PRODUCERS KA HALKA HALKA GHUROOR!! (FANNEY KHAN – Music Review)

Music Album Details
♪ Music by: Amit Trivedi, Tanishk Bagchi, Nusrat Fateh Ali Khan & Shankar-Jaikishan
♪ Lyrics by: Irshad Kamil & Hasrat Jaipuri
♪ Music Label: T-Series / ‘Badan Pe Sitare’ on Saregama
♪ Music Released On: 19th July 2018
♪ Movie Released On: 3rd August 20181400x1400bb3

Listen to the songs: Saavn | Gaana

Buy the songs: iTunes

Listen to ‘Achche Din Ab Aaye Re’: Saavn

Listen to ‘Badan Pe Sitare’: Saavn | Buy on iTunes


Fanney Khan is an upcoming Bollywood film starring Anil Kapoor, Pihu Sand, Rajkummar Rao and Aishwarya Rai Bachchan in crucial roles. The film is directed by Atul Manjrekar and produced by Rakeysh Om Prakash Mehra, Bhushan Kumar, Krishan Kumar, Kussum Arora, Nishant Pitti, Anil Kapoor, P.S. Bharathi and Rajiv Tandon. The film is an adaptation of the Dutch film ‘Everybody’s Famous’, and it deals with the issue of body-shaming. The music of the film has been composed by Amit Trivedi, with one guest composition, (#NotARemake) by Tanishk Bagchi. This is Trivedi’s fifth album of the year, and out of the four previous ones, ‘Bhavesh Joshi Superhero’ and ‘Pad Man’s were the only solo albums, whereas in ‘Raid’ and ‘Blackmail’, T-Series had forced songs by other composers. Thankfully, in both the albums, the guest songs weren’t bad or frustrating. In fact, in ‘Blackmail’, it was Trivedi who wasn’t at the top of his game. Well, seeing as to how this album is 6/7th his, maybe this will be one of the better ‘multicomposer’ albums of his this year. Let’s dive in!


As is the norm, I usually get the guest composition done with at the beginnjng, or leave it for the very end; here, I will get it over with. So Tanishk’s guest composition Mohabbat, which has left many confused as to whether it’s a remake of Noor Jehan’s ‘Jawaan Hai Mohabbat’, (but which clearly isn’t a remake of that, if you pay attention to the tune), starts the album off. And it is one of the most disappointing original songs by Tanishk. First of all, he creates some weird sounds that hurt the ears, and continues it with grating programming of Sunidhi’s voice that makes her sound horrible! The composition is quite simple, and a bit catchy on and off, but for the most part, it is a very forgettable tune, that could’ve been propped up by Sunidhi’s vocals, if the composer hadn’t programmed it so badly! Irshad Kamil’s lyrics are nothing great, and when the song isn’t interesting, the lyrics don’t really matter that much.

Amit Trivedi too, uses Sunidhi for his first song, Halka Halka, an EDM reimagination of Nusrat Fateh Ali Khan’s famous Qawwali. The difference in Sunidhi’s voice itself shows you what Tanishk had done wrong in the first song. Anyway, the song as a remake, is quite creative — the composer adds a pacy drop to the song after the hookline, and I love the new padding he has composed before the hookline, as the mukhda; it has a beautiful tune, which Sunidhi delivers fascinatingly. However, I didn’t quite like that the hookline has been extended to four lines. The original hookline with two lines was good enough! Divya Kumar complements Sunidhi well, and against the EDM backdrop, both of them, a duo not yet tested by composers, sound magical, and I’m glad Trivedi did try such a contrasting pair for a song.

Trivedi is also made to remake Shankar-Jaikishan-Mohd. Rafi’s iconic Badan Pe Sitare and who better than Sonu Nigam to sing a version of that song? We’ve been hearing the man sing his take on the song ever since I can’t even remember when, and to hear a proper mixed and mastered audio version of him singing the song is a treat for his fans. Amit Trivedi does an awesome job recreating the actual raw orchestra touch of the original song — drums and trumpets owning the arrangements. And obviously, Sonu Nigam owning the song with his energetic and boisterous performance!

The original part of the album is not as exciting as the remake part, sadly, but Amit still manages to give one beautiful song, Achche Din, which has a sweet middle-class touch to it, in both lyrics and tune. Amit’s heartfelt rendition helps the song sound genuine as well, and it suits the setting of Anil Kapoor playing a taxi driver waiting for his fortune to get better. Irshad KamilsK lyrics have a sense of genuineness in them, which propels the song further and Amit’s use of clarinets (I.D. Rao) and flutes is wonderful. But what keeps the song together is the strong composition. The reprise version type of song, Achche Din Ab Aaye Re is the same audio file with a little additional coda at the end, where the lyrics have been tweaked to let us know that Anil Kapoor’s character’s fortune has sparkled.

The rest of the album is sung by Monali Thakur, who is the voice for Pihu Sand, who plays Kapoor’s daughter in the film. The first of the songs, Tere Jaisa Tu Hai, is straight out of the ‘Secret Superstar’ soundtrack, with a less stronger voice than Meghna Mishra. Monali Thakur seems to be struggling with the high notes in this song; the song itself has nothing new to offer beyond the soaring trumpet portions, but then, we heard something similar in ‘Main Kaun Hoon’ (Secret Superstar), so it doesn’t strike me as anything special. Irshad KamklsK lyrics are meaningful, but only good to listen to as long as the song plays; they are easily forgotten after the song ends.

The last song Fu Bai Fu is like those Bollywood medleys that used to feature in our movies, except, since the music label might not possess rights to all the songs, the composer has composed a song and the lyricist sprinkles different lyrics throughout that tune. The songs featured are quite fun to listen to, but nothing beyond that. The use of the Marathi folk song ”’ Bai Fu’ merely raises eyebrows — why was it needed? And was it needed? The arrangements are some of the most bland arrangements Trivedi has provided in recent times — a repetitive loop of the same sounds plays all throughout the song. Monali’s rendition is good in this song, though, and so are her imitations in the interlude. But again, why?


The whole album seems like the producers were way too overconfident with their movie, and in the process, their halka halka ghuroor seems to have made them pay no attention to the quality of the music album! A letdown of a music album for a movie that revolves around music!

 

Total Points Scored by This Album: 6 + 7 + 7 + 7.5 + 7.5 + 6.5 + 6 = 

Album Percentage: 67.86%

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: Achche Din = Achche Din Ab Aaye Re > Badan Pe Sitaare = Halka Halka > Tere Jaisa Tu Hai > Mohabbat = Fu Bai Fu

Remake Counter:
No. Of Remakes : 30 (from previous albums) + 02 = 32

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

WONDERFUL MUSIC AND MEANINGFUL LYRICS! (MULK – Music Review)

Music Album Details
♪ Music by: Prasad Sashte & Anurag Saikia
♪ Lyrics by: Shakeel Azmi
♪ Music Label: Zee Music Company
♪ Music Released On: 28th July 2018
♪ Movie Released On: 3rd August 2018

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Mulk Album Cover

Listen to the songs: Saavn | Gaana

Buy the songs: iTunes


Mulk is a Bollywood socio-religious drama, starring Rishi Kapoor, Taapsee Pannu, Prateik Babbar, Ashutosh Rana and Kumud Mishra. The film, directed by Anubhav Sinha and produced by Deepak Mukut, opened to rave reviews because of its bold content and it’s hard hitting message. Now, such movies aren’t expected to have a music album, but ‘Mulk’ makes sure it has three songs, an apt number of songs in such a film. The music is composed by Background music artist Prasad Sashte, while a guest composition is by Anurag Saikia, who is fresh from the success of his songs from ‘Karwaan’. So let’s see how the songs go with the theme of the film! 😊


Prasad Sashte opens the album with an upbeat celebratory number Thenge Se, which, in its opening beats itself, maintains that it is a song meant to groove to. The opening lines of the composition cleverly hark back to ‘Kajra Mohabbat Wala’ (Kismet), and the feel of the song is more or less the same happy-go-lucky feel that that song carries. Prasad employs three singers to sing three different stanzas with the same tune; the three-mukhda structure, however, doesn’t bore, because all three singers do their best, while Tapas Roy’s string instruments do their part in making the song entertaining at every step. Sunidhi Chauhan opens the song with a boom, while Suvarna Tiwari, fresh from the success of her song ‘Prabhu Ji’ (High Jack), which was coincidentally sung for the guest composer of this album, Anurag Saikia, brings in a rustic and earthy feel, and Swanand Kirkire does the same. Meanwhole, Amit Padhye’s harmonium and Shadab Mohammed’s dholaks engage the listener. Shakeel Azmi’s lyrics are fun and go well with the upbeat theme of the song.

Prasad’s second song Khudara starts with Islamic chants that tell you that it would be a very pensive and sombre melody. As soon as Vishal Dadlani starts singing, your doubts are cleared: the song turns out to be a heart wrenching sad song, which reaches its peak in the hookline, a soaring high-pitched portion rendered perfectly by Dadlani. Mithun Mohan, Ashwin, Anirudh, Himanshu, Tushar & Prasad do well in the backing chants — it really does its bit to increase the song’s appealing nature. The arrangements are mainly soft rock arrangements where the guitars are the only notable instruments; the rest relies on Dadlani’s captivating vocals. Shakeel Azmi’s lyrics are as heart-rending as the composition that Sashte has spun. However, at two antaras, the song seems extra long; it could’ve been kept at one.

The guest composer Anurag Saikia pitches in for the last song, and it is always a delight to read his name on the credits of any album; and it is commendable that he has reached this stage after doing just three songs in two albums before this! Piya Samaye is a proper Qawwali, something we haven’t got to hear in Bollywood for quite a long time. Or especially not one that has been done so tastefully. Arshad Hussain and Shafqat Amanat Ali complement each other beautifully, and Anurag’s composition suits the theme of the film so well, as do Shakeel Azmi’s lyrics based on secularism. The tablas, dholaks, harmoniums that are expected in a Qawwali, are amazing, but here Saikia also adds a wonderful bass, which, if you can catch it, mesmerizes you. And the strings conducted by Jitendra Javda are just mind blowing. All in all, this song is the perfect grand finale for a short and beautiful album like this!!


Mulk was not really expected to have songs, and since it does, I never expected them to be such gems, to be honest! I just can’t express how happy I am that Mulk is one such album that I will never forget, both because of its wonderful music and its meaningful lyrics!

 

Total Points Scored by This Album: 8.5 + 8 + 9.5 = 26

Album Percentage: 86.67%

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: Piya Samaye > Thenge Se > Khudara

 

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

DON’T MISS THIS ‘TRIP’PY KARWAAN!! (KARWAAN – Music Review)

Music Album Details
♪ Music by: Anurag Saikia, Prateek Kuhad, SlowCheeta, Shwetang Shankar & Imaad Shah
♪ Lyrics by: Akarsh Khurana, SlowCheeta, Imaad Shah & Prateek Kuhad
♪ Music Label: T-Series
♪ Music Released On: 13th July 2018
♪ Movie Releases On: 3rd August 20181400x1400bb1

Listen to the songs: Saavn

Buy the songs: iTunes


Karwaan is an upcoming travel comedy film starring Dulquer Salmaan, Irrfan Khan and Mithila Palkar in lead roles. The film is directed by Akarsh Khurana, the director of ‘High Jack’ which released earlier this year, and produced by Ronnie Screwvala and Priti Rathi Gupta. With just one film to his credit, Akarsh Khurana has showed us that he does indeed, give much importance to the music in his films. The multicomposer album to ‘High Jack’ was a quirky album, high on EDM and fusion and whatnot. Two composers entities, Anurag Saikia and SlowCheeta & Shwetang Shankar, who had composed for that film too, are retained for this album, while two others, namely, Imaad Shah (who composed ‘Calcutta Kiss’ from ‘Detective Byomkesh Bakshy’ in collaboration with Saba Azad) and Prateek Kuhad (debuting in Bollywood as a composer, but who has already sung a song ‘Kho Gaye Hum Kahan’ in ‘Baar Baar Dekho’) are the two new additions to the soundtrack. So let’s jump in and see whether the journey that listening to this soundtrack is, turns out to be a memorable one!


SlowCheeta and Shwetang Shankar’s Dhaai Kilo Bakwaas actually turns out to be three minutes of insane fun; the duo mixes cool Malayalam sounds with a trippy hip-hop arrangement, and an amazing rap by SlowCheeta which has some bloody relatable lyrics interrupts the songs for about a minute. I still don’t understand by SlowCheeta calls himself that! He raps so rapidly, I mean! 🤣 Anish John and Sanjeev Kumar Nair are behind the main vocals, and whoever is the main vocalist out of the two, sounds a lot like Rahul Pandey or Jubin Nautiyal. The lyrics by SlowCheeta are hilarious; about how the plans of a group that has set out on a trip, go haywire.

To link to SlowCheeta’s second song, where he just raps and doesn’t compose, we need to enter young talent Anurag Saikia’s territory of the album. Heartquake is everything ‘Selfish’ (Race 3) was trying to be — a breezy and gentle Hinglish romantic ballad. Anurag however, gets it right because of his wonderful use of sound. The way the song starts itself, with the guitar loop and a tribal chant, is enough to pull you in. And as Papon starts with his dreamy voice, you fall into a lilt along with the beautiful mandolins, strings and tablas that Saikia has employed in the arrangements. Akarsh Khurana’s lyrics work because they don’t seem to be trying too hard, but are just right. One English word in each line isn’t a low allowance, I agree, but somehow, everything fits in beautifully. Maybe it has to do with the fact that Anurag’s composition is the seamlessly beautiful. The coda at the end going “Mashallah.. yeh sama..” is so beautiful, as well. But where does SlowCheeta come into the picture, you ask? Well, he features in the Aftershocks Version of the song, where Anurag re-composes the song to make it fit for a trippy beat and an EDM vibe which sounds like it fell out of the plane from the ‘High Jack’ soundtrack and landed in the caravan in the ‘Karwaan’ soundtrack. 😃 The new composition is really catchy as well; SlowCheeta aptly adds his signature punch with a punchy rap, while Papon now pronounces ‘Heartquake’ as ‘Heart-ku-wake’, which sounds a bit appealing, I must admit! The arrangements for this track are nowhere near the original, obviously, but at least the composer didn’t put the same composition through an endless EDM loop and make it sound like an unnecessary remix! 👍

Anurag Saikia’s part of the album ends up with the heard-before but still engaging travel ballad Chota Sa Fasana, which again uses electronic music as its base and that’s why it becomes so entrancing. I’m sure the composer could’ve made the background a bit more ‘happening’, but it seems deliberately muffled to give the feel of an immersive journey, when you just stare out of the window and feel the breeze on your face. The ‘Oh-oh’ chants after every line of the hookline are enjoyable, as well as Arijit Singh’s trademark vocals; I admit I took my time to like them in this song, but I eventually did! As long as Anurag Saikia keeps his compositions this strong, though, any flaw or discrepancy in the arrangements or vocals would be completely overlooked!

The next artist that stands out in the soundtrack is Prateek Kuhad, who has his separate couple of songs in the album to show his mettle. The mellow Kadam transcends you to this dreamy mind space, where the artist uses his wonderful guitar loops to calm you down, and his distinct voice gives the song an edge above other songs of the same type, say, by Jasleen, who usually composes in the same style. The lyrics too, are by Prateek, and he writes them very meaningfully; they are kind of on the lines of the theme of self-discovery. If ‘Kadam’ gets repetitive for you, though, Saansein is what you’re looking for. This too, starts as a very plain and simple song; it sounds like a sad song almost. The piano in the initial portions is just too sweet to get over, until the composer adds a bass line that gets you nodding your head along to it, and then he adds shakers, too! The composition too, is catchy, and there comes a point where he leaves it to the drums and guitars to take over, and boy, do they take over! This is the food your head-nod needs! Eagerly waiting to hear more of Prateek’s music in the coming months!

Finally, Imaad Shah (Composer) and Saba Azad (Singer) present Bhar De Hamara Glass, an irresistible retro number with some cool sound effects. However, the voice gets a bit irritating after a bit, and I can’t really see myself listening to this song over and over! Therefore, it’s signature Madboy/Mink stuff, but just doesn’t seem right over here!


Just like ‘High Jack’, we get another melodious album for Karwaan! This is a ‘TRIP’py Karwaan you must take a ride in!

 

Total Points Scored by This Album: 8.5 + 9 + 7.5 + 8.5 + 8 + 8.5 + 7 = 57

Album Percentage: 81.43%

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: Heartquake > Saansein = Chota Sa Fasana = Dhai Kilo Bakwaas > Kadam > Heartquake (Aftershocks) > Bhar De Hamara Glass

 

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