PASSIONATE ROMANCE, AND FANATICAL DANCE!! (JUNOONIYAT – Music Review)

Music Album Details
♪ Music by: Meet Bros. Anjjan, Stereo Nation, Jeet Gannguli & Ankit Tiwari
♪ Lyrics by: Kumaar, Stereo Nation, Manoj Muntashir & Rashmi-Virag
♪ Music Label: T-Series
♪ Music Released On: 30th May 2016
♪ Movie Releases On: 24th June 2016

Junooniyat Album Cover

Junooniyat Album Cover

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

To buy this album on iTunes CLICK HERE


Junooniyat (meaning: passion) is an upcoming Bollywood romatic comedy starring Pulkit Samrat and Yami Gautam in the lead roles. The film is directed by Vivek Agnihotri and produced by T-Series. Looking at the star cast instantly reminds me of the disaster called ‘Sanam Re’, which had pretty decent music, barring two to three tracks. Here, one of the composers from ‘Sanam Re’ is retained — Jeet Gannguli, with two tracks out of the six in the album. Meet Bros. Anjjan (the music was composed before the split) lead the soundtrack with three tracks, while Ankit Tiwari takes up the rear with one song. Hoping for some good music as this is a T-Series album, is natural. Also, the romantic genre is like an assurance for at least three to four super hit songs. So expecting that, as well. 😀 Let’s see what ‘Junooniyat’ has to offer!


1. Nachange Saari Raat
Singers ~ Neeraj Shridhar, Tulsi Kumar & Meet Bros, Rap by ~ Meet Bros., Music by ~ Meet Bros. Anjjan, Original Composition by ~ Stereo Nation, Lyrics by ~ Kumaar, Original Lyrics by ~ Stereo Nation

Meet Bros. Anjjan get to open up the album with a dance party number, that is sure to climb the charts. Techno sounds are the quintessential start to these songs, and the brass instruments carry it forward. Meet Bros. sing an English intro to the song, until Tulsi kicks in with a totally different avatar. Meet Bros. Anjjan have taken StereoNation’s pop song ‘Nachange Saari Raat’ and remade it in a completely Bollywood manner. When they had remade ‘High Heels’ (Ki & Ka) I was really impressed, as they had completely transformed the whole song. However, this time, they have done a very typical remake — with the hookline being the same as the original and then composing some lines trying to match that line. And that is what makes the composition faulty here. It lacks the spunk that must be infused into such party numbers and turns put sounding pretty ordinary, just like the trio almost always did! (I personally liked most of Meet Bros’ work when they became a duo). The mukhda and antaras sound very outdated, something like ‘been there heard that’. The hookline is the only thing that sounds good, and that too, only in Neeraj’s voice. Tulsi seems to have tried too hard to sound different. It sounds good for the first few listens, but sounds irritating later on. Aditi Singh Sharma or Neha Kakkar would’ve been a better choice, in my opinion. Neeraj infuses the energy into the song. Arrangements too play as a savior, with the groovy club beats and brass instruments. Meet Bros. join in for a daaru-centred rap in the second interlude, which is a regular in club songs these days. Kumaar’s lyrics, too, are ordinary party song lyrics, stuff we got bored of in 2010, but Bollywood won’t until 2847. A decent attempt to make us dance all night, but just a temporary obsession. In the long run, it will be tough for this song to survive. A weak start to the album!

 

2. Mujhko Barsaat Bana Lo
Singer ~ Armaan Malik, Music by ~ Jeet Gannguli, Lyrics by ~ Rashmi-Virag

The next song brings in Jeet Gannguli, who has roped in T-Series’ latest obsession, Armaan Malik, to sing it. The song is your everyday romantic song with powerful rock guitars, trying to wail out all the romance in five minutes, just to have the lead couple break up after some time in the movie. Jeet’s composition is not exactly boring, but it isn’t anything great, either. First of all, the hookline is very flat, and doesn’t really appeal like a hookline should. When they say “jaana” at the end of the hookline, it seems like a very abrupt end, and sounds odd. The mukhda is the hookline itself, so you can see where that’s heading. The antara, starting off softly, and ending with the loud hookline, is not so impressive either. All in all, the composition is what too bland and tasteless. After ‘Milne Hai Mujhse Aayi’ (Aashiqui 2), Jeet tries another rock-styled romantic ballad, but doesn’t actually get where he had in that song. He has also tried to make Armaan sing as dynamically as Arijit had in that song, but it sounds like he is merely copying Arijit with a bit of K.K. occasionally. Armaan does do quite a good job though, considering how ordinary the song is. In the arrangements, too, nothing appeals except an awesome saxophone by Raj Sodha which plays many times in the song. Everything else is the normal electric guitars, drums and whatnot. Rashmi-Virag, too, can’t save the song, probably giving one of their most ordinary songs of all. A song which is so ordinary, that you sit through it with a straight face. Disappointing work from Jeet, Armaan and Rashmi-Virag! The second consecutive typical song of the album…

 

3. Ishqe Di Lat
Singers ~ Ankit Tiwari & Tulsi Kumar, Music by ~ Ankit Tiwari, Lyrics by ~ Manoj Muntashir

The third and last composer, Ankit Tiwari steps in with the third song on the soundtrack. This time, I have huge hopes from him, what with him recently showing some great versatility in ‘Sehra’ (Do Lafzon Ki Kahani) and his single song ‘Badtameez’ which was out and out metal! And boy, he impresses and how!! Something I was waiting for from Ankit for a long, long time — a romantic song which doesn’t use all the same notes as all his other songs, something that doesn’t fall right into the category of ‘nighttime songs’. Something that will force me to play it over and over again. The last time he gave such a romantic song before ‘Sehra’, was all the way back in January 2015 — ‘Katra Katra’ (Alone). This time, he goes way ahead of anything he has done before. The song starts off with an acoustic guitar and harmonica combination, and then Ankit starts off with something that won’t really disclose anything about the magic that’s about to follow. At the first glance, it seems like any other Ankit song, a slow and dreamy melody. But it is when the Qawwali sets in, that I get swept away. Ankit has experimented a lot, using a fusion of Qawwali and Spanish arrangements. The hookline is arranged completely on Qawwali instruments. The tablas have been played tooooooo impressively, and it sounds even better than ‘Sanam Re’ title song or ‘Jeena Marna’ (Do Lafzon Ki Kahani), because the rhythm is way more catchy and innovative. Spanish guitars help in making the arrangements sound more dreamy and lilting. Strings and rock guitars also impress highly. I felt that these were one of Ankit’s best ever arrangements. The composition too, is way more than just an ordinary Ankit Tiwari composition. It is very matured and livelier than those others too. Also, the good, long length is like a bonus for us listeners. With two antaras having the same soulful and melodious tune, and the mukhda playing again once at te end, the song is nice and long, and cherishable. It isn’t like all those other good songs that end before they start. 😀 On the vocals front, Ankit seems to be very less autotuned, which I’m happy about. At the same time, Tulsi sounds like herself and sounds very beautiful. In the mukhda, her low pitch voice could’ve been avoided, though. Manoj Muntashir’s lyrics are beautiful as always, and Ankit brought them to life very effectively with such a great composition. A Spanish-Qawwali-rock fusion that works really effectively in engaging the listener right away. A strong hook really works, doesn’t it? Though it’s pretty deep into the soundtrack, here is ‘Junooniyat’s first #5StarHotelSong!!

 

4. Junooniyat
Singer ~ Falak Shabir, Backing Vocals by ~ Thomson Andrews, Keshia Braganza, Gwen Dias & Ryan Dias, Music by ~ Meet Bros. Anjjan, Lyrics by ~ Kumaar

Meet Bros. Anjjan come back into the album with their second song, which happens to be the title song. The song starts off on a grand note, with a very magnificent strings orchestra, and a wonderful backing chorus. The composition is not actually a typical Bhatt-ish one, either. However, it does sound like something that would sound good in one of those films. The trio has done a very good job trying to infuse as much grandeur in the song as possible, so as to make it sound more enchanting. And it works. The composition, for one, is very imposing; I wasn’t expecting such a heavy composition for the title song of this movie. However, it turns out to be quite heavy, and also takes quite a few listens to completely grow on you. The hookline may seem overdramatic at first, but later on, you get accustomed to it, and it sounds mesmerizing. So mesmerizing, that it won’t leave your head. The mukhda isn’t instantly likable, but sounds great after a few listens. Same goes with the antara. It sounds very typical at first, but after repeated listening, you get the beauty hidden in it. It has been composed on very high notes, and Falak beautifully renders the composition, with its numerous variations. The arrangements are as grand as grand can be. The backing vocalists do their best to make the song sound enchanting, and they succeed. The strings play an important role in infusing magic into the song. Electric guitars and some great percussion lead the song into the category of ‘heavily instrumentated, but sweet sounding songs’. The orchestration is something we have never heard from Meet Bros. Anjjan. The cello and violins have been played so very beautifully. The haunting composition also helps in making the song sound appealing. Flute in the first interlude soothes you down, while electric guitars in the second interlude make you feel more energetic. The whole arrangements somehow reminded me of the music of movies set in Kashmir — ‘Fanaa’, ‘Haider’, ‘Fitoor’ and the like; it was so grand. Falak’s vocals are par excellence. I’ve never heard Falak sing in such a dynamic manner, and I must say, he sings mighty well!! Kumaar has written typical romantic Bhatt-ish lyrics, but the grand composition makes them sound great. They suit the theme of the song. Meet Bros. Anjjan at their best! A Mithoon-styled composition, that is heavy and haunting, but appealing at the same time. The imposing orchestration makes it seems all the more grand, and Falak renders it beautifully. Special mention for the beautiful backing vocalists! #5StarHotelSong!!

 

5. Pagalon Sa Naach
Singers ~ Meet Bros. & Khushboo Grewal, Backing Vocals by ~ Ruchir, Ambresh & Ashish, Music by ~ Meet Bros. Anjjan, Lyrics by ~ Kumaar

The lead trio, MBA, end their part of the album with a crazy, wacky, insane holi song. Again, this song doesn’t appeal right away, but after a few times of hearing it, it appeals to you and you sstart praising it. The song starts with a crazy flute, in a South-flavoured rhythm, followed by a weird techno sound that is so catchy. The same tune is later played on a shehnaai, and you know that nothing but craziness follows. The trio has composed a zany but immensely catchy song, something that I normally would expect from Pritam or Rahman or Vishal-Shekhar or Sachin-Jigar or Amaal Mallik, too. The trio succeeds in making a composition with numerous twists and turns, tempo changes and weird variations. The craziness doesn’t go overboard, like it does sometimes (‘Housefull 3’), nor does it fall short. It is just right and that is why it sounds good. The dappankuthu rhythm sounds great for the song, and it follows the footsteps of ‘Balam Pichkari’ (Yeh Jawaani Hai Deewani) in being a Holi song which is silly and catchy at the same time. The way the trio has creatively joined the mukhda and antaras to the hookline with the smooth tempo change, is really fun to hear. The line “subah Ke baje chaahe paanch, chaahe paanch, saade paanch” serves as a tempo changer as well as a seamless bridge to the hookline. Arrangements excel, with techno sounds, dholaks (Sanjeev Sen), the aforementioned shehnaai (Omkar Dhumal) and the percussion conducted by Nikhil Korpade, all sound cool together. The brass band, which is kind of essential in most modern-day Holi songs, has been nicely placed too. Meet Bros’ vocals sound great, as always. I like how both their voices sound like one, every single time. 😀 Khushboo, who impressed in ‘Girl I Need You’ (Baaghi) earlier this year, impresses here too, but in a totally different manner. She sings in so many different voices, sometimes high pitched, and sometimes low. It is really remarkable how she does those variations, because she never showed her versatility before ‘Baaghi’! Last but not the least, Kumaar’s lyrics are fun to hear. They are not too nonsensical, but they at least appeal and don’t come across as disgusting. After all, this is Kumaar’s forte! An insane Holi track, that will get India grooving next spring!! Meet Bros. Anjjan have showed immense versatility in this one album! You must hear this one and you have to pagalon sa naach (dance like idiots :p ) after that!! #5StarHotelSong!!

 

6. Tu Junooniyat (Climax)
Singers ~ Shrey Singhal & Akriti Kakar, Music by ~ Jeet Gannguli, Lyrics by ~ Manoj Muntashir

Jeet Gannguli takes over to wrap up the album, with a song that is supposed to be the climax song of the movie, another title song. The first title song by Meet Bros. Anshan was a soulful, haunting number. However, here, Jeet takes us back to 2006-2007 and composes a wonderfully nostalgic number. The song has been composed like a club number, full of pain and sorrow, but nevertheless making you groove to the beats. It falls into the category of songs like ‘Ya Ali’ (Gangster), with numerous techno beats accompanying a purely soulful, yet upbeat composition. Jeet has tried his hand at this, I think for the first time after ‘Blood Money’s ‘Jo Tere Sang’. In fact, the song sounds a lot like ‘Jo Tere Sang’. However, I loved it. Jeet’s composition being so nostalgic, turned out to be an advantage for it. It takes you back to those days when Pritam and Himesh would rule the music industry with these songs. The little couplet sung by Shrey in the beginning, is wonderfully composed, but who would know that it would make way for an electrifying composition! The mukhda is instantly likable, as is the hookline. The main reason is the dynamic arrangements. They are just too groovy. Jeet has composed the first antara as a replica of the mukhda, while the second has Akriti singing a beautiful and soulful tune, that you are surely going to love. While Shrey’s parts have been heavily accentuated by techno club sounds, Akriti’s are minimally decorated, just by soft strings and a loop of electric guitar riffs. Jeet tries dubstep successfully in the first interlude, accompanied by marvelous strings. Ankur Mukherjee’s guitars are beautifully placed in the song, and sound beautiful. To write about the vocals, Shrey sounds very, very much like Atif Aslam, so much so that I wouldn’t be able to tell the difference if Atif himself sings another version of the song later on. Akriti seems to have sung in an uncomfortably high pitch, but nevertheless, she sounds beautiful. Manoj Muntashir, yet again, writes wonderfully romantic lyrics which do have a bit of a climactic tint in them. A song PERFECT for the climax of the movie. Jeet takes us back to 2006/2007 with a wonderful clubbish intense romantic number, which he does beautifully. Both singers are awesome in their rendition, while Jeet’s arrangements just take the song higher! #5StarHotelSong!!


Junooniyat was an album I was expecting not more than three-four great songs. And what a surprise when I get exactly four good songs, the remaining two failing to offer much. Meet Bros. Anshan show immense talent in versatility by composing a party number, an intense romantic track that might even put stalwarts to shame and a Holi number, all in one single album! Time for them to come and compose solo for an album now after their debut ‘Isi Life Mein’ (also their only Solo album, I think!!). Jeet goes diplomatic with one mediocre song and one brilliant song. Loved the way he chose the 2000s path to give a mind blowing climax song. However, the winner of the album, hands-down, is Ankit Tiwari, the chap who has troubled us a lot previously, and decided to come and impress again this year. After great songs, one each in ‘Airlift’ and ‘Do Lafzon Ki Kahani’, he highly impressed with his single song in ‘Junooniyat’. But that single song is what stands tall in front of all the other songs! With that, I must say, this junooniyat (passion) was worth hearing! It is full of passionate romance, and fanatically passionate dance!!

 

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: Ishqe Di Lat > Tu Junooniyat (Climax) > Junooniyat > Pagalon Sa Naach > Nachange Saari Raat > Mujhko Barsaat Bana Lo

 

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

 

Next “dish”: Te3n, Chef: Clinton Cerejo

A REFRESHING ‘RAINBOW’ IN THIS HOT SUMMER!! (DHANAK – Music Review)

Music Album Details
♪ Music by: Tapas Relia
♪ Lyrics by: Manoj Yadav, Mir Ali Husain & Tapas Relia
♪ Music Label: Junglee Music / Times Music
♪ Music Released On: 18th May 2016
♪ Movie Releases On: 17th June 2016

Dhanak Album Cover

Dhanak Album Cover

 

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

To buy this album on iTunes CLICK HERE


Dhanak (meaning ‘rainbow’) is an upcoming Bollywood road travel film, starring Hetal Gadda and Krish Chhabria in the lead roles of siblings, Pari and Chotu respectively. The film has been directed by Nagesh Kukunoor (director of ‘Iqbal’, ‘Dor’, ‘Mod’, ‘8×10 Tasveer’, ‘Aashayein’ and ‘Lakshmi’, to name a few), and it is produced by Manish Mundra, Nagesh Kukunoor and Elahe Hiptoola. The movie follows the journey of the two siblings. Pari has promised Chotu, her blind little brother, to help him get back his eyesight before he turns 10 years old. When she sees Shah Rukh Khan on a poster for an eye donation drive, she is convinced that the superstar will help her in her mission. 😀 So, the story seems interesting. Now, moving on to the music. Nagesh’s last film ‘Lakshmi’s music was also composed by the same person, and he had given a spectacular soundtrack, which I still hear today, two years later. The man, I believe, is extremely underrated in the Bollywood industry. And his name is Tapas Relia. This time, let’s see what Tapas has to offer, with his six songs!


1. Jeene Se Bhi Zyada Jeeyein
Singer ~ Shivamm Pathak, Lyrics by ~ Manoj Yadav

Tapas Relia starts off the album with a breezy, refreshing, folksy melody crooned beautifully by Shivamm Pathak. The song itself starts with a wonderful aalaap by Shivamm, followed by temple bells, a wonderful sarangi, and a wonderful folksy rhythm takes over within forty seconds. Guitar plucks, bagpipes, sarangi come together to make the song seem like a fusion of three cultures, three musical styles. Tapas’ composition is so mature, yet immature. It flushes you with new energy and re-energises you as soon as it starts playing. It is also very jolly-sounding and sure to make you nod your heads up and down. The hookline comes as a pleasant surprise; high-pitched, unlike the otherwise low-pitched song, and that makes it sound all the more beautiful. The rest of the song, too, has been crafted very beautifully, which shows the immense efforts put into it by Tapas. As I said before, the arrangements range from Rajasthani-flavoured sarangi to Irish-flavoured bagpipes, to a typical olden-day European jig, with the clapping of hands, making it sound very lively. This wide range of musical styles from all over the world make the song sound rich. Shivamm’s voice really surprised me. It was a great surprise for me when he sang the song in such a deep voice! He sounded almost like a mix of Papon and Sukhwinder Singh. He boldly sings the composition and brings a smile on your face.  Manoj Yadav’s lyrics too, work for the same cause. It is basically a song about living life to the fullest, and even more! The way the lyricist has given so many ideas of how to live life that way, makes me really want to do them, but that’s pretty far-fetched, isn’t it? Unfortunately. Hmmm. A vivacious song to start off the album, refresh you, and also brighten up your day. BEAUTIFUL! I would recommend you to hear it as soon as you wake up; it sounds all the more rejuvenating! This summer, this song is my ice-cream! #5StarHotelSong!! (can I give more? 😦 😦 )

 

2. Chal Chalein
Singers ~ Papon, Vibha Saraf & Shivamm Pathak, Lyrics by ~ Mir Ali Husain

The next song starts off with an unusual but lilting fusion of an almost neverending loop of a harp, with a regal trumpet. Papon’s smooth-as-silk voice switches your attention totally towards him, and then Vibha, who I only know as the singer of ‘O Soniye’ (Titoo MBA), starts off with a voice that seems less trained, less experienced, yet functional. At this moment, the song is in a comparatively low phase. But when the hookline starts for the first time, that is the magical part. After that, the song goes only on a climb uphill, and never comes back in that valley again. The composition is fantastic, and the orchestration is fabulous, and grand. With the hookline, a nice and groovy rhythm with guitar chords, and a cool Caribbean rhythm kicks in. At the same time, Shivamm Pathak kicks in with a totally Rajasthani-flavoured line; Tapas shows his brilliance in making two cultures meet, yet again. The idea is excellent, but what matters most is the execution, which is superb. Arrangements basically revolve around the Caribbean rhythm with bongo-Congo drums. Vibha gets an interesting solo portion in an antara, where you can hear a wonderful mandolin in the background. Arrangements pick up with royal strings and trumpets, but only yo go back to the Caribbean. 😀 This creativity is what I love in Bollywood, instead of the usual bleating of “goats” in romantic songs. A wonderful folk flute assortment leads a great tune in the song; whenever it plays, it just makes you feel so fresh. In fact, the whole song is unbelievably refreshing. The three singers are undoubtedly great, with the major portion of the sing belonging to Papon and Vibha as a duet, while Shivamm only sings a small, but awe-inspiring Rajasthani folk part. The duet portion is beautiful, too! Mir Ali Husain, who I think I’ve never heard of, comes up with an immensely meaningful and relatable piece of writing. Stuff like “iss raat Ki bhi hogi ek seher”, and “duniya mein aaye hai, Dil paaye hain; kyun na jeeyein?” restore my faith in Bollywood lyrics, and make Mir Ali Husain a one of the heroes for Bollywood lyrics. A song fit for a road trip, again with pretty much the same message as the first song, this time with a Caribbean rhythm instead of an Irish jig! And Tapas’ beautiful fusion bowls me over yet again!! BRILLIANCE AT ITS PEAK!! #5StarHotelSong!!

 

3. Dum-A-Dum
Singers ~ Chet Dixon & Devu Khan Manganiyar, Lyrics by ~ Tapas Relia (English Lyrics) & Traditional (Amir Khusro & Bulleh Shah) 

The next offering on my plate (come on guys, it’s a food-based music blog, and I never get to talk about food, so now food has paid me to give it a special appearance in my next review.. Please don’t mind it, and forgive it!) is an interesting one. We’ve heard many recreations of the eternal folk song “Damadam Mast Qalander”. Well, I’m sure we have never heard anything like this before! This version right here, is a fusion of the traditional folk song with some nice and gentle English lines. The song starts right away with some English vocals by Chet Dixon, who’s singing as the American hippie in the film. It’s not something you can call catchy, but it is really fun to hear. The fun starts when the hippie starts trying to teach Chotu (the little boy) how to sing the song, and his failed attempts. Chet’s polished English vocals coupled with Devu’s folksy, rustic, earthy voice make a brilliant combo, and sound awesome together. Secondly, Tapas’ attempt to make a believable jam between both has succeeded. It sounds realistic, like when the boy breaks into “Dum-A-Dum” when he can’t sing the English lines. Tapas has composed and written the English parts really nicely, and they don’t sound preachy, though they carry a moral. The arrangements too, are refreshing, with a mix of acoustic guitars and the traditional dholaks, nothing more! Towards the end, the hippie and the little boy do a beautiful jugalbandi with Dixon also trying out the folk song. A refreshing adaptation of the classic song! Who would have thought it would become a jam between a foreigner and a folk singer!? #5StarHotelSong!!

 

4. Dhanak
Singer ~ Monali Thakur, Lyrics by ~ Mir Ali Husain

A refreshing, mellifluous flute prelude starts off the title song of the album. Considering title songs, I’m always a bit skeptical whether they will be good or not, because titles might not really work if they’re really short, like ‘Dhanak’. While some composers just keep repeating the title a thousand times and thus making it the hookline of the song, others come up with pretty unusual, but innovative and pleasant ideas of implementing the title into the title song, and Tapas is one of them! The way he has used the title, smack in the middle of the hookline, only once in every hookline, is commendable, and all the more effective, as well! His composition is one of the best compositions I’ve heard this year — lilting, breezy, enlightening and dreamy at the same time. The mukhda starts the song off on a very beautiful note, and the hookline is what does the magic. Such a beautiful atmosphere gets created when the hookline plays, that I just can’t describe it. Antaras are sweet and simple, too. In fact, the composition as a whole is a beautiful lullaby-ish composition, which will also work to refresh you whenever you feel low. The arrangements are top-notch, with the serene flute (Paras Nath) leading, and Dilshad Khan doing a spectacular job with the sarangi. Rain-stick shakers sprinkle the required sweetness into the song. Twinkling sounds in the percussion are just too good. In the first interlude, a beautiful bongo-Congo rhythm accompanies the flute to create a beautiful ambience, while the flute leads the way through the second interlude, accompanied by guitars. Strings (Jeetendra Thakur’s violins) in the antaras just add to the grandeur. Monali’s voice is just too sweet to be ignored; in fact, she is the star of the song. Had some other singer sing this song, it wouldn’t have produced the same effect! NOBODY. The way she sings the hookline, is just too cute, making you fall in love with her voice yet again (Because I know everybody already loves it either from ‘Zara Zara Touch Me’ or ‘Sawaar Loon’ or ‘Moh Moh Ke Dhaage’, which I feel are the important milestones in her Bollywood journey.) Each and every word in her voice seems so calming and soothing. Mir Ali Husain comes up with lilting words as well, poetic to the core. Meaningful as they are, they instantly connect with you. A lullaby that has been crafted beautifully! A winner in all aspects!! The best hookline of the year till now, for me!! Forgive me for twisting it, but I want to say this — Abb dekhenge hum dhanak, raaton mein!! #5StarHotelSong!! (Again, I feel like giving more!!)

 

5. Mehandi
Singers ~ Anwar Khan Manganiyar, Swaroop Khan & Niyaz Khan, Lyrics by ~ (Traditional)

The next song, which is the last verbal song on the soundtrack, gets into traditional Rajasthani wedding flavour. Three folk singers with a folk background — out of which only Swaroop is known to me, and I’m guessing Anwar Khan is Devu Khan Manganiyar’s father or some relative — carry the song forward. The traditional mehandi song has been given a nice and groovy techno beat by Tapas, making it all the more appealing and also making it sound catchy and innovative. Of course, traditional instruments do make an appearance as well — with Dilshad Khan coming back on his sarangi, and stealing the show here, as well. Khartals (those clicking sounds are of the khartalsby Jasu Khan Manganiyar (another Manganiyar! What a talented folk musician family! 🙂 ) too sound great in the folk-techno song. The composition won’t appeal to all; after all, it is a folk song. However, the quality of the music is commendable. The trio handles the song boldly, with their bold voices being the highlight of the song. I’m astonished at how high they can go with such a deep voice! Awesome! Swaroop is kind of sidelined, with the other two getting more portions to sing, out of which I can’t differentiate between the two. All in all, a fun and groovy traditional song, which will lift up your mood! #5StarHotelSong!!

 

6. Theme To Dhanak
(Instrumental)

The album ends off with a small instrumental, standing at three minutes long. It starts with a dreamy piano piece, that is so lilting, you can go off to sleep. The soulfulness of the piano takes the song levels ahead of what it might have been without the piano. When the piano stops, beautiful strings take over. Jeetendra Thakur’s violins are so grand, you cannot help but praise them. A symphony of sorts is created there and then, after which the piano is played again, joined by a bit, just a bit, of brass instruments, like some motivational music. The real surprise is in the last 45 seconds of the song, where the piano gives way suddenly to traditional Rajasthani percussion — matkas, dhols, manjeeras, khartals, accompanied by beautiful sarangi playing the tune of the mukhda of ‘Jeene Se Bhi Zyada Jeeyein’. I must say, that was a pleasant surprise after the lilting piano-strings orchestral piece. And the song really ends the album on a high. A perfect grand finale to the album. Kind of a gist of the whole album, with lilting orchestra, and lively folk music! #5StarHotelSong!!


Dhanak turned out to be just as expected, nothing less, nothing more. I had high expectations and they were met! Tapas impressed as always, but I can’t help but praise the way he has done fusion in each and every song, except probably the title song. All the songs have a great display of folk instruments coupled with some or the other kind of foreign music, be it Western classical, or Caribbean folk, or even Irish folk. Tapas has actually showed us how to bring versatility into simplicity. Simple but appealing compositions, lifted levels and levels higher due to the grand arrangements! What more can a music lover ask for? Tapas shows us a refreshing ‘rainbow’ (dhanak) in this hot, hot summer!!

 

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: Whatever you want!! 😀 

 

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

 

Next “dish”: Junooniyat, Chefs: Meet Bros. Anjjan, Jeet Gannguli, Ankit Tiwari & Stereo Nation

TYPICALITY KI KAHANI!! (DO LAFZON KI KAHANI – Music Review)

Music Album Details
♪ Music by: Babli Haque, Amaal Mallik, Ankit Tiwari & Arjuna Harjai
♪ Lyrics by: Sandeep Nath, Manoj Muntashir & Kumaar
♪ Music Label: T-Series
♪ Music Released On: 18th May 2016
♪ Movie Releases On: 10th June 2016

Do Lafzon Ki Kahani Album Cover

Do Lafzon Ki Kahani Album Cover

 

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

To buy this album on iTunes CLICK HERE


Do Lafzon Ki Kahani is an upcoming Bollywood romantic drama film, starring Kajal Aggarwal and Randeep Hooda in the lead roles. The movie is directed by Deepak Tijori, abd produced by Jayantilal Gada, Dhiraj Shetty, Avinaash Rai, Deepak Tijori and Dhaval Jayantilal Gada. The movie is an adaptation of the 2011 Korean movie ‘Always’, which had been remade into Kannada as ‘Boxer’ in 2015. The story revolves around a boxer, Suraj (Randeep Hooda) and a blind girl Jenny (Kajal Aggarwal), who fall in love with each other. Anyway, moving on to the music! The music has been handled by T-Series, guaranteeing a multi-composer album, with great songs. (‘Sarbjit’ is a classic example now!) There are four composers behind the album, each having one song. The first is who I always introduce as T-Series’ favourite, junior Pritam — Amaal Mallik. The next composer is Babli Haque, who has composed previously for small films like ‘Bezubaan Ishq’ and done quite well. I think this is his first big film. Next up is Arjuna Harjai, who debuted in ‘Titoo MBA’ and gave us the memorable ‘O Soniye’ among a bunch of not-so-memorable songs. And last up is Ankit Tiwari, who is impressing on and off (with the OFF portion being slightly longer than the ON portion!) Hopefully, these four have come together to give us a bunch of good songs, seeing that the number of songs is less! So let’s start with the analysis of the music album to ‘Do Lafzon Ki Kahani’!


1. Jeena Marna / Jeena Marna (Female Version)
Singers ~ Altamash Faridi / Palak Muchhal, Music by ~ Babli Haque, Lyrics by ~ Sandeep Nath

Babli Haque starts off the album with a soulful romantic song, following the Sufi + rock template. Techno sounds start off the song followed by the blaring of a rock guitar and a very Ankit Tiwari-ish “O yaaaaraaaa”. It sounds quite like the “yaaraa” from ‘Sunn Raha Hai’ (Aashiqui 2). The mukhda, when it starts, sounds like something one would compose as an antara. But that’s a very wonderful move by Haque. The whole composition is really soulful, and though it is nothing innovative at all, it manages to appeal to you instantly. The typical Bhatt-ish composition works best for these Sufi songs. The hookline, in particular, has been composed very whole-heartedly, and that shows in how it manages to make you nod as if you are a judge on a singing reality show. The antara too, has been composed soulfully, and though it is nothing innovative, it would make me feel like hearing it over and over. Lyrics by Sandeep Nath are also nothing new or innovative, but they strike a chord with the listener in that they sound good, even though they are the same old Bollywood stuff. Moving on to arrangements, both versions have different arrangements. The make version has more prominent arrangements, with the rock and Sufi standing high. The tablas with the guitars in the hookline are really catchy, but they were the exact same in ‘Sanam Re’ (Sanam Re). That’s fine because it still sounds good. 😛 Guitars are the prominent instrument in the song, and it leads the way nicely; a wonderful rock interlude keeps you listening for more. In the female version, on the other hand, it seems as though the arrangements from the male version have just been muted and whatever is left audible, has been kept, and it sounds pretty messy. Piano and guitars can be heard here, but it sounds very amateur, and not finished and polished. The hookline and antara have more accentuated tablas here, though, while the rock template is hardly audible, but you can clearly hear that it has been muffled, which is suspicious and also looks lazy! Speaking about vocals, Altamash carries the whole song on his shoulders, giving the perfect expressions and giving a full-of-life rendition. The way he sings “Mujheeee” in the hookline is praiseworthy, and my favorite part of the song. However, Palak seems uneasy singing the song. First of all, it has been recorded so lazily, that her voice has been muffled many a times. Also, she seems to have sung this half-heartedly. Her rendition lacks the punch that could’ve been brought in with a more energetic rendition. Fortunately, she has sung the “mujheeee” comfortably, and I loved the way she sang it too. Babli Haque follows Jeet Gannguli’s style of composing and gives us a soulful Sufi-Rock combo in this song, whose female version was unnecessary, but the male version excels! The male version is a #5StarHotelSong!!

 

2. Kuch To Hai
Singer ~ Armaan Malik, Music by ~ Amaal Mallik, Lyrics by ~ Manoj Muntashir

Amaal steps in for the next song, which is a typical Amaal Mallik-style romantic song. I say typical, because now I know that Amaal’s forte are these kind of songs — ‘Main Rahoon Ya Na Rahoon’, ‘Bol Do Na Zara’ and now this. Nobody in the industry does this genre as good as Amaal. A slow, lilting melody, on a soft but functional rhythm and Armaan’s sugar-sweet voice, make for a usual Amaal Mallik song. And I can’t help but say that Amaal always manages to pull out the best of himself in these kind of songs. This song has a beautiful, slightly haunting but mostly soothing tune, which does invite those goosebumps. It is so soulful, that you might even fall asleep to the dulcet tune. The hookline being crafted so well, the rest of the song falls into place just like that. Though the transition from mukhda to hookline seems abrupt, Amaal covers for that with the rest of the song. The antara is so very pleasing, as well! Armaan impresses, and sounds sweet as ever. He handles all the notes wonderfully, and again, these songs are tailor-made for him. The way he sings the “Ayy aahh ahhh” in the interludes is brilliant! Arrangements are par excellence. The music is so orchestral! The flute, acoustic guitars, electric guitars, piano are all nothing in front of the wonderful strings that Amaal introduces towards the end, in the second interlude. They infuse even more grandeur into the song, and make it sound so regal, and are accompanied by a very sweet flute. Manoj Muntashir has written one more great song, but you might need to hear the song another time to pay attention to the lyrics as you will be paying attention to Armaan and Amaal’s magic for most of the time!! 😀 Amaal strikes yet again, with a dulcet melody, full of soul, and perfectly arranged and beautifully sung! #5StarHotelSong!!

 

3. Sehra
Singer ~ Ankit Tiwari, Music by ~ Ankit Tiwari, Lyrics by ~ Sandeep Nath

For the third song on the album, Ankit Tiwari comes back after some good, but not excellent, performances in ‘Rocky Handsome’ and ‘Baaghi’. This time, though, he is back with something not as monotonous or boring as his previous songs. This time, he has made sure that there is some freshness retained in the song. The overall composition is really fresh, something I never expected after Ankit kept disappointing in this genre after ‘Galliyan’ (Ek Villain). He kept doing dance songs and horror movies good, that’s it. 😛 But now he makes a comeback into this genre, and a very strong one, at that. The mukhda is really similar to all of his previous songs, but just before he starts the hookline, there’s a beautiful line that’s makes the difference. And that line is, “Yunhi saanson mein saans liye”. And this line is something unlike any line in any of his other songs. Also, the way he sings it, is just too cute! The hookline too, is really catchy, and not at all sleep-inducing like his others. You just can’t go to sleep in this one. The antara, though it goes back to familiar territory for some time, gets better after a line or so. Speaking about the vocals, Ankit has really tried not to sound like always, and let me tell you, he has succeeded quite a bit! The autotune machine can now safely be disposed of! The line I mentioned above, he sings in a whispery, feathery voice that sounds quite unlike him! The arrangements too, are fresh. Finger snaps as beats, acoustic guitars giving the melody in the arrangements, and the usual computerized sounds that addict us every time, come together for a wonderful experience. A wonderful backing chorus has been employed to make the song sound polished in all aspects. Sandeep’s lyrics are good, as well. Entrancing!!!! One of Ankit’s best in the romantic genre! I wish he keeps coming up with such songs!!! But again, he shouldn’t overdo it like he did, the last time we said this, after ‘Sunn Raha Hai’! 😂😂😂😂🙈🙈🙈 #5StarHotelSong!!

 

4. Ankhiyaan
Singer ~ Kanika Kapoor, Backing Vocals by ~ Arjuna Harjai, Music by ~ Arjuna Harjai, Lyrics by ~ Kumaar

The last song on the album is by relative newbie Arjuna Harjai. After the unforgettable ‘O Soniye’ (Titoo MBA), in which he composed five other forgettable songs with that one, I was hoping for a great song here, given that he has got only one! However, I was quite disappointed with what I heard. The composition, for one, is a typical Bhatt-ish composition. Sometimes, these songs are composed beautifully and soulfully, and sometimes really boringly. This one is composed boringly. A sad song with a very monotonous and dull touch to it isn’t actually something anyone loves to hear. The hookline isn’t so catchy as one would want it to be, and the antara is really monotonous. Kanika, though, impresses even in a mediocre composition. She hasn’t sung such a calm song; it’s her first I guess. She sounds marvelous in this genre too! It reminds me of Richa Sharma, who sings upbeat dance numbers as well as sooting Punjabi/Sufi folk numbers, both equally well! Arjuna’s basic arrangements are great. The violin takes the front seat here, playing the tune of the hookline every time the singer stops singing. Other instruments like the dafli, rock guitars, acoustic guitars, and a wonderful santoor take the backseat, and impress highly. Kumaar’s lyrics are suitable for the sad feel, but again, the Punjabi sounds far-fetched in a totally Hindi album. A disappointing end to an otherwise surprisingly good album! Arjuna doesn’t perform as well as the one song he did good in, in his debut. Maybe that was a fluke!?


Do Lafzon Ki Kahani actually meets expectations. I wasn’t expecting something too good, nor something too bad — somewhere in the middle. Just as expected, all composers do well, with Arjuna falling a bit behind the other three. Babli comes up with a good Sufi number, fused with rock, while Amaal follows his own template and makes a lilting melody. Ankit, however, treads untrodden territory and gives a song as fresh as he has ever given. Many of the senior composers don’t give such a song nowadays. All I would say is that, everyone follows the road of typicality and succeed, while Ankit gets non-typical for once, and succeeds!

 

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: Sehra > Kuch To Hai > Jeena Marna > Ankhiyaan > Jeena Marna (Female Version)

 

Which is your favourite song from Do Lafzon Ki Kahani? Please vote for it below! Thanks! 🙂

 

Next “dish”: Dhanak, Chef: Tapas 

TRIVEDI’S GROOVY PUNJAB!!! (UDTA PUNJAB – Music Review)

Music Album Details
♪ Music by: Amit Trivedi
♪ Lyrics by: Shellee, Late Shri Shiv Kumar Batalvi & Varun Grover
♪ Music Label: Zee Music Company
♪ Music Released On: 18th May 2016
♪ Movie Releases On: 17th June 2016

Udta Punjab Album Cover

Udta Punjab Album Cover

 

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

To buy this album on iTunes CLICK HERE


Udta Punjab is an upcoming Bollywood crime drama/thriller film starring Shahid Kapoor, Alia Bhatt, Diljit Dosanjh and Kareena Kapoor Khan in the lead roles. The movie is directed by ‘Ishqiya’ and ‘Dedh Ishqiya’ fame Abhishek Chaubey, and produced by Shobha Kapoor, Ekta Kapoor, Anurag Kashyap, Vikramaditya Motwane, Aman Gill, Vikas Bahl and Sameer Nair. In the movie, Shahid plays the role of a rockstar, while Alia essays the role of a Bihari worker. Kareena portrays the role of a doctor and Diljit, the role of a policeman. What brings them all together, is the drug situation. Now, I don’t know how, but that’s what the story basically is. So let’s head over to the music section. The music for this film has been helmed by Amit Trivedi, whose previous albums like ‘Fitoor’, ‘Shaandaar’, ‘Guddu Rangeela’ and ‘Bombay Velvet’ were really outstanding. So, an outstanding album is expected here, too! Amit has created six songs for the album, with one being reprised, so that makes it seven tracks in all. Let’s see, how many of these seven tracks, cross the standards that Amit has made with his previous works!


1. Chitta Ve
Singers ~ Shahid Mallya, Babu Haabi & Bhanu Prtap, Lyrics by ~ Shellee

A movie that revolves around a rockstar, better have a full-on rockstar-styled number. So Amit decides to place that song right in the beginning of the album. But, it is not full-on! This rock number is totally Amit Trivedi style! I’ll explain. While normal rock songs have an overdose of electric guitars and drums, with hardly any place left for the singer to make any noise, this rock song has left a good amount of place for the singer to leave his mark. Instead of the usual rock instruments, Amit has arranged this song completely on a techno base. Amit’s usual quirky sounds grace the song and that is actually the best part of the song. The song starts off very disappointingly, though. After a great techno tune, with some groovy beats, there comes a rap by newcomer Babu Haabi, that seems pretty forced and also, unnecessarily long! The rapper seems to be imitating Badshah, but fails to create anything engaging (not that Badshah always impresses.. That’s rare) so I don’t get the reason behind choosing a newcomer? However, the part that follows after the rap is good enough to at least provide an enjoyable first-time listen. Shahid Mallya’s folksy voice has been utilized unusually well in an upbeat song. Bhanu Prtap, Indian Idol 4 contestant, accompanies him well. Amit’s composition, though, falls flat. It seems like a repetition of the same tune over and over again, and it frankly gets pretty monotonous after a while. The rap interspersed throughout the song just makes it worse. However, Amit saves his weak composition with excellent arrangements. Techno arrangements, and very, very minimal rock guitars (it is hard to catch them.. Hear the rap carefully! 😀 ) and various sound effects lift up the song fantastically. The beats are just boomingly awesome. The flute interlude (Inapakurti D Rao) is just too cute, and again, easy to miss because the song isn’t really too engaging. Shellee’s lyrics are strictly related to the theme, and situational. Nothing great. Enjoyable for the first couple of listens, but gets tiring later on. A decent start to the highly-awaited album!

 

2. Da Da Dasse
Singers ~ Kanika Kapoor & Babu Haabi, Lyrics by ~ Shellee

The next song starts off with the mesmerizing sounds of bells and chimes, which make way for an odd-sounding synthesizer tune that’s really quirky and cute, too! Kanika, with her ever-so-unique voice, starts singing with that distinct twang in her voice, which is so attractive. Amit has composed a beautiful tune for her to sing, a really catchy and addictive one. The hookline is something that is unconventional, but still appeals a lot. The mukhda that leads up to the hookline is just as addictive and groovy. When you first hear the song, it won’t be something which you would think could ever be called as ‘catchy’ of ‘addictive’, let alone ‘soulful’! Though it is not the ideal ‘soulful’ song, it gives you that sense of calmness. It is soulful in a totally different way. The antara has the exact same tune as the mukhda. In fact, there is a rap by Haabi after both the stanzas, and this time, his rap actually works in favour of the song, and doesn’t irritate like it did in ‘Chitta Ve’. The next thing that must be praised is Trivedi’s instrumentation, which actually has a negligible number of actual instruments, everything being totally based on electronic sounds. However, those sounds are entrancing like they never are! Those beats in the hookline are half the reason why it sounds so groovy and addictive. All throughout the song, Trivedi’s unusual, but cool sounds engage the listener, and male the song complete in a sense. Rock guitars and acoustic guitars can be heard in the background in places, but their role is very obscure, being overshadowed by the electronic sounds. Shellee’s lyrics here actually mean something, and are pretty haunting; Trivedi has masked that with his kind of jolly-sounding composition. A highly impressive and innovative track from Amit Trivedi, and a break from Kanika Kapoor’s incessant lifeless dance tracks. #5StarHotelSong!!

 

3. Ikk Kudi / Ikk Kudi (Reprised Version)
Singers ~ Shahid Mallya / Diljit Dosanjh, Lyrics by ~ Late Shri Shiv Kumar Batalvi

The next on the album is a romantic track of the type we rarely hear nowadays. Late Punjabi poet, Shri Shiv Kumar Batalvi’s poem, ‘Ikk Kudi Jihda Naam Mohabbat Hai’ has been revived to feature in the movie, and the way Trivedi has composed it is outstanding. Now this is what I would call ‘soulful’ without any doubts. The universally accepted ‘soulful’. Trivedi’s composition has shades of the 70s in places (I don’t know… I just felt that), and other parts are so contemporary-sounding, that I wonder how those two eras have sounded so well together. There is no actual hookline, as that is the line which starts the song and it doesn’t seem like a hookline because it isn’t forced onto the listeners at every single moment of the song. The mukhda is totally composed on low notes, whereas the antara majestically treads higher octaves, and how! Kudos to Shahid Mallya for managing those high portions so gloriously! It is like some magic to the ears. In the other version, Diljit doesn’t manage to do even half as good, though. He seems to have got stuck where the variations come in. And it doesn’t sound so romantic, either. Also, he doesn’t do all that high-pitch beauty in the antara, and that makes it sound flat. Going on to the arrangements, Shahid’s version has a soothing acoustic guitar arrangement. (Sanjoy Das) It starts off with beautiful guitars, strings and carries on with the magic throughout. A metronome ticks brilliantly to keep the beats, and soft drums grace the song. However, the reprise has a mishmash of rock guitars (Irshad Mistry) and acoustic guitars (Ankur Mukherjee), with more heavily played drums (Darshan Doshi), which reminds one of Amit’s arrangements in ‘Tere Liye’ (Fitoor). It sounds pretty forced. Batalvi’s lyrics shine in the song, and make for a very soothing, romantic listen. A soothing track right after two hard-hitting electronic tracks! Beautiful work by Trivedi! #5StarHotelSong!!

 

4. Ud-Daa Punjab
Singers ~ Amit Trivedi & Vishal Dadlani, Lyrics by ~ Varun Grover

While ‘Chitta Ve’ did have the title of the movie in its hookline, the actual title song comes in now, with the title warped to suit the Punjabi setting of the movie. And what can I say about this track? Whatever I say is too less. Such an electrifying track, with such a groovy beat and energetic vocals, I’ve not heard for a very long time! (I know you think I’m saying that for all songs; well, so be it, because it’s true!!) The composition is something that takes nanoseconds to grow on you, so basically, when it starts, it has fully grown on you. The tune is that catchy, and especially the hookline, which is what it should be for an ideal song. Again, the tune of the mukhda and antara is the same, and again, they are both followed by a rap, quite like the structure of ‘Da Da Dasse’, but after the second rap, the mukhda plays once more, here. This time the rap goes to Vishal Dadlani. The firs time I saw the singers’ names in the credits, I thought it would be some duet with each of them singing some lines like ‘Guddu Rangeela’ (Guddu Rangeela), but then I found out that Vishal Dadlani is only and ONLY in charge of the rap!! And I applaud Trivedi for trying such an experiment. Anyone else, might have given Vishal the whole song too. But here, Trivedi, confident in his own voice retains his voice for the actual song while Vishal handles the rap (which is equally important for the song to be so likable). Trivedi’s unique voice works wonders for the composition and makes it seem like it has been sung in a carefree manner, which is kind of the main gist of the character of a rockstar, isn’t it? And seeing that Vishal too could’ve done it equally well, it was a brave choice to retain his own voice. Luckily, it turned out splendid. The arrangements are just as electrifying and addictive as the other pats of the song. Mostly, they are techno sounds again, but this time, the quintessential Punjabi tumbi plays an important part in the song. The dhols take Vishal’s first rap forward very enjoyably. The plucked strings (guitar?) are awesome, and can be heard in almost every line. The dubstep in Vishal’s second rap is great too, again, later joined by dhols. Varun Grover’s lyrics are suitable for the look of the film — grungy, carefree, rowdy, but nevertheless enjoyable! One of the most electrifying works from Amit Trivedi, and one of his best performances as a singer, clearly showcasing his versatility! #5StarHotelSong!!

 

5. Hass Nache Le
Singer ~ Shahid Mallya, Backing Vocals by ~ Shadab Faridi, Suhas Sawant, Arun Kamath, Lyrics by ~ Shellee

Acoustic guitars coupled with a wonderful aalaap start off this song, to be later joined by divine harmoniums, strongly indicating a genre I love very much, Qawwali. When Shahid Mallya starts off with his singing, you can’t help but get lost in the mesmerizing music. Amit Trivedi’s composition is nothing new or great; in fact, it is quite similar to the tunes of his previous songs of similar genres — and I can smell ‘Sahebaan’ (Guddu Rangeela) and ‘Luv Shuv Tey Chicken Khurana’ (Luv Shuv Tey Chicken Khurana) very strongly. However, the way he has executed it is hands-down beautiful. He knows where to put the right notes, to make it a beautiful song as a whole. The hookline is divine and mesmerizing, as is the mukhda, while the antara treads familiar territory (Luv Shuv…) Shahid has sung both the songs I mentioned above, so the déjà vu is even more. But the way he sings here, is so divine that you might forget about those songs and this song will just throw them out of your brain and establish a place for itself in your brain. It actually feels as of you are in a gurudwara and that is a very unmatchable feeling. 😀 Backing vocalists accompany Shahid well. The hookline sounds a bit like ‘Ude Jab Jab Zulfein Teri’ (Naya Daur), but that makes it better! The arrangements here are just as mesmerizing as everything else. The sublime rhythm produced by the dholaks (Raju Sardar) along with the harmonium (Akhlak Hussain Varsi), is again, out of the world. The acoustic guitar surprisingly fits well into the song. And I don’t know whether there are tablas or not, because the dholaks are sounding suspiciously like them. So let’s say, theyre in there somewhere. 😛 Shellee’s lyrics are also good, and functional for this genre. May i note that they were similar in ‘Luv Shuv…’ too. 😛 The Amit-Shellee-Shahid give another Qawwali, and give nothing new or innovative, but it tricks you and works its magic on you so much, that you end up loving it! #5StarHotelSong!!

 

6. Vadiya
Singer ~ Amit Trivedi, Lyrics by ~ Shellee

An addictive techno tune starts off the last song in the album. The way it has been programmed, to seem as if it is coming closer to you, is awesome. And when Trivedi starts singing, it sounds like some foreign song, so international-sounding the tune is! The EDM really transports the song to some other level, which is enough to compete with songs of international artists. The tune is so entrancing that you are pretty shocked that it has been arranged on an EDM base, because Bollywood usually uses that for club songs which are loud and noisy, and Bollywood also usually uses it wrong (with Pritam and Vishal-Shekhar being the masters, and Amaal Mallik with his ‘Sooraj Dooba Hain’) But Trivedi had used it in a similar way in ‘Shaam Shaandaar’ (Shaandaar), which seemed forced, and also ‘Rangaa Re’ (Fitoor), which was just an oddball in the soothing Kashmiri folk album. After trying decently twice, his hard work actually bears fruit on the third try. Here, he has done better at EDM than he has ever done, and it works out so brilliantly. It feels as if it is a DJ remixing a song, but not as messily as DJs always do. The entrancing tune gets even more enrapturing due to the EDM. The actual composition is not too much, but Trivedi has added interesting interludes of EDM. programming by Trivedi and Sourav Roy is fantastic. I never felt like I’m hearing a Bollywood song; the level of programming is so high. Trivedi’s voice gets drained behind the wonderful programming, but even if the programming wouldn’t have been there, it would’ve sounded beautiful. His steadiness on those long notes is noteworthy. Shellee’s lyrics too, and bewitching and intoxicating. A spectacular grand finale to the album, with a great use of international a level EDM, and an intoxicating composition and lyrics! #5StarHotelSong!!


To be honest, I wasn’t expecting something this good from Udta Punjab after tgey released the first two songs — ‘Chitta Ve’ and Diljit’s ‘Ikk Kudi (Reprise)’. However, little did I know that all the songs I would like were to be released with the full album! And I was surprised like anything! Amit Trivedi has gone to such lengths to make such addictive songs, most of them having attractive electronic music. Never have i respected electronic beats so much; here, they have been done very classily. And also, thanks to Amit Trivedi for actually representing Punjab positively, and not withh those irritating hip-hop, rap and disco numbers that Bollywood has stereotyped Punjab with. Trivedi has created a whole new music for Punjab, and that Punjab, I would call as Trivedi’s Groovy Punjab!!

 

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: This is more difficult than sin cos tan! So I would say hear them all in the same order they have been given in the album… With “Chitta Ve” first so that your listening won’t be spoiled!

 

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

 

Next “dish”: Do Lafzon Ki Kahani, Chefs: Amaal Mallik, Babli Haque, Arjuna Harjai & Ankit Tiwari

19th MUSIC MASTANI MONTHLY AWARDS (MAY 2016)

Pheww!!! That was an exhausting month! As much as 8 albums to review! And the bonus Marathi album, which makes it 9, and also ‘Housefull 3’, which is a June release, but I reviewed it because it released early and having done so, it is safely outta my way now! But I will include only those eight albums as candidates for the awards… Namely, ‘1920 London’, ‘Traffic’, ‘One Night Stand’, ‘Azhar’, ‘Sarbjit’, ‘Waiting’, ‘Cabaret’ and ‘Veerappan’, so here goes!!

 

19th Music Mastani Monthly Awards

♪ MAIN AWARDS

• Singer of the Month (Female) : Neeti Mohan for Mohe Aaye Na Jag Se Laaj (Cabaret)

{NOTE: I didn’t like the song, but I’ve got to admit, Neeti’s performance was applause-worthy!}

• Singer of the Month (Male) : Sonu Nigam for Dard (Sarbjit)

• Composer(s) of the Month (Song) : Shashi-Shivamm for Nindiya (Sarbjit)

• Composer of the Month (Album) : Mikey McCleary for Waiting

• Album of the Month: Waiting (Music by: Mikey McCleary; Lyrics by: Manoj Muntashir, Mikey McCleary & Ankur Tewari; Singers: Mikey McCleary, Anushka Manchanda, Nikhil D’Souza, Kavita Seth & Vishal Dadlani; Music On: Zee Music Company)

• Musical Jodi of the Month (Best Duet) : Sonu Nigam & Prakriti Kakar for Tu Hi Na Jaane (Azhar)

• Lyricist(s) of the Month: Jaani & Rashmi-Virag for Dard (Sarbjit)

 

♪ SONG AWARDS

• Best Romantic Song: Itni Si Baat Hain (Azhar)

• Best Dance Song: Got My Eyes On You (Waiting)

• Best Sad Song: Tu Hi Na Jaane (Azhar) AND Dard (Sarbjit)

• Best Club Song: Paani Paani (Cabaret)

• Best Classical-Based Song: Barsan Laagi (Sarbjit)

• Best Song With A Western Influence: Waiting For You (Waiting)

• Best Song With A Folk Influence: Vitthala Naam (Traffic)

• Song With Best Use of Fusion: Allah Hu Allah (Sarbjit)

• Best Backing Vocals: Deepti, Mayuri, Roshni & Hargun for Tung Lak (Sarbjit)

• Best Sound Effects In A Song: Got My Eyes On You (Waiting) AND Muchhi Re (Veerappan)

• Best Retro-Styled Song: Got My Eyes On You (Waiting)

• Best Humorous Song: Do Peg Maar (One Night Stand) AND Veer Veer Veerappan (Veerappan) [Unintendedly humorous, but humorous nonetheless!!]

 

♪ SPECIAL AWARDS

• Bandar Kya Jaane Adrak Ka Swaad (Best Album That Went Pretty Much Unnoticed / Most Underrated Album) : Waiting (Zee Music Company), Traffic (Zee Music Company) AND Sarbjit (T-Series)

[I think only ‘Azhar’ was the only good album this month that received the praise it deserved, and also deserved the praise it received! 😀 ]

• Newcomer of the Month:

– Newcomer of the Month (Singer – Female) : Aakanksha Sharma for Tu Alvida (Traffic)

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

– Newcomer of the Month (Composer) : Shail-Pritesh for ‘Tung Lak’, ‘Meherbaan’, ‘Barsan Laagi’, ‘Mera Junoon’ and ‘Sarbjit Theme’ (Sarbjit)

• Music Label of the Month: Zee Music Company (Traffic & Waiting)

[because both of Zee’s albums were good, while only two of T-Series’ six albums were great 😛 ]

• Most Unusual, But Awesome Choice Of Singer: Benny Dayal for Keh Bhi De (Traffic)

 

 

And that’s a close to the monthly awards for May 2016!! Hope you agree! If not, very sorry! Hope I can please you next time! 🙂

 

Reviews Next Month: Do Lafzon Ki Kahani, Udta Punjab, Dhanak, Te3n, Raman Raghav 2.0 & Junooniyat [Housefull 3 reviewed]

KAAYAR-APPAN!! (VEERAPPAN – Music Review)

Music Album Details
♪ Music by: Jeet Gannguli, Sharib-Toshi & Sandeep Chowta
♪ Lyrics by: Manoj Muntashir, Manoj Yadav & Nitin Raikwar
♪ Music Label: T-Series
♪ Music Released On: 17th May 2016
♪ Movie Releases On: 27th May 2016

Veerappan Album Cover

Veerappan Album Cover

 

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

To buy this album on iTunes CLICK HERE


Veerappan is an upcoming Bollywood biographical crime/action/thriller film, starring Sandeep Bharadwaj, Sachiin J. Joshi, Usha Jadhav and Lisa Ray in prominent roles. The film is directed by Ram Gopal Varma, and produced by Raina Sachiin Joshi. The movie is a biopic of bandit Koose Muniswamy Veerappan, dominant in the Sathyamangalam Forest in the states of Karnataka, Tamil Nadu, and Kerala, and it revolves around his life and the events leading to Operation Cocoon, the mission to capture and kill him. Ram Gopal Varma had directed a Kannada movie named ‘Killing Veerappan’ that released earlier this year, but this, he claims, is not a remake of it. There are absolutely no hopes from the music of a gangster film, more over, a Ram Gopal Varma film, and it shocked me to see Jeet Gannguli as one of the composers. He has one song in the album, and the remaining three tracks are by duo Sharib-Toshi, from whom I’ve stopped expecting good music after ‘1920 London’ and ‘Housefull 3’. They have actually composed only one song, in two versions, and the third song is a remake of the superhit ‘Khallas’ (Company) by Sandeep Chowta, who I’ve credited, but T-Series hadn’t. :\ So. Let’s check this small album out, and I’m starting with the least of expectations.


1. Muchhi Re
Singer ~ Mohan Kannan, Music by ~ Jeet Gannguli, Lyrics by ~ Manoj Muntashir

Jeet Gannguli gets to start off the album with his sole composition in the album. He decides to create a folkish song that is very perfect for a song that is being sung at some type of celebration at a gangster hideout. Folksy woodwinds kick start the song, followed by a catchy folk string instrument (probably rabaab). I must say, Jeet has made a great attempt at giving a perfect gangster song, that would suit the theme of the film. However, the composition gets very boring after the mukhda. The hookline has no spunk, and the antaras are lifeless, with no actual tune to really make them catchy or appealing. The variations in the tune actually work against the song. The first antara, is very stale, while the second is at least decent. The “Chalat raho, ladat raho” chants are pretty irritating too. Mohan Kannan’s brilliant and energetic voice seems to infuse a god amount of life into the lifeless composition, but it still falls short of the standard. There are so many different voices, that I doubt Mohan sang it all by himself. The saving grace of the song is Jeet’s awesome arrangements. He has put in all his efforts to make the song sound genuinely gangster-ish, and his efforts have bore the desired fruit. The various sound effects, and the string instrument, percussion and woodwinds, all stand out beautifully. Especially the strings and percussion. Interludes are gripping and frankly, it is just the arrangements that make you hear the song multiple times. The rock guitars added in places are commendable. Manoj Muntashir’s lyrics go well with the composition and the theme of the movie, but I don’t know why he wrote about the “Muchhi” (Moustache). Looking at the poster of the movie and Veerappan’s appearance though, that’s reasonable! 😂 A great attempt at something different from Jeet Gannguli. Arrangements are spot-on, while in the other departments, he needs to make some serious improvement! Fantastic attempt considering that it isn’t Jeet’s forte!

 

2. Veer Veer Veerappan / Veer Veer Veerappan (Rap Version)
Singers ~ Payal Dev, Vee, Sharib Sabri & Toshi Sabri (Both Versions), Music by ~ Sharib-Toshi, Lyrics by ~ Manoj Yadav

Here come Sharib & Toshi with their first song in the album. The song has been included in two versions in the album, and what I don’t understand is, why!!????!! Is it just to force us to hear the pathetic song twice? I don’t know, but it sure seems so. The song is an attempt at creating something scary and frightening, but it comes across as cheap. First of all, Payal Dev in a screechy voice, trying to sound like Monjulika (Heck, Monjulika sounds better!) is not the usual idea we have of a gangster theme song. She has tried with all her might to be as cheap as possible, and I am pretty sure she won’t try such a song again. If she does, I have no comments. 😛 Sharib-Toshi’s base composition is really bad, and it has literally nothing to like, except maybe the hookline. The hookline has actually been composed seriously. Everything else has been composed like they are deliberately trying to be scary. Every time Payal comes to sing her parts, a different weird tune has been composed for each part. And guess what, her parts are reprises of children’s nursery rhymes! Manoj Yadav has just spoiled so many kids’ childhood! Take this: “Lalla Lalla Lori, Khoon Ki Katori” and “Jungle Jungle Baat Chali Hai Pata Chala Hai, Veerappan Khoon Karne Ko Nikala Hai”. I don’t feel like giving more examples. I mean, how are these lyrics even approved? Another line blatantly goes, “Narsanhaar Ki usey lagan Hai”. I’m like “Okayyyyyyy….?” And then they shamelessly use the “Shiva Mrutyunjay Mantra” at the end. 😂😂 The mantra which was so beautifully used in two songs of ‘Neerja’, now gets to feature in a BEAUTIFUL song of ‘Veerappan’! Congrats! 😒😨 Arrangements are slightly okay, compared to the rest of the song. The hookline has a groovy beat to it with manjeeras and tablas. The rest of the song has techno sounds, an overdose of EDM, ghouls screeching (ghouls have become a prominent musical instrument nowadays, I guess! :\ ) and lions roaring. And one guy who keeps yelling “Rrraaa!” The “Rap Version” just has some rap by someone called Vee. (What if that’s Veerappan himself! :O Oh I’m so scared!) The rap is in English and it’s pathetic. “I promise your life will come to an end.” and such is the award-deserving rap. I can’t un-hear that… So I’m rescuing you… Don’t hear it!!

 

3. Khallas
Singers ~ Jasmine Sandlas, Sharib Sabri & Toshi Sabri. Original Composition by ~ Sandeep Chowta, Music Recreated by ~ Sharib-Toshi, Original Lyrics by ~ Nitin Raikwar, Additional Lyrics by ~ Manoj Yadav

Sandeep Chowta’s ‘Khallas’ (Company) has been featured on this album and there’s another addition to the list of bad remakes. What’s more, this song is what I will call a ‘Copy Remake’. Before you think that I’m stupid, by thinking that remakes are always copies technically, let me be clear. The fact that it is a remake is a different story. The song’s beats have been copied from a song which is not the song of which it is a remake! Yes, you heard me right! The song is a remake of ‘Khallas’ but its beats are the same as the beats of the song ‘Get Low’ from the ‘Furious 7’ soundtrack. That’s why they’re so impressive. That whole Arabic theme and all. But it’s not original, it is ‘inspired’. Speaking about the composition, nothing much new has been added except the antara, which has a boring tune too. What’s worse, Jasmine’s voice serves as a spoilsport for the whole thing. If Asha Bhosle hears it, she’ll be shocked at how they’ve reduced her song to something stupid. The lyrics have been changed for the worse. ‘Ye hai ishq samjha tujhe kar dega khallas’ has been very happily changed to ‘Ye hai maut Teri, tujhe kar hi dega khallas’. Sharib-Toshi’s new composition for the antara is pretty irritating, coupled with the lyrics. And when Jasmine sings it, it is just cheap. ‘Bachke Tu Rehna’ from this song!!!


Veerappan turned out just as expected. Sharib-Toshi continue on their disappointing spree of cheap songs, while Jeet Gannguli actually tries to raise the level of the album! I guess nothing more could’ve been expected from a gangster film, right? Instead of Veerappan, I would call the album Kaayar-appan!! (‘Veer’ = brave, ‘kaayar’ = scaredy-cat 😂)

 

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: Only hear Muchhi Re for the arrangements, everything else isn’t listen-worthy! 

 

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

 

Next: 19th Music Mastani Monthly Awards (May 2016)

WHAT ARE YOU WAITING FOR? HEAR ‘WAITING’!! (WAITING – Music Review)

Music Album Details
♪ Music by: Mikey McCleary
♪ Lyrics by: Manoj Muntashir, Mikey McCleary & Ankur Tewari
♪ Music Label: Zee Music Company
♪ Music Released On: 16th May 2016
♪ Movie Releases On: 27th May 2016

Waiting Album Cover

Waiting Album Cover

 

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

To buy this album on iTunes CLICK HERE


Waiting is an upcoming Bollywood comedy/drama movie starring Kalki Koechlin and Naseeruddin Shah in the lead roles, and Rajat Kapoor, Suhasini Maniratnam and Arjun Mathur in supporting roles. The movie is directed by Anu Menon (director of ‘London, Paris, New York’ and co-director of ‘X: Past Is Present’) and produced by Priti Gupta and Manish Mundra. The film was premiered at the Dubai International Film Festival in December 2015. It was also showcased at the London Asian Film Festival, and Menon had won the award for the best director at that festival. The film, received well by critics at these events, is now set to release this summer. The film revolves around two married (not to each other) individuals, Shiv Kumar (Naseeruddin Shah) and Tara Deshpande (Kalki Koechlin), who are from different walks of life. They befriend each other at the hospital, while they visit and nurse their respective spouses, who are both comatose! The story is one which deals with coping with grief and finding a way towards hope at the same time, and it definitely seems unique! The music is by Mikey McCleary. Last year, Mikey had scored for Kalki’s ‘Margarita With A Straw’, which I had reviewed and rated it with the highest rating on the blog; that’s how much I had loved it. While that album had a full-fledged nine-track album, this one is a short one with four tracks, but I’m still very excited to hear them! Mikey McCleary and such ‘art films’ as I would call it, go hand in hand! So, let’s see whether Mikey impresses again after ‘Margarita With A Straw!’


1. Tu Hai Toh Main Hoon
Singers ~ Anushka Manchanda & Nikhil D’Souza, Lyrics by ~ Manoj Muntashir

A very engaging guitar riff opens up this sweet and simple little track. The breeze of freshness that hits the ears when this one starts, is something that I’ve not experienced in a long time! Anushka Manchanda starts off in a quite low-pitched, husky voice, unlike most songs she has sung for other composers. However, the singer, who is a regular in most of Mikey’s works, usually sings with this voice texture for the composer. The composition by Mikey is really breezy, fresh, and brisk. I don’t think anything can match its utter simplicity, and the best part is that, in spite of being so elementary and basic, it manages to appeal much more to the ears, than other compositions based on classical raagas etc, do these days. This one will appeal to not many people, though, since it is really unconventional to be soooo utterly fundamental and straightforward in composition, at least in Bollywood. But I say, that is the sheer magic of the song. The medium pace, and breezy composition are stunners. Anushka sounds great, and Nikhil just accompanies her almost like a backing vocalist, not making it much of a duet. Both having husky voices, the song seems to appeal more. In some places, I felt Anushka sounded very much like Shalmali! Arrangements are simpler than simple, if that is even possible. Acoustic guitars are what form the base of the arrangements. Harmonica is audible in places, and so are strings. Drums have been played so softly, it took me some times of hearing the song to even notice them! And that’s way better than the bombardment of drum sounds we get in rock songs nowadays! Manoj Muntashir’s lyrics are just as simple as the composition, and really sweet. Not something that will create history, and not something that will win many hearts, but once it wins your heart, that is the ultimate stage! #5StarHotelSong!!

 

2. Got My Eyes On You
Singer ~ Mikey McCleary, Lyrics by ~ Mikey McCleary

I don’t know what I was expecting, looking at the title, but it was definitely not this! I thought it must be some romantic song, as breezy as the previous one. But boy, was I wrong! To some extent. 😛 The song is indeed breezy, and romantic too, if you think about it. On top of all this, it is reallllllly groovy too! The song starts with the trademark retro rock-n-roll rhythm and a tune after which you are 99.99% sure that they will say “Mera naam chinchin choo, chin chin choo” after that. The rhythm is so so infectious, you will not believe that it is a song composed today, and you will think it is an old song from the 50s-60s era of rock-n-roll. Those English songs of those days, which play in the parties in English movies, or the Bollywood songs of the Shammi Kapoor era, fall into the same category as this one. The composition is as infectious as something can get. You can’t help but move and groove like those old black-and-white people. 😂 The arrangements unbelievably resemble the arrangements of those days, with the drums, guitars and those funny sounds with the horns, tambourines. The trumpet tune that goes on in a loop in the background is just amazingly awesome, with that catchy groove coming with it. I’ve never heard Mikey singing in such a grungy voice, and I have to say, hats-off to the man, for singing it with such gusto. Though he seems like a stalker singing those words. 😀 Which brings us to the lyrics, which are purely in English. The lyrics definitely seem like the man is stalking some lady, but they’re so fun and go perfectly with the era. Also, they’re not cheap! (Ahem, ‘Housefull 3’!) A great experience, and a perfect throwback to the 50s rock and roll era! Wonderful!! #5StarHotelSong!!

 

3. Waiting For You
Singers ~ Mikey McCleary & Anushka Manchanda, Lyrics by ~ Mikey McCleary

Here comes what we can call the title song of the movie, crooned by the composer himself and Anushka Manchanda. This one too, is totally in English. This composition, though not as easily likable as the first two, takes two listens at least to impress you to the fullest. Mikey has made a lovely, waltz-ish composition, which again, won’t appeal to all. However, I loved it. Though not very breezy, and with more of pathos in it, it appeals because of the sense of calm that is omnipresent all over the song. The song doesn’t try hard to gain attention or listeners, and I think that is what makes it appeal the most — its honesty and truthfulness. The arrangements too, are minimal, with acoustic guitar, harmonica, and a xylophone-ish sound (which is really cute!) Again, the guitars form the base. At one place in the song, there is a wonderful ballroom waltz-like ambience, with the royal drums, and that xylophone-ish sound (which is probably a keyboard). Mikey and Anushka handle the composition with care, and do complete justice to the heartfelt melody. Mikey gets the major portion of the song, and here, you can understand why I was shocked to hear his grungy voice in ‘Got My Eyes On You’! It is wonderful how he had modified it for that song! Anushka in her part that continues from the second stanza, excels too. Mikey’s lyrics, are cute as usual, and something sweet and simple, that would appeal to all. A cute song, with a Westernized treatment, and made with love! #5StarHotelSong!!

 

4. Zara Zara
Singers ~ Kavita Seth & Vishal Dadlani, Lyrics by ~ Ankur Tiwari

For the grand finale, Mikey gets more Indianised in his song composition style. And I noticed, with that, he gets more complicated in the composition’s structure, too! Piano chords and subtle notes with them, open up the song for us, and as I always say, one should know that when a song is preceded by piano notes, magic lies ahead. That is exactly what we get to see in this song. As soon as Kavita starts singing with her unexplainably beautiful, marvellous, fabulous, supercalifragilisticexpialidocious voice, the goosebumps get a cordial invitation to join the ceremony! And indeed, the composition is no less than ceremonious. The grandeur, soul and heart in this composition is something I’ve found in very less songs this year. Most that try, manage to be overdramatic too! This one seems to have done it effortlessly! The layered composition is something that is instantly likable and utterly un-hateable! Especially the hookline, is the ultimate bliss! When the hookline manages to catch hold of you in the first listen itself, you know the song is of some different level altogether! The mukhda is really catchy, though being a sad song. That is really rare, and when it happens, my heart does the Irish jig. (I know that’s mean when those characters in the movie are mentally dying, but what should I do? 😦 ) Mikey has composed a really melodious and mature composition, and so close to Indian music and Indian roots, and that leaves me wondering how!!!? His arrangements are just as majestic. The piano, already mentioned above, is replaced by many others like strings, flutes, drums, rock guitars and some Indian percussion too. My favourite is the hookline, where the rock arrangements do the whole magic, blended with the strings and in some places, the flute. Previously I had said Kavita’s voice made me get goosebumps, but when Vishal kicks in, the song reaches its apex! It is a scintillating moment in the song when that happens. It’s just wow! Both the singers have done justice to the composition and rendered it with heart and soul. Ankur has written mind-blowing lyrics… I think it is his career’s best! Vishal and Kavita bring those words to life with their pathos-filled rendition. A complete winner! The most complete song of the album in terms of everything put together. Mikey going the traditional Indian melodious way is nothing but great!!! It will appeal to all Bollywood lovers and everyone else too! Something fit for the finale! #5StarHotelSong!!


Waiting was an album I was really waiting for since forever. After I learnt about the cast, story and then the composer, my excitement knew no bounds. And then the promos of two songs just made me even desperate to hear the full album. And that’s why, when it released out of nowhere today, I chose to review it today itself! Mikey has done a wonderful job with all the songs, with two of them being completely Western in treatment, one going retro style, and the last one being a lovely Indian-style composition, which is the only song on the soundtrack, which probably, everyone will love. After hearing the album, all I can say is, “What are you waiting for?? Hear ‘Waiting’!!

 

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: Zara Zara first, and then any order you wish! 😀 

 

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