version (Phantom) AND Ishq Karenge (Bangistan)

• Song With Best Use of Fusion: Ishq Karenge (Bangistan)

• Best Backing Vocals: Chaar Shanivaar (All Is Well) AND Saturday Night (Bangistan)

• Best Sound-Effects in a Song: Nachan Farrate (All Is Well)

• Best Retro-Styled Song: Sapna Jahan (Brothers)

• Best Humorous Song: Chaar Shanivaar (All Is Well)

 

♪ SPECIAL AWARDS

• Bandar Kya Jaane Adrak Ka Swaad (Best Album That Went Pretty Much Unnoticed OR Most Underrated Album) : Bangistan (T-Series) AND Phantom (T-Series)

[Both equally good and equally underrated, unfortunately!!]

• Newcomer of the Month

– Newcomer of the Month (Singer – Female) : N/A

– Newcomer of the Month (Singer – Male) : Akhtar Channal & Syed Asrar Shah for Afghan Jalebi (Phantom)

– Newcomer of the Month (Composer) : N/A

– Newcomer of the Month (Lyricist) : Puneet Krishna (Bangistan)

• Best Music Label: T-Series (Phantom, Bangistan, All Is Well)

• Most Unusual, But Awesome Choice of Singer(s) : Akhtar Channal for Afghan Jalebi (Phantom)

 

Thanks for reading another awards post, even though it is extremely late! 🙂 Hope you agreed!!

PRITAM’S MUSICAL MASTERPIECE!! (PHANTOM – Music Review)

Music Album Details
♪ Music by: Pritam Chakraborty
♪ Lyrics by: Amitabh Bhattacharya & Kausar Munir
♪ Music Label: T-Series
♪ Music Released On: 10th August 2015
♪ Movie Released On: 28th August 2015

Phantom Album Cover

Phantom Album Cover

 

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

To buy this album on iTunes CLICK HERE


Phantom is a Bollywood action thriller film, starring Saif Ali Khan and Katrina Kaif in the lead roles. The film is directed by Kabir Khan, fresh from the success of his ‘Bajrangi Bhaijaan’, and produced by Sajid Nadiadwala and Siddharth Roy Kapur. The film is loosely based on Hussain Zaidi’s novel, ‘Mumbai Avengers’, which was based on the aftermath of the 26/11 attacks on Mumbai. It opened to mixed reviews from the public, but what have I got to do with that?? I’m only concerned about one thing — the music! And the music for this film is by none other than Pritam Chakraborty, working with Kabir Khan for the second album in a row! After the commercial success of both the album and film ‘Bajrangi Bhaijaan’, I couldn’t wait to see what this one had to offer. Also, this was the last album Pritam had composed before going on that long one-year break, which interestingly released after ‘Bajrangi Bhaijaan’! 😀 The album consists of three songs, with one of them appearing in four versions, so one hopes that since not quantity, it will definitely offer the be in terms of quality! Short soundtracks in Bollywood have usually proved themselves this way! So, let’s tale a look at what Pritam has to offer to the music lovers out there, with this short soundtrack! 🙂


1. Afghan Jalebi (Ya Baba) / Afghan Jalebi (Film Version) / Ya Baba (Fitna Farebi) / Afghan Jalebi (Dumbek Version)
Singers ~ Syed Asrar Shah & Akhtar Channal / Akhtar Channal / Nakash Aziz / Akhtar Channal, Lyrics by ~ Amitabh Bhattacharya

Pritam discovers a new singer, from Pakistan and gets him ready for a grand debut in Bollywood with this song. Syed Asrar Shah, or simply Asrar, has been roped in to do the honours with this song, and another man who we’ve heard in Coke Studio, Akhtar Channal accompanies him. The song is a whacky, zany song with those exotic Arabic arrangements and even the tune screams Arabic all the way. Claps and other techno arrangements grace the song in places. And not to mention the flute! It is what steals all your breath away! Wonderfully crafted! The first version, Ya Baba, has been laid on techno sounds, whereas the film version has a slight inclination towards rock and also folk, and the third version by Nakash has different lyrics but similar arrangements, while the last “Dumbek Version” is the one that intrigued me the most, with Pritam’s use of simply Afghani folk instruments. In all versions the singers excel, except in Nakash’s version, it seems that he was drained of all his energy before starting the recording. That makes it pretty dull, which isn’t ever expected from Nakash. The song is recorded such that it sounds as though the singers are actually singing live at some function on a mic. The tune is something that makes you say in an instant, “Bhai Waah!” Amitabh’s lyrics are just as zany and crazy and catchy and make a good camaraderie with the tune. All I can say is that, the superhit machine, Pritam, is now back in the true sense!! #5StarHotelSong!!

 

2. Saware
Singer ~ Arijit Singh, Lyrics by ~ Amitabh Bhattacharya

I’ve said it time and again, and here I’ll end up saying it again — there’s no one better than Pritam to bring out the best from Arijit. Leaving us before his year-long break with the album ‘Holiday’ containing three great songs by Arijit, all of different genres, and not using him in ‘Bajrangi Bhaijaan’ after that, it is fair enough that he gives him a chance in this album. And that, he does! The first time you hear the song, you might not think that it is something extraordinary and might connect it to some of the other songs that have been releasing nowadays that fall into the same category of soft rock romantic ballads, sung by Arijit. But as you keep listening to it over and over again, you will definitely find something special in this song. The tune is way more deep and emotional than that superficially wannabe emotional tune that most of Arijit’s songs have lately. It touches the heart and makes you feel wonderful. Instrumentation by Pritam is no less beautiful. It starts off very entrancingly, and proceeds just as soothingly, with minimal arrangements until the first hookline is reached, when the impactful soft drums and guitars enter. Arijit’s voice sounds perfect for the song, and even though it is tailor-made for him, the song doesn’t invoke any feelings of disgust at him for singing the similar type of songs. Pritam’s composition is melancholic and very appealing, especially in the second antara, which has a different tune as the other stanzas of the song, more intense and soothing. The beautiful electric sitar before that stanza is sure to make those goosebumps instantly appear on your skin! Amitabh has yet again written unique words, something that most people wouldn’t really think of soon, and it shows that he must’ve taken some time to crack the lyrics, even though he is the literary genius that he is! Though the song stands over five minutes, it doesn’t seem like it is over when it is, because you just want to play it over and over on loop until you get satisfied, which I guess would be never!! Arijit and Pritam are an eternal combo, which can never go wrong, and they prove it yet again in this song!! Haunting!! #5StarHotelSong!!

 

3. Nachda
Singer ~ Shahid Mallya, Lyrics by ~ Kausar Munir

The third (and last — :O ) song in the album makes it presence felt with a very unusual title for a song in such a movie — ‘Nachda’. One finds himself wondering what for such a name might be needed for a song in a political thriller film. Everything, however, gets cleared once the song starts. The song itself is a song with a captivating, thrilling tune, that plays on loop throughout the song, not sounding monotonous even for one moment inspite of the repetitions! Shahid Mallya, who had been brought into the limelight by Pritam himself four years ago with ‘Rabba Main Toh Mar Gaya Oye’ (Mausam), joins hands with Pritam again after many collaborations after that, and together, they give us a track that is worth cherishing, due to the thrilling and hooking tune that Pritam has so expertly crafted. The intense and haunting antaras are the only parts when the tune diverts from the otherwise ever-prevailing loop tune that makes up the whole song, and makes for a pleasant diversion from that hook tune. Especially the high-pitched first antara, gives you the chills that run down your spine. Pritam also scores full marks with the orchestration, with the Arabic-flavoured Oud taking the predominant role in the arrangements, only to be supported by other instruments occasionally, like the wonderfully pleasing Middle-Eastern percussion and electric guitars. The song is the only song not written by Amitabh Bhattacharya in the album, instead, it has been penned by Kausar Munir, another lady who can’t stop impressing with her words, following Priya Saraiya closeby. She uses pure Punjabi words to convey her thoughts, and ends up conveying them very effectively. Something very devotional and spiritual is hidden behind those words that she has written, making the song sound really powerful. A perfect song to end the album with, and also my personal favourite from the album! Haunting, captivating and a very effective grand finale to a short album! #5StarHotelSong!!!


Phantom is the true comeback of Pritam — the Pritam who I remember had gone on a break, who would churn out catchy yet melodious music with a snap of his fingers. And this album seems to be a collection of just that! Pritam at his best, with all the songs appealing and catering to a certain portion of the audience — ‘Afghan Jalebi’ and its variants for the masses, ‘Saware’ for the lovebirds and ‘Nachda’ for the classes. With such a short soundtrack, it was sure that the songs wouldn’t have much to do with the promotions, and have been placed only for valid reasons. However, the one massy song has managed to gather the popularity that it required! After a totally massy ‘Bajrangi Bhaijaan’, with Pritam not quite into his regular form, this ‘Phantom’ proves that the former Pritam is still there, just waiting for yet another masterpiece to deliver!! A masterpiece by Pritam, haunting and thrilling to the core!!

 

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: Nachda > Saware > Afghan Jalebi (Dumbek Version) > Afghan Jalebi (Film Version) > Afghan Jalebi (Ya Baba) > Ya Baba (Fitna Farebi)

 

Which is your favourite song from Phantom? Please vote for it below! 🙂

 

And once again, thanks for bearing with me — I know how EARLY I’ve posted this review! 😝 🙂