WILL YOUR HEART SKIP A DHADAK? (DHADAK – Music Review)

Music Album Details
♪ Music by: Ajay-Atul
♪ Lyrics by: Amitabh Bhattacharya
♪ Music Label: Zee Music Company
♪ Music Released On: 11th July 2018
♪ Movie Releases On: 20th July 2018dhadak-hindi-2018-20180711-500x500

Listen to the songs: Saavn | Gaana


Firstly, what a beautiful album art. It could have been more beautiful had the music label credited the music composers and lyricist on it. This is a big problem when it comes to Zee Music.

Dhadak is an upcoming romantic drama, an adaptation of Marathi blockbuster ‘Sairat’ (2016), starring Ishaan Khatter and Janhvi Kapoor, directed by the ‘Dulhania’ franchise director Shashank Khaitan, and produced by Karan Johar, Apoorva Mehta, Hiroo Yash Johar and Zee Studios. The Marathi film had an amazing and short music album by Ajay-Atul; the songs still ring in your ears whenever you think about the film and ‘Zingaat’ became popular worldwide. Well, director Khaitan (who has usually had multicomposer albums for his films, scored by people like Sharib-Toshi, Sachin-Jigar, Amaal Mallik, Tanishk Bagchi and Akhil Sachdeva) almost by default has to rope in the same duo for the remake. Of course, they get to cash in on the success of the Marathi film in the bargain. The question always plagues me whether Ajay-Atul really wanted to do the film or not, just like I thought last year when A.R. Rahman agreed to compose for ‘OK Jaanu’. But the songs of ‘O Kadhal Kanmani’ were his babies so he kind of had to say yes. Same here with Ajay-Atul, I believe. But that aside, I’m sure Ajay-Atul have given it their all and not compromised on the quality of the songs. Let’s see how fast their songs makes our heart dhadak this time!


‘Sairat’ became known for its wonderful symphony, which was recorded live by composers Ajay-Atul at Los Angeles. Obviously, they had to create something to equal that, and so, Dhadak Title Track opens the album with a ravishing section of strings in the beginning. Now, I don’t know or care whether they have been recorded here in India or over at Los Angeles, but they sound beautiful, abd the duo has composed that portion very well, complete with the female backing vocalists humming it to perfection, and the flute accompanying them to make it a complete package even before the song starts. Ajay Gogavale and Shreya Ghoshal, the lead vocalists of ‘Saathiya’ (Singham), make the song beautiful with their voices, and yes, Ajay’s voice is a kind of folksy voice that suits wonderfully in Marathi songs, but Hindi music listeners are getting irked by it. I for one, am used to it, and couldn’t ask for anyone else to have sung this song. He sings the high portion at the end beautifully. Ajay-Atul really outdo themselves when they present that adorable, sweet and charming portion sung by Shreya in the antara; I wish the song was one antara longer! The brilliant use of piano and aforementioned strings makes it an auditory masterpiece, but what makes me listen to the entire song each time is the flute at the end, where Ajay-Atul tweak the tune for one note, and give the hook an entirely new feel! Mandolin has also been used to wonderful effect in Shreya’s stanza, and also a matka-like instrument. Of course, the backing chorus provides a wonderful choir setting when Ajay and Shreya sing the hook together towards the end. Amitabh Bhattacharya writes good lyrics, and they do highlight he young romance between the protagonists well.

The second original song, Vaara Re, also witnesses Ajay-Atul doing a great job with sound; a Shankar-Ehsaan-Loy-esque (harking back to the beginning of ‘Uff Teri Ada’ from ‘Karthik Calling Karthik’) electronic riff meets a wonderful sitar portion and again,you get hooked right away. The composition for this one takes time to reach its peak; the initial couple of lines leave you indifferent, but once it reaches the cross line (Mudke dekhna hi kyon..) and travels to the hookline with a flourish of strings and flutes, you are completely hooked to the song. Again, the interlude comprises a great flute and piano portion, with the female backing chorus humming, and their harmony in the second verse is great. The song is basically just two mukhdas separated by the interlude — a rare occurrence in Ajay-Atul songs. Then again, having one antara as in the title track is also rare for Ajay-Atul. The lyrics for this one are more along the inspirational/motivational/life skills route, obviously still romantic though, and Ajay once again provides a bold rendition, but I can’t help but miss Sonu Nigam in this song; it would’ve given it a softer quality and calmer tone.

Of the two songs retained from ‘Sairat’, Zingaat which retains its name as well, works better for me; the essence of the original is kept intact and the meaningless and flirtatious fun of the song too, remains untouched. Yes, Ajay-Atul’s arrangements and the word ‘Jhingaat’ (misspelled and hence mispronounced badly as ‘Zingaat’) is in essence Maharashtrian sounding, but the lyrics by Amitabh Bhattacharya really make it sound more suitable for Hindi. He writes such organic-sounding lyrics, I find myself singing that more than the Marathi one, because the Marathi in the Marathi song is actually not the Marathi I speak. Naturally, I am inclined towards the Hindi one. Which does not mean that one is better than the other. Oh, and Atul sohunds so wonderful singing in Hindi! His voice is so clear and unlike the folksy texture of his brother’s voice. I almost thought Amitabh Bhattacharya has sung it; they have a similar voice. So that was more of a lyrics and accessibility review than a music review, but yeah, the song is great.

‘Yad Lagla’ becomes Pehli Baar in what I found, is the poorest track of the album. The new lyrics by Bhattacharya do not convey the innocence and expression that Ajay-Atul’s original Marathi lyrics did, wherein it actually sounded like a teenage boy was lovestruck and dreamily singing a love song for his crush. Here, the Hindi lyrics ruin it. Yes, they fit well with the music, but the expression is missing. It should have either been in some Rajasthani dialect, to retain the organic-ness of it. But obviously, Ajay-Atul’s music is spot-on. ‘Yad Lagla’ was a gem and hence, by the theorem of similarity, this song will win over your heart with the wonderful percussion, the brass instruments and the soaring symphony portions. Interlude number 2 especially, is heaven. I’m happy I’ve been listening to this music for two more years than some others! 😊


A lot was expected from Dhadak just because of the original album of the film it is an adaptation of. The retention of Ajay-Atul promised us that the album would be of the same standards, but actually, my heart didn’t dhadak much too differently, or skip a dhadak after listening to the songs, except the title track!

Obviously the album is much better than what Bollywood is offering these days so it has secured quite a high score on the rating scale though.

Total Points Scored by This Album: 9 + 8 + 8.5 + 8 =  33.5

Album Percentage: 83.75%

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: Dhadak Title Track > Zingaat > Vaara Re = Pehli Baar

 

Remake Counter:
No. Of Remakes : 25 (from previous albums) + 02 = 27

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

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THE MUSICAL SUPERHERO RESURFACES!! (BHAVESH JOSHI SUPERHERO – Music Review)

Music Album Details
♪ Music by: Amit Trivedi
♪ Lyrics by: Amitabh Bhattacharya, Anurag Kashyap, Babu Haabi & Naezy
♪ Music Label: Eros Music
♪ Music Released On: 21st May 2018
♪ Movie Released On: 1st June 2018

Bhavesh Joshi Superhero Album Cover

 

Listen to the songs: Saavn

Buy the songs: iTunes


Bhavesh Joshi Superhero is a Bollywood action film starring Harshvardhan Kapoor, Priyanshu Painyuli and Nishikant Kamat, directed by Vikramaditya Motwane and produced by Reliance Entertainment, Eros International, Anurag Kashyap, Madhu Mantena and Vikas Bahl. The film is about a group of friends who set out to expose the water scams and other wrong activities in the city. When one of the friends dies, Sikandar (played by Harshvardhan Kapoor) sets out to become a vigilante and avenge his friend’s death and stop the corruption in the city. The film is quite different from what Motwane has made in the past, and it shows he is a versatile filmmaker, never repeating his formula. Of course, for music, he ropes in Amit Trivedi, after that one movie, ‘Trapped’, where he didn’t compose the music. Let’s see, what with all the soundtracks of his releasing this year, can Trivedi do a great job for a director whose films he is known to have done great music for?


The soundtrack starts off with a song called Hum Hain Insaaf that actually summarises the entire theme of the movie in three minutes — in a groovy rap track set to catchy beats and music by Trivedi, and rendered just as addictively by Babu Haabi and Naezy. Babu Haabi sounds much more amazing than he did two years ago in the songs of ‘Udta Punjab’, while Naezy sounds great as usual. Trivedi’s digital beats are catchy, especially the opening bars, which immediately attract your attention. The rap in this song actually doesn’t get boring at any point; it is fun also to listen to the lyrics, which are meaningful (written by Anurag Kashyap, Babu Haabi and Naezy together). The hookline has an anthemic ring to it, perfect for such a movie.

The other song that carries the change-the-world theme in its lyrics is Qasam Kha Li, because Bollywood superheroes can’t go without a dramatic oath ceremony. Just kidding, Phantom ‘Ph’ans. 🙂 Anyway, the song seems to have been quite easy for Trivedi, having composed ‘Jhuk Na Paunga’ (Raid) just recently. Maybe he called Papon over and said, “Let’s record two songs, both having the same blood running through them, and let’s see which one ends up in which movie.” That being said, this song is just as soulful and beautiful as the other, and clearly this fits into the ‘Bhavesh Joshi Superhero’ soundtrack more than the other song, and again, I was just joking about the “Let’s see which movie blah blah.” The strings and drums used by Trivedi are captivating throughout the song, and Papon’s sombre rendition is perfect for this retrospective number. Towards the end, Trivedi sets right what went wrong in Blackmail’s ‘Nindaraan Diyaan’ — he uses the rock template in a much better way than he did there (where he spoiled the entire climax of the song by overdoing the rock)! Amitabh Bhattacharya’s lyrics are beautiful, and just perfect for what I’d imagine an Indian common man superhero to sing. 🙂

It is Chavanprash which has probably polarised audiences about this soundtrack; it is a super-cheesy and typical Trivedi qawwali-ish number with just as cheesy lyrics by Bhattacharya, but hey, I did enjoy it! Trivedi, first of all, is an expert at making such songs catchy, and he brings back his ‘Ghanchakkar’ self to make a kind of amalgamation of three songs from that soundtrack — ‘Ghanchakkar Babu’, ‘Allah Meherbaan’ and ‘Jholu Ram’. Divya Kumar’s effusive vocals make it known that you’re supposed to have fun listening to and crooning this song. And Amitabh’s lyrics, even the cringeworthy hookline, are fun! Trivedi adda those qawwali elements like the bulbultarang, and rock elements, and his signature quirky female chorus (Arohi Mhatre and Pragati Joshi) are ever loyal and give yet another enjoyable performance. The ‘satak’, ‘jhatak‘ effect in the antaras are so fun. Anyway, I love this song and you can judge me for it.

The best of the soundtrack comes with Tafreeh, where Trivedi starts the proceedings with a heady digital rhythm coupled with a nice guitar loop, and the Vikramaditya Motwane side of Amit Trivedi surfaces for the first time in this Vikramaditya Motwane soundtrack; the song instantly sends you back to the ‘Udaan’ soundtrack, more so because of Trivedi’s dreamy melody, than the arrangements. Also, he sings the ‘Chal Zaraa…” portion so amazingly, it’s hard not to get addicted! That beat he keeps up for the entire song in the background never gets repetitive. He even uses marching rhythms later on! Amitabh Bhattacharya’s lyrics have a certain message we all need to understand; the ‘carpe diem‘ philosophy resounding very vehemently throughout the song. Again, Trivedi does the rock parts well, and ends the song on a very entrancing high.


I won’t have many supporters for this statement, but I’m going to go ahead and call this Trivedi’s best soundtrack after a long time! Motwane really brings out the musical superhero that Trivedi really is! 😊

 

Total Points Scored by This Album: 7.5 + 8 + 8.5 + 9 = 33

Album Percentage: 82.5%

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: Tafreeh > Chavanprash > Qasam Kha Li > Hum Hain Insaaf

 

Which is your favourite song from Bhavesh Joshi Superhero? Please vote for it below! Thanks! 🙂

A HAPPY WEDDING OF PUNJABI AND ELECTRONIC MUSIC!! (VEERE DI WEDDING – Music Review)

Music Album Details
♪ Music by: Shashwat Sachdev, Vishal Mishra, Qaran Mehta & White Noise
♪ Lyrics by: Anvita Dutt, Raj Shekhar, Shellee, Shashwat Sachdev, Gaurav Solanki, Qaran Mehta, Rupin Pahwa, Badshah & White Noise
♪ Music Label: Zee Music Company
♪ Music Released On: 8th May 2018
♪ Movie Released On: 1st June 2018

Veere Di Wedding Album Cover

 

Listen to the songs: Saavn

Buy the songs: iTunes


Veere Di Wedding is a Bollywood coming-of-age film revolving around four friends played by Kareena Kapoor Khan, Sonam K. Ahuja, Swara Bhasker and Shikha Talsania. The film is directed by Shashanka Ghosh and produced by Ekta Kapoor, Shobha Kapoor, Anil Kapoor and Rhea Kapoor. Now, the film has been creating buzz right from its trailer release, and the music which has become a rage across the nation already (not all songs but a select few) has been composed by composers including Shashwat Sachdev, Vishal Mishra, Qaran Mehta and White Noise. Shashwat and Vishal are two young talents that haven’t yet disappointed with whatever they’ve composed. On the other hand, Qaran, who has been assisting music directors like Shankar-Ehsaan-Loy and Pritam for quite some time now, gets to make his composing debut with this film, and White Noise is actually Sachin-Jigar’s Artists & Repertoire venture like Pritam’s JAM8. So there is reason enough to believe this will be an enjoyable multicomposer album.


The lead composer, Shashwat Sachdev, actually has four songs in the album, which is half the number of original songs there are in the album, so let’s start with his songs. 😁
Pappi Le Loon, the album opener on all the streaming websites as well, is a fun-filled, catchy number, where, surprisingly, the vocals arrangements outdo the composition! You can even say there is almost nothing by way of composition; the entire stress is laid on the way the sound interacts with the booming vocals by Sunidhi Chauhan. Shashwat’s electronic music is impressive too, and as such, he didn’t need a strong tune, to make this song any better! Everything has been done by the entertaining vocals and arrangements. The Punjabi-flavoured portions nicely marry the electronic sound and make this song one to look forward to in the album — one of the main attractions in the album, I would say. And when has Sunidhi Chauhan ever underperformed? And Shellee’s lyrics are suitably quirky and fun.
In another Punjab-meets-electronic music fusion, Sachdev serves a folk song in modern packaging, quite the same way he did ‘Naughty Billo’ back in ‘Phillauri’, where he turned the folk song ‘Jhooth Boliya’ into a trippy hip-hop number. Here he gets to remake ‘Bhangra Ta Sajda’ into an EDM-Punjabi music fusion track named Bhangra Ta Sajda (No One Gives A Damn!). The song itself is really entertaining; it has everything you’d require to groove at a wedding, and out of one too — trippy EDM, entertaining dhols, and a nice touch of sarangi, something Shashwat seems to love hiding in each of his upbeat songs. Romy delivers an amazing performance, and Neha Kakkar delivers one which made me like her voice in a song after a long, long time. The initial retro-ish portion of the song has been done well, and Gaurav Solanki’s lyrics are just quirky fun. (I have a feeling I’ll be saying this about every song in the album)
Shashwat’s best comes with Bass Gira De Raja, where he composes, writes and sings the song! The song is standard Shashwat quirky fusion; the composition instantly has you hooked,and the lyrics actually had me smiling at certain points. The man sings amazingly too, and once the bass drops, the song becomes much more interesting than it was when it started. The way Sachdev plays and experiments with different sounds is what makes me look forward to his composing for many more films in the future. In ‘Phillauri’ he got to do a completely traditional Punjabi sound, and the fact that he is doing such experimental stuff here, showcases his versatility and talent!
His weakest song, and probably the weakest song of the album, Aa Jao Na, comes next, with its repetitive tune that is actually the typical Arijit melody. Even though it reaches a peak at one point, it just goes back to same droning nature over and over again — which gets really boring after a point. What’s more, composer Shashwat Sachdev doesn’t even give us much to chew on as Arijit belts out the repetitive tune — just digital beats and very few piano notes, which don’t really fill in the gaps well. Anyway, I know this song is going to be the biggest and most popular, so whatever I just wrote might just not matter.
The composer with the next largest number of songs is yet another upcoming talent Vishal Mishra, who still has me stunned by his amazing two songs in ‘Qarib Qarib Singlle’ last year. His part of the album starts with the song that everyone loved right from the trailer, Veere, which can best be described as the movie’s theme song. He takes the friendship theme of the film, and constructs such a positive composition using that idea, it’s quite surprising this song didn’t come from a Shankar-Ehsaan-Loy or a Pritam! It totally belongs to the rom-com age of Bollywood when they made happy songs like this for movies like ‘Ek Main Aur Ekk Tu’, ‘Anjaana Anjaani’, etc. The hookline has the listener in a trance the first time it plays, and keeps entrancing the listeners everytime it plays! To break the trance though, unfortunately, there are some elements that the song could’ve done without. First of all, the too-many-to-keep-track-of female singers! If you ask me, Aditi Singh Sharma was the only one who should have sung the female part, because I can unfortunately make out Iulia Vantur over there, and unfortunately, she starts the unfortunate female portion. How unfortunate. But happily, things are better in the second antara, where Vishal Mishra comes back to take things under control, and the female chorus here sounds amazing. He’s the second composer on the album now, who sings just as well as he composes! Wow! We have a cool future for Bollywood music! 🙂 Also, Anvita Dutt’s lyrics make for a really enjoyable friendship anthem, so that middle portion can easily be ignored!
Vishal Mishra sings his next song Dagmag Dagmag along with Payal Dev, who sounds like a less hyperactive version of Neha Kakkar. Anyway, the song could be easily mistaken for an Amit Trivedi song, with that amazingly catchy digital beat, and quirky tune. The hookline, which sounds the cheesiest the first time, really sets in with the passage of time (the number of times you listen to the song) and doesn’t sound as cheesy later on. The arrangements are mostly digital, as mentioned above, and that’s mainly where it resembles the Trivedi sound. Both the singers do an amazing job and seem to have had a fun time singing this track.
Qaran Mehta’s Tareefan, is an insanely catchy and addictive club track, Badshah sounding like he has never sounded before! Qaran’s programming is the main reason the song sounds so fresh, and that addictive hookline, and the loop that goes on behind it in the song, I can’t stop praising the song; it’s like a guilty pleasure listen of mine. 😂 The flak the song has been receiving is just so unjustified — how can you hate a song if you hate its music video? This song will probably remain the catchiest club song of 2018 for me, and even that cringeworthy rap of Badshah’s takes getting used to, but you end up ignoring that by the time you’re addicted to the song. Qaran, hor das kinni tareefan chaidi ae tenu?
The song appears in two more versions, one being a Remix By Dj Notorious, which is also quite addictive (as if the original song wasn’t sounding like a remix itself) and so it sounds like another version of the song, had DJ Notorious programmed it instead of Qaran himself. The Reprise Version acquaints us with a promising new singer, Lisa Mishra, whose voice seems weird on the song at first, but then it starts sounding better and better than that. The unplugged version required such a calm and soothing rendition, because the composition, which is quite strong, makes sure that it can stay fresh in any form, be it a club song, or a soothing number like this reprise.
As for the last song of the album, Laaj Sharam by Sachin-Jigar’s A&R venture White Noise, the song is also quite weak as compared to the rest of the album. Something seems off in White Noise’s fusion of Punjabi and electronic music, but the vocalists Divya Kumar and Jasleen Royal save the song with their entertaining rendition. Jasleen’s voice gets a makeover; she puts on a husky voice here, and I wish she uses this voice in more of her own compositions from now on; of course, when and if the need arises. The hookline for this song sounds unnecessarily repetitive, but the dhols do the job in pulling you through that. Enbee’s rap is passable, and it’s not like it ends soon, and the composers don’t add any entertaining music in the background during that either! Overall, this ends up as the second weakest song on the album for me.


A ten song album, this really delivers what was promised in such a huge scale wedding flick about friendship. The soundtrack has variety, and after listening to it so many times, I can say it has the potential to live even after the movie is watched and forgotten by everyone.The biggest achievement this soundtrack has made, is that, though it has multiple composers, they all have one set aim which they all succeed in — to make Punjabi music marry electronic music!

 

Total Points Scored by This Album: 8 + 7.5 + 6.5 + 9 + 8.5 + 8 + 8.5 + 6.5 + 7.5 + 7 = 77

Album Percentage: 77%

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: Just Listen to them all in the order given on Saavn. 😂

 

Remake Counter:
No. Of Remakes: 20 (from previous albums) + 01 = 21

Which is your favourite song from Veere Di Wedding? Please vote for it below! Thanks! 🙂

A SONG FOR BOLLYWOOD BUFFS!! (BIOSCOPEWALA – Music Review) : Dessert Review

Single Track Details
♪ Singer: K. Mohan
♪ Music by: Sandesh Shandilya
♪ Lyrics by: Gulzar
♪ Music Label: Zee Music Company
♪ Music Released On: 17th May 2018
♪ Movie Released On: 25th May 2018

Bioscopewala

Listen to the song: Saavn

Buy the song: iTunes


Bioscopewala is a Bollywood drama film starring Danny Denzongpa, Geetanjali Thapa and Adil Hussain, directed by Deb Medhekar and produced by Sunil Doshi. The film is based on Rabindranath Tagore’s short story ‘Kabuliwala’. The movie has only one song, composed by Sandesh Shandilya, with lyrics by Gulzar. I’m guessing the reason for roping in Gulzar was that he wrote the lyrics for the 1961 ‘Kabuliwala’ film starring Balraj Sahni. (Except the song ‘Aye Mere Pyaare Watan’). So I expect this song to be amazing and connected to the theme of cinema, because the ‘Bioscopewala’ in this film shows movies to children as opposed to the ‘Kabuliwala’ who sold dry fruits to them. 😂


Bioscopewala starts off with an amazing adlib, and the oud in the background actually transports you to the hills of the Northwest region. Throughout the song, composer Sandesh Shandilya mesmerizes you with layered string instruments, coupled with a nice Caribbean percussion, and that’s where the song’s strength lies. Singer Mohan Kannan too, helps a lot with his great voice, and moulds his voice into the perfect voice hat would suit a man who goes around showcasing movies to young children. The story of the ‘Kabuliwala’ would come alive in your mind just by listening to the song — the wonderful children’s chorus, the amazing lyrics by Gulzar saab, using phrases from various iconic songs and movies that Bollywood has produced — the small touches like this, make this song very deep and heart-warming. It reminded me of the Swanand Kirkire-sung version of “Ala Barfi” (Barfi), because of the similar vocal techniques used by the lead singers in the respective songs, to make it sound more earthy and raw.


This song really showcases Shandilya’s talent in music composition, and it raises the question why we don’t hear him more often!

 

Total Points Scored by this Track: 8.5

Percentage: 85%

Final Rating: सा < रे < ग < म < प < ध < नी < सां

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

HOPE TO HEAR MORE OF RUPERT’S MUSIC!! (HOPE AUR HUM – Music Review)

Music Album Details
♪ Music by: Rupert Fernandes
♪ Lyrics by: Saurabh Dikshit
♪ Music Label: T-Series
♪ Music Released On: 1st May 2018
♪ Movie Releases On: 18th May 2018

Hope Aur Hum Album Cover

 

Listen to the songs: Saavn

Buy the songs: iTunes


Hope Aur Hum is an upcoming Bollywood film starring Naseeruddin Shah and Sonali Kulkarni, directed by Sudip Bandyopadhyay and produced by PVR Pictures and Thumbnail Pictures. The music for this film is given by newcomer Rupert Fernandes, so let’s wait no longer to see how he scores in his debut!


Rupert Fernandes opens his debut album in Bollywood with a groovy title song. Hope Aur Hum works because of its catchy arrangements, composition, and the hook which repeats so many times — almost like a commercial jingle. The composer provides nice padding though, around the hookline. I must say that the song gets repetitive towards the second half, because of the mainly whispery nature it has been sung in. Speaking of which, Bhoomi Trivedi and Suraj Jagan are the perfect choices for such type of vocals. The arrangements consist of engaging rock guitars, drums, and the nice banjo-ish plucked instrument. Saurabh Dikshit’s lyrics suit the children’s movie theme, but that doesn’t mean adults won’t appreciate them too!
Sonu Nigam’s Acche Bacche Rote Nahin is another song where the hookline is repeated a time too many, but the song still hits the nail on its head, because of the way it handles the emotional quotient. Rupert doesn’t make it too melodramatic, and it works just well enough to be an engaging listen throughout! Sonu Nigam’s different variations of the hookline is one reason why the repetition of the line doesn’t matter too much! When you have a performer like Nigam, you can have only one line and repeat it all throughout your song; as if it’ll matter, because he’ll do the rest! Saurabh Dikshit’s limited lyrics still manage to do well in the ‘sad song’ genre, where lyricists usually just beat around the bush, rinse and repeat. I loved Rupert’s addition of engaging guitar riffs throughout the song; it’s the only instrument in the song, and oh, how wonderful it sounds!
Shaan’s Aye Zindagi happens to be the star song of the soundtrack; Dikshit’s verse “Aye zindagi, khelenge phir kabhi, aaj mood nahin hai!” hooks you instantly, and thankfully, Rupert accompanies Dikshit with a just as cute composition to go with the words. Again, guitars feature as the prominent (maybe only) instrument in the song, and the vocalist is depended upon to do the rest — Shaan manages that quite easily! It is a pleasure to hear him in a song he deserves, after a long time! And I commend the composer for roping him in, when the ideal choice would be Arijit Singh or Mohit Chauhan! Anyway, it is another case where the best song is saved for the last! 🙂


A short and sweet soundtrack; I can only hope we get to hear more of Fernandes’ music in the future, because this one will probably, sadly, go unnoticed!

 

Total Points Scored by This Album: 7 + 7.5 + 8 = 22.5

Album Percentage: 75%

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: Aye Zindagi > Acche Bacche Rote Nahin > Hope Aur Hum

 

Which is your favourite song from Hope Aur Hum? Please vote for it below! Thanks! 🙂

 

IMPRESSIVE TEAMWORK!! (DAAS DEV – Music Review)

Music Album Details
♪ Music by: Sandesh Shandilya, Vipin Patwa, Arko Pravo Mukherjee, Anupama Raag & Shamir Tandon
♪ Lyrics by: Faiz Ahmed Faiz, Deepak Ramola, Dr. Sagar, Bulleh Shah, Arko Pravo Mukherjee, Munir Niazi, Gaurav Solanki & Sameer Anjaan
♪ Music Label: Zee Music Company
♪ Music Released On: 21st February 2018
♪ Movie Released On: 27th April 2018

Daas Dev Album Cover

 

Listen to the songs: Saavn

Buy the songs: iTunes


Daas Dev is a Bollywood political thriller starring Rahul Bhat, Aditi Rao Hydari and Richa Chadha in lead roles. The film is directed by Sudhir Mishra, and produced by Saptarishi Cinevision. The film has tanked as Such it Mishra’s weakest film, but we concern ourselves with the music, and let me tell you, this album is probably the dark horse album of the year! The music is composed by Sandesh Shandilya, Vipin Patwa, Arko Pravo Mukherjee, Anupama Raag and Shamir Tandon. Read on to find out why I call it the dark horse album of the year so far! 🙂


Sandesh Shandilya and Vipin Patwa are the lead composers for the film: both have two songs each while the other three composers present us with one song each. Let’s start with Vipin Patwa’s portion of the album, since he hasn’t been active for so long!
Sehmi Hai Dhadkan is a melancholic but intense romantic song, that really works opposite to how these songs usually work with me. I actually liked the song. The tune is gripping, the instrumentation deep and likeable, and Atif’s vocals strong. The cello and piano work together against the digital beats, and Vipin’s composition is really captivating, especially with the hook, and the line before it, where Atif performs an impeccable aalaap. Dr. Sagar’s lyrics are good, but run of the mill. Vipin’s other song, Tain To Uttey, is a nice reimagination of Bulleh Shah’s verse, set against an electrifying folksy-rock fusion. Javed Bashir performs in a way that equals his rendition of ‘Piya Tu Kaahe Rootha Re’ (Kahaani), and he sounds amazing in those aalaaps, and in the hookline, when the composer brings in amazing rock elements accompanied by nice classical music elements. The interlude with Javed’s SARGAM is unforgettable.
Sandesh Shandilya though, takes the album to a different plane, with clever folk-techno fusion in both his songs. The relatively weaker (in no means a bad song), Raat Youn Dil Mein Teri, is a sensual romantic song sung by Papon and newcomer Shraddha Mishra. Two of Faiz Ahmed Faiz’s poems get amalgamated into this song, where Papon delivers an amazing performance as always, and even newcomer Mishra supports him and does her part beautifully with her distinct voice. The composition stands out as sensuous and experimental, while the techno sounds give it an even more intense lounge-ish sound. It reminds me of ‘Behroopia’ (Bombay Velvet) with its soundscape. The composition of the antara is mind blowing and tough to not love!
Sandesh’s other song, my personal favourite of the album because of its quirkiness and happy-go-lucky sound, is Challa Chaap Chunariya. The composition is essentially that of a folksy dance song, and it gets really catchy in the hookline and the cross line before it, and even more captivating with Rekha Bhardwaj’s stylish vocals. But the real magic here is the fusion by Shandilya. It’s so surprising this is the same Shandilya who made songs like ‘Suraj Hua Maddham’ (Kabhi Khushi Kabhi Gham) and ‘Aaoge Jab Tum’ (Jab We Met) in the 2000s, but now he has reinvented his style so drastically! The sarangi pairs beautifully with the psychedelic sounds, and the quirky programming makes it even more addictive.
Arko Pravo Mukherjee also breaks out of his spree of composing sugary sweet romantic songs, to create a nice rock ballad. Rangdaari has all the elements of a catchy rock song. Navraj Hans gets a short prelude in Punjabi, that we wish lasted longer, or featured once more in the song, until Arko takes the mic and sings his addictive composition. The arrangements are just like any rock song you’d hear, but nevertheless, very likeable. The hookline has a catchy composition as well; I just wish some more established singer had sung it. The guitars in the interludes are amazing, and so are the romantic lyrics by Arko Pravo Mukherjee.
Debutante composer Anupama Raag presents Azaad Kar, a song composed on that oh-so-heart-warming seven beat rhythm that is so prevalent in Bollywood, mainly for sad songs. The Indian tune is beautiful, as are the arrangements, with one digital plucked instrument playing throughout, coupled with jingle bells and tablas later on. The choice of Swanand Kirkire for singing it is really perfect; kudos to Anupama for remembering him. Gaurav Solanki’s lyrics are good too.
The weakest song of the album comes from Shamir Tandon; he composes a very heavy pathos-filled rock song, Marne Ka Shauk, that does not connect at all, with cringeworthy vocals (surprisingly by Papon and not so surprisingly by Krishna Beura) and very cringeworthy lyrics (as expected from Sameer Anjaan by now). It’s probably what the Devdas in this retelling sings when he starts drinking. 😂


All in all, this album turns out to be a surprisingly great album from multiple composers, but each pitch in to do their best, as per the script of the movie.

 

Total Points Scored by This Album: 7.5 + 8 + 8.5 + 9 + 7.5 + 8 + 5.5 = 54

Album Percentage: 77.14%

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: Challa Chaap Chunariya > Raat Youn Dil Mein Teri >
Azaad Kar = Tain To Uttey > Sehmi Hai Dhadkan = Rangdaari > Marne Ka Shauk

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

THE LYRICISTS’ SUCCESSFUL RAID!! (RAID – Music Review)

Music Album Details
♪ Music by: Amit Trivedi, Tanishk Bagchi & Nusrat Fateh Ali Khan
♪ Lyrics by: Manoj Muntashir & Indraneel
♪ Music Label: T-Series
♪ Music Released On: 1st March 2018
♪ Movie Released On: 16th March 2018

Raid Album Cover

 

Listen to the songs: Saavn

Buy the songs: iTunes


Raid is a thriller starring Ajay Devgn, Saurabh Shukla and Ileana D’Cruz, directed by Rajkumar Gupta and produced by Bhushan Kumar, Krishan Kumar, Kumar Mangat Pathak and Abhishek Pathak. The film is about India’s longest raid in the 1980s, and I’m sure all of you have already watched the film; blame my laziness for the late music review. Anyway, the music has been composed by Tanishk Bagchi and Amit Trivedi, both having composed (rather Tanishk having recreated and Trivedi having composed) two songs each.


Once again, T-Series taps into the remake-producing compartment of Tanishk’s brain, but this time, the results are actually not bad! Two Qawwalis of Nusrat Fateh Ali Khan have been chosen by the makers here, and Tanishk recreates each of them with finesse and most importantly, respect. Sanu Ek Pal Chain, a soft romantic number, turns out to be the polar opposite of the horrendous ‘Mere Rashke Qamar’ (Baadshaho). Tanishk learns from his mistakes and this time the soul of the original song is kept intact. Tanishk’s composition skills are also tested here, because he makes his own antara, and does quite well at it too. The arrangements are similar to how Arko arranges his love songs, with the acoustic sounds being more prominent. Rahat Fateh Ali Khan’s rendition is great, and thankfully not ear-piercing like ‘Baadshaho’, and the lyrics by Manoj Muntashir hit the right note.
If “Sanu Ek Pal” was remade well, Nit Khair Manga‘s makeover is splendid, and Tanishk shows some real creativity there. Again, Rahat and Manoj join hands with him for the vocals and lyrics respectively. But if you notice, Tanishk has many more original lines to compose here, and apparently has much more freedom to do what he wants, and it results in some mind-blowing arrangements. The hookline is the peak of the song, where Tanishk starts off with the typical Sufi tabla rhythm, only to stop it, and start it again. It continues in this stop-start fashion all throughout! The trend of playing the hookline on the mandolin is followed here, too, but it sounds great here, and not contrived like it does everywhere else. Rahat manages the vocals beautifully, his nuances on point and very intricate.
Amit’s half of the album is purely situational. What Amit couldn’t probably do, they made Tanishk handle, and what Tanishk probably can’t do, they let Amit handle, as he is, after all, a senior to Tanishk, and knows how to create situational songs!
Black is like the theme song of the movie, but Amit Trivedi gets the 80s setting of the film spot-on in his arrangements for this song. Sukhwinder handles such songs amazingly, and he does so here too. Since the song is situational, it doesn’t grow instantly, but the peak of the song is surely the high pitched line before the hook. The hook, trademark Trivedi stuff, is something that will set your head nodding in its rhythm. The interlude is entertaining too. Indraneel’s lyrics suit the theme well; I guess he is a debutant, have never seen his name as a lyricist before! Amit’s percussions are top-notch, and the trumpets help give the song an authoritative feel.
The other Trivedi song, Jhuk Na Paunga, is your everyday Bollywood patriotic song, but oh, does it work in its intent. Comparisons to ‘Tu Bhoola Jise’ (Airlift) are inevitable, but in its own place, the song works well. It starts off with a typical Trivedi guitar riff followed by a typical Trivedi trumpet piece, and as soon as Papon’s feathery voice kicks in, so do your goosebumps. The mellow hookline is enough to melt the heart of anyone who regards himself a staunch nationalist. Again, the percussions and brass instruments are the highlight of the arrangements, but Amit adds a wonderful tabla rhythm in the antara, which will steal your heart. The chorus towards the end of the song is fascinating — “Toofan Mein Jalti Hui…“. It is small touches like this that make this the best song of the album, but the main reason, is Indraneel’s lyrics. Though the composition might be inaccessible for many of the masses, nobody can say they didn’t connect with the poignant lyrics.


Both the music composers do equally well here, but the lyricists raid the music and take away the spoils!

 

Total Points Scored by This Album: 7.5 + 8 + 7.5 + 8.5 = 31.5

Album Percentage: 78.75%

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: 
Jhuk Na Paunga > Nit Khair Manga > Sanu Ek Pal Chain = Black

 

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

 

Remake Counter:
No. Of Remakes: 13 (from previous albums) + 02 (from Raid) = 15