UTTERLY UN’POSSESSIVE’!!! (1920 LONDON – Music Review)

Music Album Details:
♪ Music by: Sharib-Toshi, Kaushik-Akash (JAM) & Shankar-Jaikishan
♪ Lyrics by: Kunaal Vermaa, Hasrat Jaipuri, Sharib-Toshi, Kaalim Sheikh, Azeem Shirazi & Prashant Ingole
♪ Music Label: T-Series [‘Gumnaam Hai Koi’ on Saregama]
♪ Music Released On: 21st April 2016
♪ Movie Releases On: 6th May 2016

1920 London Album Cover

1920 London Album Cover

 

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

To hear ‘Gumnaam Hai Koi’ on Saavn CLICK HERE

To buy this album on iTunes CLICK HERE

To buy ‘Gumnaam Hai Koi’ on iTunes CLICK HERE


1920 London is an upcoming Bollywood horror flick. It is the third installment in the “dreaded” 1920 franchise, and stars Sharman Joshi as the exorcist, Meera Chopra as the wife of the person who is possessed, and Vishal Kharwal as the person who is possessed. 😛 The film is written by Vikram Bhatt, and directed by Tinu Suresh Desai, who was supposed to debut with the upcoming Akshay Kumar flick, ‘Rustom’, but this happened to release first. The film is produced by Reliance Entertainment. There’s no point discussing the story, because there will be a twist somewhere or the other, so let’s move on to discuss about the music. The music has been composed by Sharib-Toshi (Now to be credits as Shaarib and Toshi) who haven’t really impressed highly with their previous works (maybe a bit in ‘Zid’ and ‘Jashnn’). Hopefully, this might be their best album, going by the music of the first and second parts of the franchise. The duo has three songs in the album. Debutants Kaushik-Akash are the guest composers, with two songs, representing a company known as JAM (Just About Music) which has been founded by Pritam. It is an A&R (Artists & Repertoire) venture by Pritam, under which he will launch new music directors and look after their development in the industry. This is his first go at the venture, and hopefully, it turns out successful, so that he will be motivated to introduce more newbies and we will get many new, talented composers! 😀 So, here I start hearing the music of ‘1920 London’ with great expectations! Let’s hope the music keeps up to expectations!


♪ BONUS SONG

♦ Gumnaam Hai Koi
Singers ~ Jubin Nautiyal & Antara Mitra, Original Song’s Singer ~ Lata Mangeshkar, Music Recreated and Composed by ~ Kaushik-Akash, Original Composition by ~ Shankar-Jaikishan, New Lyrics by ~ Kunaal Vermaa, Original Lyrics by ~ Hasrat Jaipuri, Music Label ~ Saregama

Saregama is still at its silly behaviour, claiming rights to their old songs, if remade. That’s absolutely right, but kinda irritating by now. 😛 Anyways, they should be proud of the wonderful collection of songs they have in their kitty and the first song of the ‘1920 London’ album is yet another one of such famous old songs from them. This time, since it is a horror movie, nothing could’ve been better than this song to pick, and the makers have chosen it perfectly. The song I’m talking about is the haunting old song composed by maestros Shankar-Jaikishan, and sung by none other than Lata Mangeshkar, ‘Gumnaam Hai Koi’ (Gumnaam). And the newcomers Kaushik-Akash get a chance to put forth to the world, their version of the classic haunting song. They get the general idea, which is to make the song haunting and totally ghoulish, right. The starting itself is wonderful with all kinds of sound effects — wind, screeching bats, and a whole lot of weird ghostly whispers. Antara starts the song with a line that sounds more of a backing vocal line. Once Jubin starts singing, you definitely will get goosebumps. His smooth voice has the right amount of haunt and romance and even dominance. He touches the high notes with such ease, it is hard to imagine. The duo has beautifully crafted his part of the song, which is their own composition. The only thing retained from the old song is the hookline, and that is helmed by Antara, not sounding like herself thanks to the heavy programming of whispers, trying to make her sound like a ghost, but kind of failing. I would’ve preferred it if she would’ve been allowed to sing freely without any programming done to her voice. Nevertheless, it has been sung great, in a whispery voice and I guess it was necessary to make it sound more scary. The duo has composed Jubin’s parts perfectly, and they’re the best parts in the song. The mukhda hooks the listener, while the antara does the job of not letting go, which means the attempt has been successful. Kunaal Vermaa (‘Hasi’ — Hamari Adhuri Kahani fame) writes nice lyrics here, but I can’t make out whether they’re romantic or haunting or both. The duo excel in the arrangements. As mentioned earlier, various sound effects grace the song, and it sounds awesome. They send chills down the spine, but of course it isn’t exactly spooky; after all, it is a song. Piano and strings gracefully lead the arrangements, while the rest is digital stuff. Owls, bats, ghouls form the sound effects part of the song, and it is commendable. A great first attempt for Kaushik-Akash, and a decent revamp of the classic. Jubin excels, while Antara gets very less scope to open up!


Now, the review of the ‘1920 London’ album, released by T-Series, consisting of four songs, with three by Sharib-Toshi and one by Kaushik-Akash. 🙂


1. Aaj Ro Len De
Singer ~ Sharib Sabri, Music by ~ Sharib-Toshi, Lyrics by ~ Sharib-Toshi & Kaalim Sheikh

The first song in the album starts off with a beautiful Middle-Eastern feel of the oud, starting off the song on a high. Sharib-Toshi go the familiar way, composing a song quite similar to all their previous works of this genre. I couldn’t help but think of all their other works. It is a romantic song with a very heavy melancholic touch. To be honest, I am already very tired and sick of all this from the duo. The hookline, though repetitive and typical, however, foes garner some interest from the listener, as do all of Sharib-Toshi’s melodies. It is in the parts surrounding the hookline, where the problem lies. Nothing has been composed in a very likable or catchy tune; in fact, it exhausted me to hear the song, which is just less than five minutes long (too long when the song has nothing new to offer!) The mukhda might interest listeners, but the interest wears off until the antara. Sharib’s voice is good, but I would’ve preferred somebody else to sing this song. His voice seems too soft and rustic for the composition, which hasn’t worked in its favour, sadly. The duo really works hard to make up for the lack in melody, by giving wonderful, awe-inspiring arrangements! The arrangements are something which I haven’t heard recently! With an Indian and Middle-Eastern touch, they touch the heart and sound really grand — the aforementioned oud, various string instruments, and I think a santoor, if that’s not the oud itself, being played on a higher note. The lyrics are exhausting and boring, too, trying to be too fancy. I wonder what Sharib-Toshi wrote and what Kaalim Sheikh wrote. 😁 This will be liked only by those who love the typical Bhatt-ish songs. I’m so drained out after hearing this song! 😦 A very disappointing start by the duo.

 

2. Rootha Kyun
Singers ~ Mohit Chauhan & Payal Dev, Music by ~ Sharib-Toshi, Lyrics by ~ Azeem Shirazi

The next song in the album does start off quite promisingly. As I have said before, piano notes are a wonderful way to start off a song. They have the power to grab the attention of the listener from the beginning of the song. This time, Sharib-Toshi do just that. They use the very diplomatic piano to lure listeners into the song. However, once the listeners are lured inside, the trap is quite pleasant. Unlike my expectations after hearing ‘Aaj Ro Len De’, this song fares better. Mohit Chauhan is a safe choice taken by the composers. He sings the heard-before-yet-appealing composition beautifully. Especially the way he sings the hookline, is impressive. Payal gets to sing the second antara along with the hookline. Let me say it takes time to get used to her voice there. She seems to have used an unnecessarily high-pitched voice, trying to ape Sadhana Sargam, but after a listen or two, it starts sounding beautiful, and then it seems nobody could have done better. i don’t know how that happened because until I wrote this, I had only heard the song once and didn’t like her voice, but now suddenly started liking it. Sharib-Toshi get it right with the composition, and play  it safe there too. Though typical, it is pretty catchy, unlike the first one, which only had a catchy hook. But this song has the mukhda and antaras catchy too. The main reason for the catchiness has to be the fast pace of the song, which does make a huge difference. The hookline has been composed really well, and as I said before, sang just as well by Mohit and Payal, later on. Again, arrangements are fabulous. I remember Sharib-Toshi’s fab arrangements in ‘Zid’ as well, and it is great how they always pay attention to their arrangements, though their compositions might not be so strong. Here, they have equally balanced both. The arrangements are a good mixture of a string orchestra, rock elements (guitars and drums), digital sounds and sparkling Indian instruments like the santoor. Azeem’s lyrics are typical too, but still go well with the song and sound good, so that’s is passable. When typicality meets genius, it sounds like this. A safe song from all angles! #5StarHotelSong!!

 

3. Tujhko Mein
Singer ~ Shaan, Music by ~ Sharib-Toshi, Lyrics by ~ Azeem Shirazi

Here Sharib-Toshi try to do what I’ve been ranting and rambling on about — something that isn’t the typical horror Bhatt-ish stuff. They rope in Shaan for this, and you will understand why, after you hear the song. Sharib-Toshi have composed a happy-go-lucky, sugary-sweet song, which tries so hard to be romantic without getting melancholic. The result? The duo fails miserably even there. The sweetness is overdone, just like an over-ripe fruit. Too sweet, and you start feeling nauseated. The same is the case with this song. The composition falls into the same category of songs which Shaan is getting nowadays, that sound pretty mild and kiddish. He does well, no doubt, but it has gotten boring hearing him sing the same types of songs, with no variations at all. In the hookline he sings “main aankhon mein” in a very irritating manner. Sharib-Toshi do try hard to  give a good composition, but as I sad, it sounds too goody-goody, and artificial. With the composition and vocals not making a deep impact, we can only expect the duo to add great instrumentation, but sadly, the arrangements here are pretty clichéd and banal. What with the seemingly forced finger snaps, and other weird digital beats. Guitars and the saxophone try to normalise things, but to a limited extent. A synthesiser tries to impress in the first interlude, but even that does not work. There is nothing new in the arrangements, and if the duo wanted to make an outstanding romantic track, there are many things they could have added to the otherwise boring composition. It is high time they realise that things have changed since their debut in ‘Raaz: The Mystery Continues’ in 2009, seven years ago, when all this seemed appealing. Azeem Shirazi’s lyrics are plain and simple, but not backed by a strong composition, they fall flat on their nose, if they have one. 😛 I wanted the duo to do something different. They did. But not very impressively. It is called Typicality in Experimentation.

 

4. Aafreen
Singers ~ K.K. & Antara Mitra, Music by ~ Kaushik-Akash, Lyrics by ~ Prashant Ingole

The newcomer duo comes back to finish off the album with their second song, a romantic duet. The song does have a heard-before tune, but it has been crafted so well, that it manages to appeal to the ears, and fits into the category of breezy romantic songs Bollywood used to produce in wholesale, until those melancholic romantic songs started arriving in bulk. So, this song provides a great respite from those melancholic songs of these days. Unlike ‘Tujhko Mein’, this is a great example of how such a song is done. Kaushik-Akash score with the composition. The distinct Pritam-ish touch is omnipresent in the song, and it sounds good. The hookline does remind of Salim-Sulaiman’s method of composing romantic hooklines, and is quite pleasant itself. As with the composition, the duo has made a great choice by roping in K.K. to do the male vocals. This is his territory, and he rules in such songs, as is evident in the song. Antara does seem out of place, and to be extremely honest, Tulsi Kumar would have carried it out beautifully too, as she has sung such songs before. Antara gets more scope to open up in this song than ‘Gumnaam Hai Koi’, but still she sounds too artificially sweet. It is all the fault of her having different voices in each song. Her parts have been composed beautifully, though, doing half of her job for her. The arrangements are mostly techno sounds, but electric guitars and a faint string orchestra are audible. The fingersnaps sound good in this song. In the line just before the hookline, a wonderful church-like choir joins in with great harmonious backing vocals. Prashant Ingole’s lyrics, which would seem dull and typical otherwise, are definitely saved by the composition. At last the finale is great, with the duo showing a lot of promise. Great for a debut! Vocals and composition holds all the magic! #5StarHotelSong!!


As much as I was expecting, 1920 London isn’t even half as good! The newcomers from the A&R project fare well, even if I don’t consider that it is their debut. While on one side, with the remake of ‘Gumnaam Hai Koi’, they give a quite hellish composition, on the other side they give a breezy, heavenly composition with ‘Aafreen’. Sharib-Toshi, the more seasoned artists of the two, however, disappoint. They stick to their old templates, out of which luckily, one turned out to be exceptional, while the other two are extremely avoidable. In 2014, when the duo had claimed that ‘Zid’ was their career best, I ignored it as it was unbelievably ordinary. But now I think they had said it right. In retrospect, their career best does seem to be ‘Zid’. Horror films are seemingly their forté, seeing their albums, but here they disappoint. And thoughh the newcomers do well, neither of their two songs will have a long life; they aren’t that strong either! So overall, the album is full of song that would not grip you, or shall I say would not ‘possess’ you?? 😀 👻👻

 

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

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

Recommended Listening Order: Aafreen > Rootha Kyun > Gumnaam Hai Koi > Tujhko Mein > Aaj Ro Len De

 

Which is your favorite song from 1920 London? Please vote for it below! Thanks! 🙂

 

Next “dish”: Cabaret, Chefs: Kaustav Narayan Niyogi, Munish Makhija & Tony Kakkar

ONLY ONE THING STANDS!! SIMPLICITY!! (ONE NIGHT STAND – Music Review)

Music Album Details
♪ Music by: Tony Kakkar, Meet Bros, Jeet Gannguli & Vivek Kar
♪ Lyrics by: Kumaar, Jasmine Sandlas, Manoj Muntashir & Shabbir Ahmed
♪ Music Label: T-Series
♪ Music Released On: 6th April 2016
♪ Movie Releases On: 6th May 2016

One Night Stand

One Night Stand

 

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

To buy this album on iTunes CLICK HERE


One Night Stand is an upcoming Bollywood romantic thriller, starring Sunny Leone, Tanuj Virwani and Nyra Banerjee, directed by Jasmine D’Souza, wife of Tony D’Souza, the director of films like ‘Blue’, ‘Boss’ and the upcoming ‘Azhar’. The movie is produced by Pradeep Sharma & Furquan Khan. The latest trend of multi-composers for a single album has been followed for this album too, with four composers, namely Meet Bros, Tony Kakkar, Jeet Gannguli and Vivek Kar. I have started hearing the album with very little expectations (just saying), so it’s up to these four to impress me with the music for this movie. Meet Bros have been impressive this year, so expecting more of that from them. Jeet hasn’t quite touched the standards with his two songs in ‘Sanam Re’, but I know he has the potential to even raise the standards, so hoping he does some of his exceptional magic here. As for Tony, he has been going on and off when it comes to giving good songs — I can only hope for the best! Vivek Kar, a relative newcomer, hasn’t really impressed with any of his earlier songs (all for very small-budget films), so I don’t know what to expect from him here. With that, here I go to start hearing the songs of this album!


1. Do Peg Maar
Singer ~ Neha Kakkar, Music by ~ Tony Kakkar, Lyrics by ~ Tony Kakkar

The album starts off with the quintessential Bollywood club song about drinks, to say it modestly. Tony has never impressed me with his upbeat tracks, just because he goes a bit too over-the-top with them. The EDM is always overdone, the composition is always too self-imposing on the listener, so much so that it actually does get stuck in the listeners’ heads, but unwantedly. The vocals are always over-stylish. This song, too, faces the same problems. Tony tries to create something catchy, but it comes across merely as annoying and irritating. right from the beginning, that heavy EDM hits your ears and sounds really cheap, which I’m sure wasn’t what Tony wanted. The mukhda has that really bad “trying-to-sound-cool-but-failing-miserably” feel to it. The first time you hear it, you won’t even think it has a tune. At least the antaras are better on that front, but just a little; the overall sound is still cheap. Tony has employed his sister Neha to sing (or rather, cough) this one. I say ‘cough’ because Neha has used a really weird froggy voice here, sounding as if she has a problem with her throat. Again, trying to be cool. Arrangements are nothing but techno beats and loud bombardments of EDM. Even Neha, who usually sounds so energetic in her songs, seems to be bored here. The less said about Tony’s lyrics, the better. It isn’t something he will look back to fifty years later and say, “What a soulful piece I’d penned down!” However, there is one thing that happens with this song, and which happens with all such songs — if you keep hearing it, it will infect you and never leave your brain! So stop before that happens. Usually for bad songs, I say stuff like “hear it only for blah and blah”, but this time, there’s nothing for which you should hear it! Just skip it! A cheap start to the album.

 

2. Ijazat
Singers ~ Arijit Singh, Music by ~ Meet Bros, Lyrics by ~ Shabbir Ahmed

The next song provides respite from the harsh opening to the album. Meet Bros step into the album to save the day. Their latest with Arijit, ‘Girl I Need You’ (Baaghi), was excellent, so this one was expected to be on the same lines. However, the two songs are poles apart in treatment and other aspects. Acoustic guitars very responsibly manage the opening of the song, with strings joining. Arijit starts off with a melancholic tune, very Bhatt-ish in flavour, but at the same time, not exhausting at all. As he progresses, all  you can do is drown in the ambience created by Meet Bros and Arijit’s vocals. I think it is the first time Meet Bros have gone completely Bhatt-ish in their composition, and they core full marks. They don’t go too typical, though the hookline is predictable; instead, they come up with a song that has good luck just like some of those songs in Bhatt movies, which are no different from the rest, but just seem better than the rest for some reason. Arijit uses his drowsy voice, but this time, it appeals; I guess due to the sultry composition. The composition is excellent. In the hookline, a wonderful portion where Arijit touches the high notes all of a sudden, has been composed so wonderfully, and sung just as effortlessly by Arijit. It is the part when he sings “Aaadat haiiiii ohhhhhh”. It gave me the goosebumps! Arrangements are like a typical Bhatt song — guitars, strings, piano. The only new addition that is really attractive is the accordion that sounds ever-so-scintillating. You have to hear it in the first interlude, where its use has been made to the fullest. The second interlude is also awesome, with a wonderful strings solo, played in a Hindustani classical way. Shabbir surprises highly with his good lyrics, and he has written some stuff that really sounds very good and even better with Meet Bros’ music. Meet Bros strike gold again, this time with something heard-before and with very few innovation! But they still manage to make it a #5StarHotelSong!!

 

3. Ishq Da Sutta
Singers ~ Meet Bros & Jasmine Sandlas, Music by ~ Meet Bros, Lyrics by ~ Kumaar, Rap by ~ Jasmine Sandlas

This one does start off well. A twinkly sound opens the sound with various cool and addictive techno sounds. Then it sounds like a pop song since the singers tell their own names in the song (that’s so irritating in pop songs!! We read the credits!) However, that doesn’t matter at all. The song is yet another club song, but not exactly out-and-out clubbish, until the line before the hookline. Meet Bros’ song is totally dependent on the arrangements to score well. The composition is weak, with a very small part to like, for example, the line I mentioned which comes before the hookline — “nashe mein aaj phisalke..”. The hookline, too, is enjoyable. Meet Bros’ interruptions are cool, too! They definitely know how to keep the listener from getting bored. So, though the composition is predominantly weak, some parts here and there grab your attention. The arrangements, on the other hand, are just as Meet Bros would have wanted them to be — addictive, catchy and cool! I never like techno arrangements much, but here, Meet Bros have impressed me with it. Piano and guitars along with the clubbish sounds, really sound great! The arrangements really make sure the listener doesn’t get bored even if the composition is weak. Especially the arrangements in the second interlude, before Jasmine’s rap, are too cool. Meet Bros’ part in the song is too catchy, and doesn’t seem forcedly cool at all. I guess they have cool-ness already inside them. Coming towards the vocals, Jasmine doesn’t sound too good. Yo Yo Honey Singh’s find, I didn’t like her in her debut song, ‘Yaar Na Miley’ (Kick) either. Here, she sounds way too masculine, and I wonder why someone like Hard Kaur wouldn’t have worked. Oh, right, she’s older and might not have the same charm as before, right??? :\ (Sarcasm) Kumaar’s lyrics are not good either, but they suit this type of song. Jasmine’s English rap is pathetic. Meet Bros’ not-so-cool composition excellently enhanced by their too-cool arrangements, but destroyed by Jasmine’s trying-to-be-too-cool voice, doesn’t fare so good.

 

4. Ki Kara
Singers ~ Shipra Goyal, Music by ~ Vivek Kar, Lyrics by ~ Kumaar

Vivek Kar steps into the album for this song, which, again, starts off excellently. Guitars and piano make a wonderful start for melancholic romantic songs in Bollywood, and it’s also a commonly used beginning in Bollywood. The song is wholly and solely in Punjabi, written by Kumaar, so there I kind of had a problem understanding half the words. 😅 Vivek’s overall composition is good, but it gets pretty monotonous and boring at a certain point. The pace, for one, is quite slow, and the arrangements are not captivating at all. Though the composition is decent, the arrangements could’ve had the power to lift it up, if only a bit. Shipra sounds pretty good, but in some parts she sounds exhausted, maybe deliberately. She sings in a low voice, which doesn’t sound so good on her. I can’t help but think how good she sounded under the direction of Vishal-Shekhar in ‘Ishq Bulaava’ (Hasee Toh Phasee). The hookline of the song is good, but again, could’ve been more captivating! The arrangements, as I said before, are a bit on the weaker side. Guitars, both acoustic and electric, sound good, and so do the flutes. But almost half the song has very little arrangements, or they are too soft, and so because of the monotonous composition, the song sounds boring in those parts. In fact, the first time I heard it, I couldn’t pay attention to the song at all; it didn’t let me! Disappointing! A song that could’ve been better!

 

5. Le Chala
Singers ~ Jubin Nautiyal, Music by ~ Jeet Gannguli, Lyrics by ~ Manoj Muntashir

Jeet steps in for his one and only song in the album, and how he impresses! Right from the starting piano notes, which are very captivating, to the end of the song, you can forget about everything else except the song. It is a sweet, romantic song with a happy ring to it, unlike ‘Ijazat’, which was a bit sultry. This one will surely appeal to those who love such romantic songs. Jeet doesn’t try to make the song sound too modern, and instead, makes the composition sound a bit dated, but that is the real magic in the song! The hookline is the perfect example of it; it is nothing we haven’t heard before, but it still appeals just because of the simplicity. The mukhda is the ideal start to the song, and works just like a mukhda should, which is to captiavte listeners in the first minute or so of the song. The antaras get a bit of a melancholic tinge, but still, they stand out, because of the 2000s feel. Jeet’s instrumentation is beautiful. Piano and guitars again, with variosu digital beats. Jeet uses both acoustic and electric guitars very well! The way an electric guitar riff plays in the background during the hookline, sounds very great! The first interlude is a wonderful sitar solo, but played in such a way, you almost mistake it for a piano! The second interlude is a great strings orchestra with horns blaring out beautifully. Jubin is an excellent choice for the song, and handles each and every note with his awsome voice that is smooth as cream! 😀 Manoj’s lyrics are beautiful and soulful, just as the song, though simple. Simplicity at its best!! And with this simplicity, the song wins your heart! The best song of the album for me! #5StarHotelSong!!

 

6. Tum Mere
Singer ~ Dev Negi, Music by ~ Vivek Kar, Lyrics by ~ Kumaar

Vivek comes back for the last song on the album, which is a reprise of his first song, ‘Ki Kara’. Unlike ‘Ki Kara’, this one captivates and hooks the listener right from the beginning! I was so surprised by this one! Electric guitars, a few acoustic guitars and a beautiful synthesizer tune start off the song. Dev Negi takes total control over the vocals, and does it with ease and power. The first time I heard it, I didn’t even notice it’s the reprise of ‘Ki Kara’, as I wasn’t able to pay attention to ‘Ki Kara’. The second time I heard them both, I realized that they have the same tune! Vivek gets it right this time, with perfectly captivating arrangements. The electric guitars are very catchy and instantly likable and also noticeable, unlike ‘Ki Kara’. Also, the pace of this song is faster, and it has an overall upbeat tone, unlike the whiny and monotonous nature of the first one. The composition is the same, but as I said, arrangements make a HUGE difference! It makes the composition which was sounding boring and monotonous, suddenly sound upbeat! Dev Negi’s voice is also cool in this one. That high-pitched synthesizer (I think) tune never leaves your head, and keeps coming in the song, so that it establishes a place in your mind. 😀 Kumaar has reprised the lyrics wonderfully, to make them sound more like they’re being sung from a male’s point of view. A good end to the album, and a saviour for Vivek after his other song that had disappointed. #5StarHotelSong!!


Considering that I was expecting really little from this album, Ine Night Stand turns out to be decent. Tony disappoints even more than anything, while Vivek gets it right with one out of two tracks. Meet Bros do well in both tracks, but ‘Ishq Da Sutta’ could’ve had better vocals and composition. Jeet, however, impresses with his sole song, by going on the road of simplicity. I noticed that in this album, all the good songs are really simple compositions, which aren’t anything new, but nevertheless, they appeal! The ones that try to impress going the modern way, lose it some place or the other. Therefore, in this album, only one thing stands, and that is simplicity! 🙂

 

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: Le Chala > Ijazat > Tum Mere > Ishq Da Sutta > Ki Kara > Do Peg Maar

 

Which is your favourite song from One Night Stand? Please vote for it below! Thanks! 🙂

 

Next “dish”: 1920 London, Chefs: Sharib-Toshi & Kaushik-Akash (JAM)

SAIRAT (MUSIC REVIEW): Kolhapuri Tadka (Marathi Special) 🎉🎆

I know, I know! It’s taken me just less than two years after ‘Lai Bhaari’ to come back to review a Marathi album, but the album that has inclined me to do so, is really worth it! 😀 I just couldn’t skip this one! A musical by Ajay-Atul… Nagraj Manjule’s ‘Sairat’!


Music Album Details
♪ Music by: Ajay-Atul
♪ Lyrics by: Ajay-Atul
♪ Music Label: Zee Music Company (Marathi)
♪ Music Released On: 5th April 2016
♪ Movie Releases On: 29th April 2016

Sairat Album Cover

Sairat Album Cover

 

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

To buy this album on iTunes CLICK HERE


Sairat is an upcoming Marathi romantic movie starring newcomers Rinku Rajguru and Akash Thosar in the lead roles. The movie is directed by Nagraj Manjule, director of the National Award-Winning Marathi film ‘Fandry’. The movie is produced by Nagraj Manjule, Nikhil Sane and Nitin Keni. The film has been showcased at the prestigious 66th Berlin International Film Festival (Berlinale). The music is by the talented Marathi music director duo, Ajay-Atul, with their last in Marathi being ‘Nilkanth Master’ last year, which was also an awesome album. Also, the fact that the music was recorded in Hollywood (Los Angeles) makes me even more excited to hear it — it is the first Indian film to have done so!! So, I wouldn’t want to explain much about the film, other than the fact that it has four beautiful songs composed by Ajay-Atul… So here goes!


1. Yad Lagla
Singer ~ Ajay Gogavale

The album starts off with a romantic song, one that is highly different from the usual romantic songs we hear every day in Bollywood or even Marathi movies. An orchestra of strings welcomes us into the song with grandeur of the same level as that of Broadway, or any other Western classical music like those composed by Beethoven, Bach, Mozart etc. Ajay-Atul are experts at creating romantic songs, and I feel they haven’t been put to their fullest use in Bollywood yet, because they can compose way better than they have given for Bollywood movies in the past, even though that itself is so good, so imagine how great they can compose! 😀 (Sorry if that was too confusing… Read it again, you might get it.) Here, too, they have put their expertise on display, having created a song that touches the soul with its majestic tune and arrangements. The lyrics are Marathi folk lyrics, not the Marathi you would hear nowadays in cities like Mumbai, but that which you would hear in the smallest of small villages. The wonderful thing about it is that, even though the lyrics are so rustic and folksy, as is the composition, the arrangements don’t make it seem so at all, being grand and regal like some Western classical piece. It is all the magic of the orchestra (conducted by renowned orchestra conductor Mark Graham — who has conducted for some films in film franchises like ‘Star Wars’, ‘Rio’, ‘Harry Potter’, ‘Percy Jackson & The Olympians’, ‘Spider-Man’, and even ‘Ice Age’, to name just a few!) The wonderful violins play almost throughout the whole song, and sounds just plain scintillating. Flutes and horns also stand high with their parts! Especially when the hookline is played on flute, that part would make your heart skip a beat. In the mukhda, there is a really feel-good peppy portion, in which the flutes play a wonderful game of hide-and-seek, peeping out from behing Ajay’s bold voice after each word. Piano is the prominent instument in the antara, where there are really very minimal instruments, until the peppy part from the mukhda repeats, after which the arrangements pick up pace again. A wonderful backing chorus supports Ajay, but at the end, there is Shreya Ghoshal humming the hookline which lasts for a very short time period, so enjoy it while it lasts, which you will definitely! 🙂 A wonderful, grand second interlude consists of horns and strings in a stupendous symphonic manner. Ajay’s rustic vocals are too good in this song and perfect too! Nobody could’ve done it better than him!! Matkas and daflis are some of the nest attractions of the song, but they can easily be missed because of the grandeur of the western symphony! Under any circumstances, do NOT miss them! 😀 Ajay-Atul write perfect lyrics for the song as well, which have a nice ring to them and with the beautiful composition, they go well! BLISS! A nothing-could-have-been-better opening to this album! #5StarHotelSong!!

 

2. Aatach Baya Ka Baavarla
Singer ~ Shreya Ghoshal

A ‘tick-tock-tick-tock’ sound opens the next song, with a female chorus starting to sing a halad (Marathi for haldi) song. At that moment, you might make the assumption that this is another one of those Marathi halad songs, with a traditional touch, traditional instrumentation and even a traditional style of singing it. However, there is a twist in the story! The song which at first glance seems like a traditional wedding song, has been given a dynamic rock flavour, that doesn’t interfere too much with the traditional flavor, but instead, works in favour of the song. Once Shreya kicks in, we are once again reminded how great Ajay-Atul’s singer choices are. She literally rocks the song! Even in Marathi, she pronounces each and every letter perfectly. There are parts where she has to sing calmly and smoothly, and others where she has to make the most of her energy by putting it wholely into the song, and she manages this very well. There is never a single moment in the song when you will think that tere is too less or too much of energy and enthusiasm. There are mellow parts in the song, which, after hearing, we can understand why Ajay-Atul chose her, but other parts which sound more upbeat and peppy than most songs she’s sung before, we are bowled over by her spot-on rendition of them! This song relies less on instrumentation than the first song, but nevertheless, one can’t imagine what the song would be like without the spectacular 90s rock template — it would be plain boring. Electric guitars and drums along with horns, make the song really catchy. In the antaras, the song gets calm and soothing (I think this is Ajay-Atul’s favourite structure for a song — to make it soft in the beginning, give it a solid impactful hookline with wonderful interludes and then simmer things down in the antaras, only to crank it up again with the advent of the hookline). Shreya does a wonderful little harkat towards the end of the antara, and makes you fall in love with her voice again. The hookline has been designed to be very cool, what with Shreya’s voice tripled singing the word that builds up to the climax of the hookline, the most catchy part of the song. Awesome! Where the first interlude is a beautiful sitar combo with electric guitars, drums and horns, the second goes back to traditional halad sung by the chorus of women. Ajay-Atul’s lyrics, again work their magic. A composition that would have sounded bland without Shreya, or the rock template. Ajay-Atul teach the world how to make a romantic song upbeat, and how! #5StarHotelSong!!

 

3. Sairat Zaala Ji
Singers ~ Chinmayi Sripada & Ajay Gogavale

For the next song, Ajay-Atul rope in their latest favourite, who crooned their last popular mass hit, ‘Mera Naam Mary Hai’ (Brothers) for them, Chinmayi Sripada. This time it’s a wonderful originally Marathi romantic song she gets to sing and not a remake of a Marathi dance number. 😛 All I say about this song, will be too, too, too, too less. A heavenly harp starts it off, with a sweet and playful flute kicking in just afterwards, soon joined by the grand string orchestra. Chinmayi, with her smooth and calming voice, starts off with a haunting melodious piece, until Ajay takes over and completely floors us with his beautifully rustic rendition! The hookline will make those goosebumps show themselves, and I bet they will never go away until the song ends. (I know that’s kind of impossible, but just read it since I’ve written it! 😛 ) Arguably the best song of the album, this one has both the singers touching new highs with their respective renditions. I would never have thought that Chinmayi’s most impressive work for me, would be for a Marathi film! And as for Ajay, any praise for his vocals will be too less, it will end up becoming an insult. So I won’t say anything else, because I take it that you’ve got the idea. Orchestration led by the duo has such a wonderful impact on the listener, and it is clear that it has been done with a lot of caution and care. Again, the strings own the music, with earthy percussion by the folk drums (sounding more South-flavoured than Maharashtrian to me) with the flutes following close behind. The interludes are experiences par excellence. The first one has a wonderful flute piece with two flutes seemingly talking to each other! It sounds so sweet! The violins follow after that, classically leading us to the first antara. The second interlude has flutes playing a tune that sounds so Irish-flavoured, I would’ve liked it on bagpipes more! 😀 Until the orchestra with strings and brass horns joins to spice it up! The composition has no competition, and I can only thank Ajay-Atul for giving it to us so majestically. All parts of the song sound so beautiful, having that wonderful Marathi folk flavour. Ajay-Atul, yet again, write rustic lyrics which appeal so much, and sound way cuter than the urbanized Marathi. 😁 Ajay-Atul decide to end it off with a grand orchestral piece consisting of strings and brass instruments, which has been designed regally. Waiting for something like this in Bollywood, but of course, that will only happen when the producers stop trusting massy songs to do their work. :\ As for this, it is a #5StarHotelSong!!

 

4. Zingaat
Singers ~ Ajay Gogavale & Atul Gogavale

This seems to be the only song in the album, which hasn’t been recorded in the U.S.A. Hear it and you’ll get why I think so. 😀 Don’t get me wrong! I’m not criticizing… 😀 The last song of the album, which carries hopes of a great great grand finale with it, is a song that is no doubt gonna make it big in small villages all over Maharashtra. It has that massy flavour that has to attract the masses no matter what. In fact, it is so infectiously catchy, that I am having trouble thinking about what to write because of it’s unmatchable energy! 😀 It starts off with club beats and an English female chorus. But then the dhols kick in, never to stop again until the song ends. The song is so weirdly awesome, you never know when it stops, which is what just happened to me. It has played thricealready and I’ve only written this much. :p The composition is something that is clearly aimed at the masses, but will definitely leave the others in awe (you know, the type of awe when you just stare at whatever is in front of you, and keep your mouth open and then a fly goes in and by the time you close your mouth, the fly has gone up and down your oesophagus a thousand times or so. 😛 ) Ajay-Atul sing with so much energy, enthusiasm, joy and oomph, that one simply cannot ignore it. The hookline is something you can find only in a Marathi song. 😂 The lyrics by the duo, this time, are funny. 😀 This song was so distracting (I mean it positively) that I was struggling to write the review for it… Read it again, and I’m sure you won’t find anything substantial! 😛 #5StarHotelSong!!


Sairat turns out to be just as expected — beautiful melodies from the masters at melody-making, Ajay-Atul. And of course, one compulsory high-energy dance number from the duo. I’m not gonna lie and say stuff like “I never expected this from this film” and blah blah. 😛 Just as expected, a mind-blowing, short and sweet little album!

 

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: 😒 

 

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

AZHAR NE KIYA HAI ISHAARA, AMAAL KA HAI KHEL SAARA!! (AZHAR – Music Review)

Music Album Details
♪ Music by: Amaal Mallik, Pritam Chakraborty, DJ Chetas & Kalyanji-Anandji
♪ Lyrics by: Kumaar, Manoj Yadav, Rashmi-Virag & Anand Bakshi
♪ Music Label: T-Series
♪ Music Released On: 19th April 2016
♪ Movie Releases On: 13th May 2016

Azhar Album Cover

Azhar Album Cover

 

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

To buy this album on iTunes CLICK HERE


Azhar is an upcoming Bollywood biopic, based on Indian cricket team’s former captain, Mohammad Azharuddin. The movie stars Emraan Hashmi as Azharuddin, Prachi Desai as Naureen, his first wife, and Nargis Fakhri as Sangeeta Bijlani, his second wife. Supporting cast includes Lara Dutta, Gautam Gulati and Kunaal Roy Kapur. The film is directed by Tony D’Souza, and produced by Shobha Kapoor, Ekta Kapoor and Sony Pictures Networks. The movie highlights the famous and well-known events in the cricketer’s life, which resulted in his downfall and debacle. I wasn’t expecting some huge number of songs for this movie, but at 5, the number meets my expectations, being neither too less nor too much. What’s more, though the album was previously supposed to be composed solely by hit-machine Pritam Chakraborty, due to some health issues Pritam had, the task of matching up to his level and completing some unfinished business had to be handed over to none other than Amaal Mallik, who I regard as ‘Junior Pritam’, what with his consistent hits coming even after such a short time of being a composer. So here too, he’s expected to make Pritam (whose assistant he was before) proud. However, Pritam’s one song has been retained in the album. There is a remake of two of Kalyanji-Anandji‘s superhit tracks from the movie ‘Tridev’, done by DJ Chetas, but that’s like a bonus for me, as I wasn’t interested in it from the beginning itself after I read DJ Chetas’ name. With T-Series producing the album, hits are guaranteed, but there is still lots of curiosity and hopes that Amaal performs well on stepping into his master’s shoes. 🙂 So… Gajar ne kiya hai ishaara… It’s time to read my review! 😀


1. Bol Do Na Zara
Singer ~ Armaan Malik, Music by ~ Amaal Mallik, Lyrics by ~ Rashmi Virag

Amaal kickstarts this album, with a soft and mellow romantic song. Piano notes that will blow your mind away open up the song, and continue to fascinate you until Armaan with his soft and innocent voice starts singing in a lovely manner, which is sure to touch your heart. He has taken care of the whole song very responsibly and half of the magic of the song lies in his vocals, and I’m glad he hasn’t imitated Arijit in this one. Amaal is the star behind this greatness in the song. Besides choosing the right singer, he has woven up a beautiful song with notes that are pure and instantly likable when heard together. Instrumentation is subtle and minimal, but fascinating nonetheless. The aforementioned piano is there, guitars do play a role, electric and acoustic both. Strings can also be heard occasionally. Other digital beats complete the song wherever it seems incomplete. Armaan and his aalaaps in the beginning and end of the song are marvellous. The mukhda itself has the power to attract numbers of listeners and hook them all the way through the song. Imagine how good it must be, to be doing that! Rashmi-Virag’s lyrics are perfect for the theme of the song, not too over romantic, but stilll have the right measure of Bollywood romance in them. One thing i liked about Amaal’s composition is that it ranges greatly from low notes to high, and how seamlessly! Kudos to him for that. A wonderful synthesizer interlude will impress you a lot! With this one, Amaal starts off the album on a PERFECT note! #5StarHotelSong!!

 

2. Itni Si Baat Hain
Singers ~ Arijit Singh & Antara Mitra, Music by ~ Pritam Chakraborty, Lyrics by ~ Manoj Yadav

Pritam continues the magic in the album with something I believe he’s the best at. Romantic songs. Guitar plucks start off the song, and Arijit kicks in. For me, this song didn’t start off as well as the first, but instead, the magic lies in the latter part of this song. The tune with which Arijit starts off the song, did remind me a bit of ‘Wafa Ne Bewafai’ (Teraa Surroor), but only for a very very small time, after which it becomes totally different. The magic in the composition lies completely in its simplicity, something Pritam hasn’t done for a while, as he was giving us all those experimental romantic songs. However, this one is out-and-out simple and innocent, not trying really hard to impress and win hearts, but doing so anyways! Arijit carries forth the mukhda and first antara of the song beautifully, both having the same tune and structure. Antara takes over with the second antara, (Pun unintended, so please… 😒😂) continuing ever-so-gracefully. It’s something I never understand how she sounds so different in each song, and it is commendable, but she should carve out a niche for herself in the industry nevertheless. Here, she sounds sugar-sweet, but I can’t help but miss Neeti Mohan for this one. Anyways, Pritam has composed the best part of the song for Antara, and she does justice to it, being all sweet and goody-goody. Arrangements, too, are minimal. The song’s base is a digital rhythm that plays throughout. On top of that, Pritam has added beautiful sarod (Prateek Srivastav) and tablas (Jitu Shankar). Guitars (Pawan Rasaily) are a prominent part of the song. Towards the end of Antara’s part, both Arijit and Antara harmonize together wonderfully, reminding me somehow of Rahman in the 2000s. Manoj Yadav’s lyrics are sweet and simple too, but could’ve been better, too. A song that takes time to grow, but when it grows, nothing could be better! It all lies in its subtlety and simplicity! #5StarHotelSong!! 

 

3. Oye Oye
Singers ~ Aditi Singh Sharma & Armaan Malik, Music by ~ Kalyanji-Anandji, Recreated and Remixed by ~ DJ Chetas, Lyrics by ~ Anand Bakshi

Next up is the song I was least excited for — a remake/remix of the superhit ‘Gajar Ne Kiya Hai Ishaara’ (Tridev) by none other than the Mashup King of recent times, DJ Chetas. Where Sadhana Sargam, Alka Yagnik and Sapna Mukherjee led the old song, this one is led by a sole female singer, Aditi Singh Sharma, the one who is the best choice for club songs these days. Armaan does join, but later on. The surprise is that the whole song isn’t ‘Gajar Ne Kiya Hai Ishaara’, but Chetas has included the hookline of ‘Gali Gali Mein Phirta Hai’ (Tridev) as well, into the remake. That part is when Armaan gets his only line in the song. When it is a DJ remaking an old classic, all we can do is place our foreheads in our palms out of shame. Apart from Aditi adding unnecessarily stylish nuances to the vocals, DJ Chetas adds nothing but beats, that help in places but lower the song’s quality in other places. Armaan is the best thing that happened to the song, extracting an extremely different voice from what we usually hear him singing with. Lyrics are the exact same as the old song, and so is the composition. Though the song is groovy, due to the beats, Aditi’s singing isn’t really what I would’ve liked in the remake to this song. Also, it adds to the looooooonnnnnnnnngggggggg list of ‘Bollywood Classics Spoiled By Being Remade’. Had Amaal or Pritam remade it, it might’ve been better, and if they could’ve been made to compose an original club disco song with this theme, there would’ve been nothing like it. My favorite part of the song, if I had to choose, would definitely be the ‘Gali Gali Mein Phirta Hai’ lines by Armaan. Perfect song for clubs.

 

4. Tu Hi Na Jaane
Singers ~ Sonu Nigam & Prakriti Kakar, Music by ~ Amaal Mallik, Lyrics by ~ Kumaar

After that bombardment to the ears, here’s Amaal to the rescue, with a soft, soothing, lovable, calming and any-other-good-adjective-you-can-think-of type of song. Further, it’s Amaal’s first song with Sonu Nigam, the legend! It is a huge leap for him and a milestone in his career. The song starts off so calmly, it is a huge refreshment from the loudness of ‘Oye Oye’. And when Sonu starts off, it is heavenly! A beautiful composition is the strength of the song, and the song is perfect for Sonu Nigam, with the intense heartbroken nature of the lyrics, which he’s best at. Prakriti also, is a great choice for the song. Her Punjabi parts are so melodious and fascinating, that they have made a place for themselves in my mind and heart. Amaal’s arrangements are beautiful, the rock plus classical combination heard many times before, but seldom done as good as this. Electric guitars, drums on one side perfectly complement the tablas, flutes and a wonderful sarangi interlude. The soul of the song lies in the composition and vocals, while the arrangements hold the both together as one. Kumaar’s lyrics are out of this world! Once you hear them, you would fall in love with them yourself, and Sonu and Prakriti do a fantabulous job expressing the pain in the lyrics. Though it is a sad song, it doesn’t go over the top with melodrama nor does it fall short of emotions. It strikes the right emotions in you and might bring you to are as well! Oh, the magic! The antaras have been well divided between Sonu and Prakriti, each getting one. I can even imagine what situation this song would appear in the film, and it is pretty obvious too. Keeping it in mind, the song is perfect! A song that will make you speechless! 😍😍😍😍😍😍😍😍😍😍😍😍😍😍😍😍😍😍😍😍 One of the best songs of 2016, and welcome back FOR REAL, Sonu Nigam! Extremely well done Amaal!! #5StarHotelSong!!

 

5. Jeetne Ke Liye
Singer ~ K.K., Music by ~ Amaal Mallik, Lyrics by ~ Kumaar

The finale to the album brings K.K. and Amaal together once again after an unforgettable ‘Tu Bhoola Jise’ (Airlift). This time, a motivational song has been crafted by Amaal, and K.K. has sung it in his trademark style. The song is also tailor-made for him, being a rock song with an emotional touch. Amaal’s arrangements are very cool, with the electric guitars blaring and drums providing the rhythm to move our heads to. Acoustic guitars appear in the relatively calm antaras until the energetic, almost hard rock hookline comes. Strings too make a short appearance in the song. Amaal has composed the song quite well, and it suits the theme — a person who has lost hopes motivating himself to fight on and on and finally win the fight against bad situations. Kumaar’s lyrics perfectly explain it. Amaal’s composition is something that doesn’t appeal much at first, but when heard again and again, and when lyrics are taken into consideration, it sounds awesome! The impactful hookline is all that is needed to touch one’s heart. The finale to the album is indeed grand! K.K. at his best after a LONG time! #5StarHotelSong!!


Azhar is an album in which I was not expecting three out of five songs to be romantic. Azhar is an album which I was waiting for since last summer, because Pritam was going to compose for it. Azhar is an album in which the once-assistant of Pritam, Amaal Mallik, composes alongside his guru. Azhar is an album in which disciple overtakes the teacher, making the teacher extremely proud. Azhar is an album in which Amaal showed to the world that he can compose such beautiful stuff in such a short notice of two to three weeks! Incredible and fantastic. I would say, barring DJ Chetas’ song, Azhar is an album for a film in which such great music was never expected. Last but not the least, I would say that Amaal is the star of ‘Azhar’!!

 

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: Tu Hi Na Jaane > Bol Do Na Zara > Itni Si Baat Hain > Jeetne Ke Liye > Oye Oye

 

What is your favourite song from Azhar? Please vote for it below! Thanks! 🙂

 

Next “dish”: Sairat (Marathi Album), Chefs: Ajay-Atul

18th MUSIC MASTANI MONTHLY AWARDS (APRIL 2016)

Here are the awards for April 2016! 🙂

18th Music Mastani Monthly Awards

♪ MAIN AWARDS

• Singer of the Month (Female) : Monali Thakur for Cham Cham (Baaghi) AND Nandini Srikar for Maula (Nil Battey Sannata)

• Singer of the Month (Male) : Sangeet Haldipur for Mohabbat (Love Games) AND Nakash Aziz for Jabra Fan (Fan)

• Composer of the Month (Song) : Meet Bros for Girl I Need You (Baaghi)

• Composer of the Month (Album) : Rohan-Vinayak for Nil Battey Sannata

• Album of the Month: Nil Battey Sannata (Music by: Rohan-Vinayak; Lyrics by: Manoj Yadav, Nitesh Tiwari & Shreyas Jain (Sherry); Singers: Neuman Pinto, Rohan Utpat, Aarti Shenai, Nandini Srikar, Mohan Kannan & Hariharan; Music On: Eros Music)

• Musical Jodi of the Month (Best Duet) : Mukhtiyar Ali & Sameer Khan for Aye Khuda (Laal Rang)

• Lyricist of the Month: Sayeed Quadri for Ji Huzoori (Ki & Ka) AND Manoj Yadav for Murabba (Nil Battey Sannata)

 

♪ SONG AWARDS

• Best Romantic Song: Mohabbat (Love Games) AND Girl I Need You (Baaghi)

• Best Dance Song: Jabra Fan (Fan)

• Best Sad Song: Ji Huzoori (Ki & Ka)

• Best Club Song: High Heels Te Nachche (Ki & Ka)

• Best Clasical-Based Song: Maula (Nil Battey Sannata)

• Best Song With a Western Influence: Nirvana (Love Games)

• Best Song With a Folk Influence: Bawli Booch AND Mera Mann (Laal Rang)

• Song With Best Use of Fusion: Girl I Need You (Baaghi)

• Best Backing Vocals: Deepali Sathe & Arun Daga for Ji Huzoori (Ki & Ka)

• Best Sound Effects in A Song: Love Games (Love Games)

• Best Retro-Styled Song: Love Games (Love Games)

• Best Humorous Song: Maths Mein Dabba Gul (Nil Battey Sannata)

 

♪ SPECIAL AWARDS

• Bandar Kya Jaane Adrak Ka Swaad (Best Album That Went Pretty Much Unnoticed / Most Underrated Album) : Nil Battey Sannata (Eros Music) AND Laal Rang (T-Series)

• Newcomer of the Month:

– Newcomer of the Month (Singer — Female) : Aanchal Shrivastava for Love Games (Love Games)

– Newcomer of the Month (Singer — Male) : Vikas Kumar for Bawli Booch (Laal Rang)

– Newcomer of the Month (Composer) : Rohan-Vinayak for Nil Battey Sannata

– Newcomer of the Month (Lyricist) : Shreyas Jain (Sherry) for Maa (Nil Battey Sannata)

• Music Label of the Month: T-Series (Ki & Ka, Love Games, Laal Rang & Baaghi)

• Most Unusual, But Awesome Choice of Singer(s): Roach Killa, Arijit Singh & Khushboo Grewal for Girl I Need You (Baaghi)

 

So those were the awards for April 2016! Hope you agree! 🙂

 

Reviews next month: Azhar, 1920 London, One Night Stand, Sarbjit, Cabaret, Traffic

PURE MELODY, NIL SANNATA!! (NIL BATTEY SANNATA – Music Review)

Music Album Details
♪ Music by: Rohan-Vinayak (Rohan Utpat & Vinayak Salvi)
♪ Lyrics by: Manoj Yadav, Nitesh Tiwari & Shreyas Jain (Sherry)
♪ Music Label: Eros Music
♪ Music Released On: 13th April 2016
♪ Movie Releases On: 22nd April 2016

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Nil Battey Sannata Album Cover

 

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

To buy this album on iTunes CLICK HERE


Nil Battey Sannata is an upcoming Bollywood comedy/drama film starring Swara Bhaskar, Ratna Pathak Shah, Pankaj Tripathi and child actor Ria Shukla. The film is directed by débutante Ashwini Iyer Tiwari, the wife of director Nitesh Tiwari (‘Chillar Party’ & ‘Bhoothnath Returns’) and produced by Aanand L. Rai, Ajay Rai and Alan McAlex under the Colour Yellow Pictures and JAR Pictures companies. The concept of the movie is really interesting, what with Swara playing a housemaid with a dream to educate her child, and in the events that follow, ends up educating herself too. A film on the lines of ‘English Vinglish’, this one is sure to be one of the best films of the year. Going by the film’s overall look and theme, one wouldn’t expect many songs — I was expecting 3 to 4 songs maximum. However, I was stunned to see that the album has 7 tracks in all, though there is one in three versions. (That makes four anyways 😛 ) The music has been composed by a duo that is debuting with this film, Rohan-Vinayak (Rohan Utpat & Vinayak Salvi). Hoping for a great debut for them with the album to this seemingly cute and sweet film! The music should likewise be sweet and simple as per my expectations! 🙂 Let’s see how it turned out! 😀


1. Murabba
Singer ~ Neuman Pinto, Lyrics by ~ Manoj Yadav

The first song in the album starts the album off on a light, but very thoughtful note. Neuman Pinto, who I’ve seen getting more backing vocals to sing in Bollywood than the actual song, gets behind the mic to convey this one to us. The vocal “Tu Ru Tu Tu Ru..” rhythm is very similar to the type of music Amit Trivedi would compose in his early days (‘Udaan’, ‘Aisha’, ‘Ek Main Aur Ekk Tu’). And Rohan-Vinayak’s composition is composed in the exact same style, so much so that it seems as if Amit had played an important part in making them composers. The composition, though very simple, has the power to hook you and it sticks in your head like anything, all because of its sweetness and simplicity. Neuman is spot-on with his vocals, and impressed a lot. It is a surprise he isn’t getting more songs to sing, which he should!! The breezy composition is supported by just as wonderful arrangements. The acoustic guitar is almost omnipresent, with occasional drums. A beautiful, unforgettable sarod solo twice in the song, which takes you back to last year to Piku’s BGM on sarod. The highlight of the song has to be the meaningful, metaphorical lyrics written by Manoj Yadav. He has wonderfully conveyed through his lyrics what is meant to be said, in a fun and sweet way. Kudos to him. The album starts off on a very high note, with a beautiful, thought-provoking song composed brilliantly. #5StarHotelSong!!

 

2. Maths Mein Dabba Gul
Singers ~ Rohan Utpat & Aarti Shenai, Lyrics by ~ Nitesh Tiwari

Next up is a fun-filled song describing the plight of helpless students having to study maths. The duo has succeeded to create a song that would fit into the situation, and attract the attention of kids and adults alike at the same time. Nitesh Tiwari has written a funny and fun song, rhyming perfectly despite the huge mathematical words present in it, and especially the first four lines in the starting of the song, have been written geniusly! Who would ever have thought that all these expressions and trigonometrical equations would find a place in a Bollywood song? But Nitesh has given a perfect place for them in this song, which Rohan-Vinayak have composed in an unbelievably cool manner, not making it too heavy on the ears, and not even too kiddish!! Ah, the brilliance! 😀 Some portions of the song have been composed in an extremely fast speed, and that deserves nothing but applause when you hear what the lyrics are in that portion! It just means the team must’ve racked their brains and worked really hard over that one. 🙂 The hook is extremely obsessive and addictive. Arrangements consist of techno sounds and guitars and other sound effects by backing vocalists. The Amit Trivedi touch has its presence felt all throughout the arrangements and the composition. Rohan sings great,and in a fun manner, with Aarti joining (as a backing vocalist) in places. However, Aarti has a sweet little portion in a slower pace, which she owns completely and succeeds in winning our hearts. So, brilliance in lyrics and composition as a start, and great vocals and arrangements to finish it off make this song a complete winner! Maths being my favorite subject, I shouldn’t say this, but the song is a #5StarHotelSong!!

 

3. Maula
Singer ~ Nandini Srikar, Lyrics by ~ Manoj Yadav

The next song goes back to being calm and soothing and meaningful. The rabaab opens, giving a slight Kashmiri touch, before Nandini with her rustic, yet soft and silky voice starts to sing. This song sounds more folkish than the others on the album, only due to the beautiful instrumentation and Nandini’s beautiful voice! The composition is slightly heavy on the ears, but with a couple of listens we get accustomed to it, and then there’s nothing that can be more addictive than it. Nandini handles the low and high portions of the song equally well, and with such grace — which isn’t surprising at all! 😀 Rohan-Vinayak have impressed by giving this slightly more mature composition than the others in the album. While the mukhda instantly steals your heart, the hookline is a heavenly experience with a great ensemble of Nandini’s voices in different pitches. The antara is just as beautiful too! The interludes are too wonderful to let go of them. Arrangements have a lot in store. With rabaab, tablas, and acoustic guitars forming the base of the song, it makes for a soothing listen that is pleasing to the ears. Manoj’s lyrics are beautiful too, mainly in Urdu. For me, the best song of the album!! #5StarHotelSong!!

 

4. Maa / Maa (Version 2) / Maa Theme (Instrumental)
Singers ~ Mohan Kannan / A. Hariharan / Instrumental, Lyrics by ~ Shreyas Jain (Sherry)

The last song in the album which actually has words, this one is an ode to mothers. The first thing that strikes you is the lyrics. Shreyas Jain, a newcomer, has evoked the right emotions into his writing. Most songs about moms try to go too melodramatic in the lyrics department, but this one has been kept sweet and simple and at the same time, it conveys the needed emotions. Arrangements are cute as well, only acoustic guitars joined occasionally by other instruments like saxophone, harmonica, drums and electric guitars etc. Mohan renders the composition with an awesome blend of energy and emotion. Hariharan’s version has the exact same arrangements, and his smooth, silky voice is perfect for the song, just as Mohan’s was. However, his version is less energetic, and since he is more classically inclined, there are more classical-based variations done by him, which are wonderful! The instrumental theme song is just as worthwhile, the tune being the same, played on violins more beautifully than you can imagine! Piano chords support the instrumental piece, with violins taking care of the melody part. Beautiful!! The simplest song on mothers I’ve ever heard!! #5StarHotelSong!!

 

5. Chanda Theme (Instrumental)
Instrumental

Another instrumental track, this one with a haunting sound to it, more melancholic. Beautifully played on violins, it is quick to grain your attention and love. Usually, instrumentals do not hook you as such, but this one has hooked me. Strings all the way, played in all sorts of manners — high, low, high, low — steal the show. Sitar too makes an entry towards the ending part. A beautiful instrumental piece! #5StarHotelSong!!


Nil Battey Sannata was unexpectedly brilliant and mind-blowing. Rohan-Vinayak being debutants, I was not expecting such a brilliant album at all! However, it turned out to be a dark horse album. With brilliant compositions, the album gradually went from light songs to heavier ones at the end, the heaviest being the last instrumental. I’m sure the duo is going to get critical acclaim as well as public acclaim for their spectacular work in their debut album itself. Waiting for more from them, I’ll sign off by saying that this album has pure, total, melody with no traces of sannata (silence)!! 

 

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: Whichever you want to, whenever you want to, wherever you want to, however you want to and whyever you want to!

 

Which is your favourite song from Nil Battey Sannata? Please vote for the same below! Thanks! 🙂

 

 

THE THREE-MAN ARMY IMPRESSES!! (LAAL RANG – Music Review)

Music Album Details
♪ Music by: Vipin Patwa, Mathias Duplessy & Shiraz Uppal
♪ Lyrics by: Mange Ram Koch, Dushyant Kumar, Shakeel Sohail, Kausar Munir & Vikas Kumar
Kumar
♪ Music Label: T-Series
♪ Music Released On: 5th April 2016
♪ Movie Releases On: 22nd April 2016

Laal Rang Abum Cover

Laal Rang Abum Cover

 

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

To buy this album on iTunes CLICK HERE


Laal Rang is an upcoming Bollywood action thriller starring Randeep Hooda, Piaa Bajpai, Akshay Oberoi, Rajneish Duggall and Meenakshi Dixit. The film is directed by ‘Youngistaan’ director Syed Ahmad Afzal and produced by Nitika Thakur. The movie is a story revolving around friendship and brotherly love and it is set in Haryana. Without getting into the complex details of the plot, let me introduce the music composers, what I’m actually supposed to be writing about. 😀 This movie has music by ‘Finding Fanny’ composer Mathias Duplessy, this year’s ‘Bollywood Diaries’ composer Vipin Patwa, and singer-composer Shiraz Uppal. Mathias leads the way with three songs to his credit, Vipin having two songs with one having two versions, and Shiraz getting merely a single song. Mathias had scored a brilliant situational soundtrack for ‘Finding Fanny’ (two songs, technically) while Vipin gave me a pleasant surprise with his songs in ‘Main Aur Charles’ last year, and ‘Bollywood Diaries’ earlier this year. Shiraz Uppal has not really impressed me as a composer (except with ‘Data Di Diwaani’ from ‘Youngistaan’), so I don’t know what he has in store for me, and I would be glad if I’m surprised by him. 😀 So, let’s get this review started without further ado!


1. Bhaang Ragad Ke
Singers­­­ ~ Vipin Patwa & Vikas Kumar, Music by ~ Vipin Patwa, Lyrics by ~ Mange Ram Koch (Traditional)

Knowing that the film is a crime action thriller, I was expecting something of this sort coming my way, and little did I know it would be the very first song on the album! 😀 The song starts off with a techno sound joined after some time by a Punjabi styled tumbi, and a wonderful but short adlib by the singer, in a very impressive voice. The real song starts after that, right from the hookline itself. The hookline is really catchy, both in terms of tune and vocals too. The song is written completely in Haryanvi, and is actually a remake of a traditional devotional (I know, I’m shocked too.. 😂 ) song. However, Vipin has been made to re-style it so it suits to more of a Haryanvi gangster type feel. 😛 It is a weird song, and it definitely won’t appeal to all. It had me hooked for the first one or two minutes, but later on slowly loosened its grip on me. First of all, it has no universal appeal due to the Haryanvi lyrics. Secondly its length (5 minutes and 54 seconds) stretches to a bit too long, for such a song. I got bored after one antara. What I have to praise is Vikas and his energetic rendition. He seems to be a folk singer picked up from the vast stretches of Haryana itself. Vipin’s arrangements also cannot be praised enough. The rock template blended with Haryanvi folk sounds intriguing. But again being too repetitive, it becomes boring after some time. A decent start to the album, but a good twist to a traditional song to make it a gangster-ish song.

 

2. Bawli Booch
Singer ~ Vikas Kumar, Music by ~ Mathias Duplessy, Lyrics by ~ Dushyant Kumar

It’s Mathias Duplessy coming in with the next song, an offbeat romantic track with a brilliant folksy touch. A wonderful rhythm comprising tumbi, tabla and another folk string instrument, starts off the song and you instantly find yourself grooving to the weird rhythm. Mathias has composed a very sweet romantic song, which brings Haryanvi folk together with European folk, thanks to the wonderful magic created with the various types of instruments and the tune they’re played in. Vikas Kumar again sounds perfect in an outrightly folkish song, singing effortlessly, and striking a chord. Mathias has employed wonderful backing vocalists going “Ohhhh ahhh” who really play an important role in making the song as catchy as it is. The wonderful rhythm mentioned before never makes your attention drift elsewhere, which I think is an attribute of a superb song. It is a wonder how Mathias, being a French national, composes folk songs so beautifully and perfectly. He’s definitely going the Mikey McCleary way! Guitars and tablas and even violins contribute greatly to the attractive arrangements. A pure Qawwali-ish interlude is really quirky, because of some sound effects by a backing vocalist. More such backing vocalists add weird and quirky noises throughout the song. Dushyant Kumar’s lyrics, again have some Haryanvi limbo interspersed throughout them, but all in all, are understandable. Simple and sweet, an unconventional romantic track which has you hooked from the beginning, and is also catchy (which is quite unlike romantic tracks). Great start by Mathias! #5StarHotelSong!!

 

3. Mera Mann
Singers ~ Shiraz Uppal & Kashif Ali, Music by ~ Shiraz Uppal, Lyrics by ~ Shakeel Sohail

Next up is Shiraz Uppal’s song, who really has impressed me a lot with his stint in Bollywood as a singer, but not as much as a composer. For ‘Laal Rang’, he comes up with the second romantic track in the album, this time outrightly Bollywood in style. It is a Sufi track, the likes of which have been heard in Bollywood many times during the recent times, thanks to composers like Pritam, Vishal-Shekhar and even A.R. Rahman. Here comes a relatively new composer, with a song from the same family of romantic Sufi songs. A wonderful aalaap starts off the song, with female voices humming gracefully, making a wonderful first impression. A really high-pitched mukhda makes way for an abrupt and low-pitched hookline. There is a sort of noticeable difference in the transition to the hookline, which bowls you over for a second, but when you hear the hookline, it’s as if nothing ever bothered you, because of the magically composed hookline! Shiraz has composed a sweet, simple, heard-before type of song, but nevertheless, it strikes a chord with the listener. The duet between Shiraz and Kashif is really enchanting. Shiraz takes over the parts which require a soft and mellifluous voice like his, while Kashif seems to have taken charge over the folkish parts with a rough edge to his voice. Tablas and harmoniums are the prominent instrument in the rhythm that forms the base of the song, with guitars appearing in a completely Pritam-ish way. Even drums make a small cameo towards the beginning of the song. All in all, these different instruments make for a soothing listen. Shakeel Sohail’s are definitely nothing new or innovative as such, but with the simple composition, they go well and sound good. A PERFECT song in all departments, and easily Shiraz’s best as a composer! Wish there was a small female part too, though! 😀 #5StarHotelSong!!

 

4. Aye Khuda
Singers ~ Mukhtiyar Ali & Sameer Khan, Music by ~ Mathias Duplessy, Lyrics by ~ Kausar Munir

This one starts off with a harp played in a distinct ‘Finding Fanny’ way. I don’t know why, but I instantly got reminded of ‘Finding Fanny’ because of that harp. 😀 Mathias brings the European flavour back into the soundtrack after a heavenly Sufi song by Shiraz. The ‘Fanny Re’ singer features in this track along with a debutant Sameer Khan. Sameer starts off with Mukhtiyar joining him after a while. The song has a really soft feel, almost like an unplugged song. The harp sound is incessant throughout the song, and it is the thing that binds all other aspects of the song together, somehow. Sameer too has a slight folkish touch to his accent, but not full-fledged, making for an interesting voice. His voice texture has deliberately been made husky and it sounds awesome. Mukhtiyar who joins in later, has a bolder and louder voice, creating a larger impact than Sameer’s. Cello has a great role in the song too, and brass instruments join later on. A great orchestra is set up in the otherwise quiet song, towards the end. This part by itself is reason enough to hear the song continuously on loop! The composition has a slight mysterious and gloomy touch to it, as the lyrics talk about a distressed soul tired of the world. Towards the end, the gloomy touch gains intensity and that is the climax of the song — beautiful arrangements, and Mukhtiyar’s booming vocals accompanied by a wonderful symphony. Kausar’s lyrics are the highlight of the haunting situational track, and they’re really meaningful. Haunting to the core, with wonderful arrangements!! Great duet by the two male singers and for me, Mathias’s best composed track of all!!! #5StarHotelSong!!

 

5. Laali Dil Se
Singer ~ Sameer Khan, Music by ~ Mathias Duplessy, Lyrics by ~ Kausar Munir

This song, too starts off brilliantly. And when you have an extravagant start to a song, it is very easy to hook listeners for the rest of the song. Brisk strokes on a violin are a great way to start off a song. It has given a distinct European folk feel to the song, kind of Spanish-Portuguese, reminding one of ‘Sweeta’ (Kill/Dil). It is yet another angst-filled song, this time taking a turn towards the rock side. The castanets have been used very finely, and sound awesome! Mathias’s composition is not exactly catchy, in fact, it is quite heavy to the ears. Nevertheless, it has the power to impress you a lot. Sameer sounds different in this song from what he sounded in ‘Aye Khuda’, but it is a good difference. Mathias has done a splendid job with the arrangements, which I’ve talked a bit about above as well. Violins, electric guitars and drums, castanets, and wonderful interruptions by sarangi are the gist of the instrumentation. The part when Sameer breaks out into a angst-filled rant is really spectacular. His variations are beautiful too! Kausar’s lyrics suit the feel of the song, full of angst and fire. A song not as good as Mathias’s other two songs, but still does have an impact on you! #5StarHotelSong!!

 

6. Kharch Karod (Version 1) / Kharch Karod (Version 2)
Singers ~ Vikas Kumar / Vikas Kumar, Music by ~ Vipin Patwa, Lyrics by ~ Vikas Kumar

The last song in the album comes in two versions, each only about two and a half minutes long. The first one starts off in a tune that quite (okay, a lot) resembles that irritating “Yella yella yella yella” interlude from Sachin-Jigar’s ‘Jadoo Ki Jhappi’ (Ramaiya Vastavaiya). Well, OK. After that it turns into a clubbish track in which a guy tries to impress a girl. Harmoniums and techno sounds are the backbone of the song. The harmonium has been played in a typppppppical trademark Himesh Reshammiya… And that’s not a complaint! 😀 It sounds great. But the total club treatment sounds kind of out-of-place for the song (that you will understand on hearing the second version of the song) and it just makes the song sound like a Punjabi hip hop single. The composition though is awesome, by Vipin Patwa, with mischievous vocals by Vikas Kumar, who’s trying to establish the album as his own, apparently. The second version, or the “slow” version as named on YouTube, is way better than the first, as the song gets a complete makeover, in terms of the arrangements. Tumbi lures you into the song, and then brilliant bongo-congo has been played that just keeps up the great ambience. Vikas kicks in with great silky vocals (a surprise!) and sings the same tune, in such a way that it sounds as fresh as ever! Singing a fast song slowly really does make a great difference, but only the pace isn’t the reason why it sounds better. As I specified earlier, Vipin’s attractive arrangements are also responsible for the greatness of this version. Shakers are also there to keep us listening, and the tumbi never-endingly plays throughout the song, in a very attractive way. The lyrics are the same — they’re ordinary. Vipin saves the grand finale of the album by giving the song in the second version, and only the second version would be a #5StarHotelSong!!


Laal Rang — who would be expecting one great sing after the other in an album like this? This film literally came from nowhere, without much hype, and that’s fine, but the release date too, came like a shock (so early after the trailer released). Three composers who have impressed me with their early works, but they don’t really have a good number of movies to their credit, either. However, they seized this opportunity and made the best use of it as possible. Mathias scores a 100% with all three of his songs being highly impressive, and so does Shiraz with his one song. Vipin, however, takes the backseat here, with just one of his three tracks being extraordinary. Who ever thought this album would be SO good? I never did! Anyways, I’m happy that there is yet another dark horse album this month after ‘Love Games’. This three-man army has done a spectacular job!

 

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: Aye Khuda > Mera Mann > Kharch Karod (Version 2) > Bawli Booch > Laali Dil Se > Bhaang Ragad Ke > Kharch Karod (Version 1) 

 

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

 

Next “dish”: Nil Battey Sannata, Chefs: Rohan-Vinayak