Music Album Details
♪ Music by: Sugat-Shubham & Hanif Shaikh
♪ Lyrics by: Shraddha Bhilave, Sugat Dhanvijay, Hanif Shaikh & Manoj Yadav
♪ Music Label: Zee Music Company
♪ Music Released On: 13th June 2016
♪ Movie Releases On: 24th June 2016
To hear the full songs of this album on Saavn CLICK HERE
To buy this album on iTunes CLICK HERE
7 Hours To Go is an upcoming Bollywood investigative thriller, starring Shiv Pandit, Sandeepa Dhar and Natasa Stankovic is lead roles. The movie has been directed by Saurabh Varma and produced by Nitika Thakur. The movie revolves around a man who has kidnapped seven people as hostages, and asks the police to solve a crime within 7 hours. The music of the movie has been given by debutant duo Sugat-Shubham, and a man who we know as the mastermind behind songs like ‘Aye Khuda’ (Paathshaala) and ‘Tose Naina’ (Mickey Virus), Hanif Shaikh. The latter has composed one song out of four, while the remaining three are by the duo. Out of those three, one is in two versions, making it a total of only three original songs. Hanif’s song has been remixed by Sumit Sethi. Let’s see what this short album for a thriller has to offer! 🙂
1. Tere Naina
Singers ~ Mohammed Irfan & Sarodee Borah, Music by ~ Sugat-Shubham, Lyrics by ~ Shraddha Bhilave & Sugat Dhanvijay
It’s melancholia that starts off the album, with this song, a romantic sad song. The newcomer duo don’t seem to bother whether they’ve made the song catchy or good enough, and they seem to be so careless that the notes in the song don’t even complement each other, and it seems like they change tracks unnecessarily, and so many times, too! At one time, the composition is very pleasant, while the next moment, it turns very sinister and melancholic. For example the mukhda seems like the starting of a proper romantic song, while the hookline and antara is so heavily melancholic, that it just seems out of place. The arrangements are typical Bollywood sad song arrangements, with durns and rock guitars and acoustic guitars. The piano too, fails to gain your attention. The singers seem uncomfortable as well. Sarodee Borah’s voice isn’t as sweet as required for the composition, and I feel someone like Palak Muchhal or Akriti Kakar would’ve been way better. Mohammed Irfan fails to impress, and that’s very rare! His usually soft-as-silk voice doesn’t sound completely mellifluous here, but wherever it does, it sounds good. He does better out of the two. Shraddha and Sugat come together to write a very ordinary song, which contains all the Bollywood clichés right from “Tu Hi hai Saanson mein” to “Mere Dil Ki gustaakhiyaan maaf Karna”, which will just make you roll your eyes. A below average debut by the duo. Even the presence of a strong male singer cannot save this mediocre composition!
2. Zinda Hota Mein / Zinda Hota Mein (Reprise)
Singers ~ Nikhil D’Souza / Jubin Nautiyal, Music by ~ Sugat-Shubham, Lyrics by ~ Shraddha Bhilave
The next song has two versions. One by Nikhil D’Souza and one by Jubin Nautiyal. Thanks to the makers of the movie, now we can actually hear the difference between their voices. 😛 Anyway, Nikhil has been given charge of the original version, while Jubin takes up the reprise. The composition by the duo is very slow-paced and melancholic, but this time, the melancholia actually appeals to the listener. The notes have been placed together well and sound perfectly emotional as a whole. The mukhda starts right off, without any prelude or anything, and hooks you from the beginning. The first antara too has the same tune as the mukhda, while the second has a different tune to it, which is all-the-more appealing. What’s most important is that the song doesn’t even try to be good. It’s just innately good. 😛 The mukhda repeats after the second antara, and the hookline wraps up the song. All in all, the song composition and structure is very good. The arrangements in the original version are more sober, with barely audible beats that must be to highlight the lyrics and vocals. There are highly intriguing strings throughout the song, and good percussion in the hookline, though. Rock has been used, but very softly. However, the reprise takes the rock into full swing, with blaring guitars and drums which have shed all their inhibitions that they had in the original version. Personally, I found the reprise’s arrangements better. The strings are way more ravishing here, and make an almost climactic ambience, before the hookline. The guitars have been used wonderfully in the prelude and interludes. This version has more instrumental pieces than the first one, and that makes it more enjoyable. I can see that both versions will play an important role in the progression of the story, and both have different themes. Coming to vocals, Jubin impressed way more than Nikhil. Texture, dedication, pronunciation — they’re all better in Jubin’s version. Nikhil’s voice texture sounds weird, and it seems like he has not sung wholeheartedly, but Jubin has sung confidently and dedicatedly. As for pronunciation, why does Nikhil say “saajishon” instead of “saazishon”!? And why didn’t the duo rectify that? 😛 Anyway, Jubin’s is better. Shraddha’s lyrics are way better than those which she wrote in the previous song, along with Sugat. All in all, the song is a ravishing experience, which will bring one to tears if heard with a proper sound system! Nikhil’s version misses it, but Jubin’s version gets to be a #5StarHotelSong!!
3. Dalinder Dance
Singer ~ Hanif Shaikh, Music by ~ Hanif Shaikh, Lyrics by ~ Hanif Shaikh & Manoj Yadav
Hanif Shaikh, the composer of superhit calm songs like ‘Aye Khuda’ and other songs from “Paathshaala” and ‘Tose Naina’ (Mickey Virus), steps in for the last song of the short album, a dance song as is evident from its name. Although it is a dance song, it isn’t enjoyable at all. It is a sheer disappointment from the composer. The composition is something that seems to be Bollywood’s try at making a ‘Zingaat’ (Sairat), but they seem to not have understood that only Ajay-Atul can make that kind of stuff. 😂 Random notes put together to result in an utterly annoying tune, rendered in a sickly annoying voice of the composer himself, is not your ideal dance song. I doubt it’ll be a rage among the masses either! The lyrics (Manoj Yadav — ‘Pyaar Ki Maa Ki’, ‘Veer Veer Veerappan’ — shall I say anything more? You get my point) are disgraceful. By the way, ‘Mercedes’ is pronounced as “Merkadis”, which not even someone who is illiterate does, nowadays. Hanif & Manoj come together and write something that makes as much sense as a bird chirping. Even birds chirping, make more sense than this. SKIP!
7 Hours To Go has one out of four tracks worthwhile of listening. The others are a random blend of melancholia and randomness. The duo has performed better than Hanif, but still not so good. The album could have been many times better! It was overall a weak attempt, undedicated and incomplete!
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: Zinda Hota Mein (Reprise) > Zinda Hota Mein > Tere Naina > Dalinder Dance
Which is your favourite song from 7 Hours To Go? Please vote for it below! Thanks! 🙂