EK COMPOSER, DO COMPOSER, TEEN COMPOSER!! (LUCKNOW CENTRAL – Music Review)

Music Album Details
♪ Music by: Arjunna Harjaie, Rochak Kohli, Tanishk Bagchi, Sukhwinder Singh & Mychael Danna
♪ Lyrics by: Kumaar, Adheesh Verma & Sukhwinder Singh
♪ Music Label: T-Series
♪ Music Released On: 18th August 2017
♪ Movie Releases On: 15th September 2017

Lucknow Central Album Cover

 

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

To buy this album on iTunes CLICK HERE


Lucknow Central is a Bollywood drama film, starring Farhan Akhtar, Gippy Grewal, Inaamulhaq, Deepak Dobriyal , Diana Penty, Rajesh Sharma and Ronit Roy. The film has been directed by Ranjit Tiwari, and produced by Viacom18 Motion Pictures, Monisha Advani, Madhu C. Bhojwani and Nikkhil Advani. The plotline of this film closely resembles that of recently released ‘Qaidi Band’, and it is obviously a coincidence of the worst case. There is a difference though. The music here, is done by multiple composers. Leading the way is youngster Arjunna Harjaie, with three songs, and after he impressed so much in ‘Titoo MBA’, I cant wait to hear what he did here. Tanishk Bagchi has two songs too, and one is a remake, because he is the remake specialist according to T-Series. Guest composer Rochak Kohli presents one song in the album. All three of these composers have proved their mettle in the past, and it goes without saying that when it is an Advani production, the film is bound to have good if not great music. Also, I think Farhan Akhtar himself looks into the music of his films, and so it is bound to be great. Comparisons between this film and ‘Qaidi Band’ are sure to happen, but I noticed ‘Qaidi Band’ relied much more on the music, and this will rely much more on plot points. It reflects even in the number of songs — that film had nine, while this one has five and one version. So let’s see if this album supports the film!


1. Kaavaan Kaavaan

Singer ~ Divya Kumar, Chorus ~ Shivek, Anubhav, Aditya, Shubham, Umesh, Veljon, Vishal and Sarthak From Asm Academy, Original Composition by ~ Sukhwinder Singh & Mychael Danna, Music Recreated by ~ Arjunna Harjaie, Original Lyrics by ~ Sukhwinder Singh, New Lyrics by ~ Kumaar

When Bollywood starts remaking songs from Hollywood movies (doesn’t matter that the song is Hindi, though) you would think things are finally messed up for real. However, it is a pleasant surprise when the remake actually turns out to be good, and quite innovative. Arjuna Harjai (now spelling his name as Arjunna Harjaie) returns after a year and a half, after the song from ‘Do Lafzon Ki Kahani’ last year, and gets the opportunity to recreate this quite popular Punjabi number ‘Ajj Mera Jee Karda’ (Monsoon Wedding). The original had been composed jointly by Sukhwinder Singh and the film’s composer Mychael Danna. Now this remake is quite a good one. The composition has been kept intact for most of the song, with Arjunna having composed a new prelude to the song, with a haunting tune that immediately gets you interested. The original composition is good, and the “Kaavaan Kaavaan” portions, which I found irritating in the original, actually sound good here. The thing that makes this remake worthwhile though, is the amazing music. Arjunna equips a booming dhol rhythm (Vishal Dande), that has the required effect on the listener, making him or her groove to it happily. The shehnaai gives a wonderful traditional feel to the song. Strings and dafli have been used occasionally to infuse a strain of pathos through the song, and especially the antara (incorporated from the original itself) is beautiful, both in tune and its arrangements. The numerous tempo changes would normally be very confusing to a listener, but here, Arjunna manages them so seamlessly, it is unbelievable. As for the vocals, Divya Kumar steps into Sukhwinder Singh’s shoes without a problem, but because he does so, it evokes memories of Divya’s own ‘Jee Karda’ (Badlapur) in the first line of the song. 😄 And then a layman can easily say, “Hey! It’s a copy!” Because he wouldn’t know that ‘Ajj Mera Jee Karda’ came before ‘Jee Karda’. But I commend the makers for firmly sticking with Divya’s voice anyway, since he has sung amazingly — the Punjabi-ness comes across beautifully through his voice, and he especially does the emotional portions very nicely. Kumaar’s additional lyrics are good too, adding on Sukhwinder’s original. An apt remake, with an amazing rhythm, and changes that do not disrupt the original song’s integrity.

Rating: 4/5

 

2. Meer-E-Kaarwaan

Singers ~ Amit Mishra & Neeti Mohan, Music by ~ Rochak Kohli, Lyrics by ~ Adheesh Verma

Rochak Kohli enters the soundtrack next, with his sole song, which happens to be a wonderful Sufi duet, with, again, a strain of pathos running through it. The composer doesn’t usually get to do such songs, but he did impress us with the amazingly soothing ‘Rozana’ (Naam Shabana) earlier this year, so it is no surprise that he ended up composing this one so well. The composition is so fresh, and quite like the Pritam school of alternative rock, it mixes Sufi sounds with a templated rock rhythm. Without the Sufi, the rock would’ve sounded incomplete, and vice versa. So it is like a beautiful combination that couldn’t be avoided. The antara is beautiful, and I must mention Neeti here, because she has sung her antara splendidly, and it is a delight to hear her in that whispery voice of hers. Her co-singer, Amit Mishra, builds on where Pritam left him off in ‘Bulleya’ (Ae Dil Hai Mushkil), and here, he makes an effort to remain soft and not as energetic as he was there, and the result is excellent. The arrangements are rich as well, the dholaks providing the authentic Sufi touch, while the amazing guitar work (Keba Jeremiah) and strokes (Tapas Roy) are one of the highlights of the song. The choruses at the end and in the second interlude, have been composed beautifully. Also, there’s a pause after the second interlude, where one thinks the song ends, but it seems Rochak has more to give us! The lyrics by Adheesh Verma are great too! A song that wonderfully mixes elements of Pritam and Shankar-Ehsaan-Loy styles of composition, and a beautiful Sufi-Rock arrangement!

Rating: 4.5/5

 

3. Teen Kabootar

Singers ~ Mohit Chauhan & Divya Kumar, Additional Vocals ~ Aflatunes, Music by ~ Arjunna Harjaie, Lyrics by ~ Kumaar, Rap Written & Performed by ~ Raftaar

Arjunna returns to the album with his second song, this time, a fun a cappella number full of onomatopoeia. The beginning itself gets your interest peaked and you listen closely right from the beginning, where the singers do an innovative sargam, that sounds excellent. The composition by Arjunna, yet again, resembles the style of a cappella that Shankar-Ehsaan-Loy are well-known for, and they have succeeded with it in songs like ‘Maston Ka Jhund’ (Bhaag Milkha Bhaag). The composition doesn’t appeal to you at once though. It is the various vocal rhythms and sound effects that help you to find it appealing. The vocalists do an amazing job. Mohit’s metallic voice is the perfect choice for the song, and when he goes seamlessly from low to high notes, it sounds wonderful! Divya usually takes the high octaves and does so here as well. These lead singers definitely do well, but the backing vocalists also provide a very fun element to the song! The interlude where they sing “Chaaku Chaaku Leke Jaa..” is so fun to listen to! Even Raftaar’s rap adds an element of fun to the song. About the arrangements, whatever I say will be less. Amazing percussions (Taufiq Qureshi’s Mumbai Stamp) and guitar work makes the song appealing to listen to, and as mentioned before, Arjunna’s amazing use of the a cappella style in a desi way makes this song sound very unconventional. Kumaar’s situational lyrics too are clever and serve the purpose well. This song might be Arjunna’s ticket to many more Bollywood films which need quirky music!!

Rating: 4/5

 

4. Rangdaari

Singer ~ Arijit Singh, Backing Vocals by ~ Arjunna Harjaie, Music by ~ Arjunna Harjaie, Lyrics by ~ Kumaar

Arijit Singh has started to get songs in every film yet again; there was a kind of low phase intermittently. The only difference is that before, it used to appear right at the beginning of soundtracks. Now it has changed. And in this album too, we see an Arijit Singh song popping up as the fourth song on the soundtrack. The composition is amazingly beautiful. Arjunna Harjaie composes a wonderful Sufi tune, which is familiar to the ears, but soothing nonetheless. The hookline is something you’ve heard time and again, but still works its magic to soothe you down. Especially that line “tu laagey mujhe dushman si..” has been composed very beautifully. The antaras are beautiful, and the whole structure of the song reminds me of the recently released ‘Bairaagi’ (Bareilly Ki Barfi) which sadly, didn’t work for me as well as this. Arjunna decorates his magical composition with stellar musical instruments. First of all, he gives the genuine Sufi touch with the dholaks (Aanchal Goud), which sound wonderful and very earthy. But it is the interlude, in which he introduces a wonderful flute piece (Shubham Shirule), accompanied by a MIND-BLOWING sargam by Arijit (or is it Arjunna?). And it is then that the song gives off beautiful Rahmanish vibes, but also gets its own place in your heart. The Duff rhythms do sound too heard-before, but they’re ignorable due to the wonderful things Arjunna has added besides that. The ethnic strings sound amazing here, and as always, Tapas Roy has done magic with them. The vocals by Arijit are top-notch, but it is his everyday composition and he aces it as was expected. The lyrics are very impressive here as well. A beautiful Sufi song, with a familiar sound, but still impressed me because of its innocence!

Rating: 4.5/5

 

5. Kaavaan Kaavaan (Remix)

Singers ~ Sukhwinder Singh & Renesa, Original Music by ~ Sukhwinder Singh & Mychael Danna, Music Recreated by ~ Tanishk Bagchi, Original Lyrics by ~ Sukhwinder Singh, New Lyrics by ~ Kumaar

So ‘Kaavaan Kaavaan’, the opening track of the album, gets a ‘Remix’, or so T-Series calls it. But this isn’t the remix of Arjunna Harjaie’s song. It is the remix of the original song from ‘Monsoon Wedding’, done by Tanishk Bagchi, the third composer of the album. Also, I wouldn’t call it a remix at all, since it might just be another remake of the song by Tanishk, but Arjunna’s must have gotten chosen as the main version. This one is merely Tanishk’s original take on this song. That having been said, I can say Tanishk has worked very hard on this one. He tries to add digital beats wherever possible to make the song sound fresh, but some places it just doesn’t work, especially after the Indian arrangements that led the Arjunna version. Not that Tanishk hasn’t added dhols and all, but the emotion of the song doesn’t come across as well in this one. For a dance track though, this is better. Tanishk also ropes in Sukhwinder himself to re-dub the song, and that’s definitely a plus point. Renesa does the female portions of the song, and she sounds awesome. What bugged me was the hookline, where I found the backing vocalists too loud. A more zesty remake, but not more effective.

Rating: 3.5/5

 

6. Baaki Rab Pe Chhod De

Singers ~ Brijesh Shandilya, Vayu, Tanishk Bagchi & Arman Hasan, Music by ~ Tanishk Bagchi, Lyrics by ~ Kumaar

Tanishk’s second song serves as the caboose for this album, closing the album on a very lively and bright note. I say this because right from the beginning of the song, you know it is going to lift your spirits. It starts quite similarly to ‘Raula’ (Jab Harry Met Sejal), with lively plucked strings. The composition is fun to listen to, too, but gets slightly disjointed in the latter parts. It starts off brilliantly though, and the hookline is delightful. The arrangements here too, are mainly digital beats, but this time they succeed in remaking the song livelier. Tanishk’s trademark liveliness comes across well through this song, and it is a thing to wonder, why he spends time in doing some remakes. The singers do justice to the song, the lead singer, Brijesh doing an exceptionally good job. Little Arman Hasan, who we heard in ‘Kankad’ (Shubh Mangal Saavdhan), singing alongside his father Raja Hasan, does well too. Vayu has probably done some backing vocals, so I couldn’t really place him in the song! Kumaar’s lyrics, are amazing. He writes some amazingly positive lines in this one too, taking the support of various scientific inventors like Thomas Edison and Graham Bell. Lively song, but could’ve been slightly better!

Rating: 4/5


Lucknow Central is one of those rare multicomposer albums that is a delight to listen to. Well, I guess when each composer knows what he is best at, and delivers the best of whatever he is best at, with the proper supervision by the director and producer, the multicomposer album can also turn out well. Ek Composer, Do Composer, Teen Composer, But No Sign That This Album is Multicomposer!!

 

Total Points Scored by This Album: 4 + 4.5 + 4 + 4.5 + 3.5 + 4 = 24.5

Album Percentage: 81.67%

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: Rangdaari = Meer-E-Kaarwaan > Kaavaan Kaavaan = Baaki Rab Pe Chhod De = Teen Kabootar > Kaavaan Kaavaan (Remix)

 

Remake Counter:
No. Of Remakes: 31 (from previous albums) + 02 {counting both different takes on ‘Ajj Mera Jee Karda’} = 33

 

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

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DAGAONKAR BABU SANGEETBAAZ!! (BABUMOSHAI BANDOOKBAAZ – Music Review)

Music Album Details
♪ Music by: Gaurav Dagaonkar, Abhilash-Joel, Debojyoti Mishra & R.D. Burman
♪ Lyrics by: Ghalib Asad Bhopali & Anand Bakshi
♪ Music Label: Saregama
♪ Music Released On: 17th August 2017
♪ Movie Released On: 25th August 2017

Babumoshai Bandookbaaz Album Cover

 

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


Babumoshai Bandookbaaz is a Bollywood crime comedy film, starring Nawazuddin Siddiqui and Bidita Bag and directed by Kushan Nandy. The film has been produced by Kiran Shyam Shroff and Ashmith Kunder. The music for this film has been given (five out of six songs) by Gaurav Dagaonkar, a composer we hear in Bollywood quite infrequently. The last time we heard him was in ‘Wah Taj’ when he made a song that nobody heard again. Before that though, he had given some good music for ‘Heartless’ (2014), and ‘Kaafirana’ (Joker; 2012). Hopefully since he’s in charge of the major chunk of the album here, he will do his best. The guest composers are a debutant duo named Abhilash-Joel, who have worked on a scratch composition by Debojyoti Mishra, and built their song around it. Hopefully, they make a great debut! So let’s jump into this bandookbaaz album and hope it is sangeetbaaz!!


1. Barfani (Male) / Barfani (Female)

Singers ~ Armaan Malik / Orunima Bhattacharya, Music by ~ Gaurav Dagaonkar

Gaurav Dagaonkar starts off this album with a delightfully haunting (What an oxymoron) classical number, based on raag jog. The composer really pleasantly surprised me with his amazing command over classical notes. The way his notes have come out in such a mellifluous manner, is commendable. The mukhda is an instantly gripping portion, and the hook, ‘jal jaane do‘, is what gives you the goosebumps. The antara, in the ideal way that classical songs usually go, follows a more happy-sounding route, and it contrasts very well with that haunting mukhda. The composition reminds you of many 90s songs, when Bollywood music was so heavily inspired by traditional classical music. The lyrics by Ghalib Asad Bhopali are quite intense, and do justice to the song’s theme quite perfectly. The word ‘barfani‘, is a word I’m hearing for the first time in a Bollywood song in recent years! The song is presented in two versions, male and female — both with the same haunting arrangements, thanks to a wonderful beat given by the jingle bells (ghungroo), and a very beautiful play of the guitars and the Dobro (Shomu Seal) which give a very sitar-ish sound. The male version is sung with impeccable finesse, by Armaan Malik, and I believe this is his first such song, which is so heavily based on classical music. He handles the song beautifully, in the lower octaves, and I believe it is his career’s best performance, solely because he tries something new! Orunima Bhattacharya is in charge of the other version, and she takes up a higher pitch, and aces it, and you can tell she has been classically trained. A beautiful and haunting romantic song to start off the album!

Rating: 4.5/5 for Male Version, 4.5/5 for Female Version

 

2. Aye Saiyan

Singers ~ Orunima Bhattacharya & Vivek Naik, Original Composition & Lyrics Traditional, Music Recreated by ~ Gaurav Dagaonkar

The second song seems like a song that was a residue from the ‘Anaarkali Of Aarah’ album that released earlier this year. It follows the same folksy vibe, as if there’s a dance going on in the village. Gaurav aces the composition, which is essentially a Bhojpuri folk song, but his music makes it more lively and likeable. The same tune is repeated throughout the song, so it does get a bit tedious towards the end, but I guess that’s how the folk song is. The lyrics are funny, if you understand Bhojpuri. The harmonium (Satyajeet Prabhu) leads the way right from the beginning, giving a very fresh vibe to the song, and the sprightly rhythm and percussions (Satyajeet Jamsandekar) is enjoyable as well! There are amazing dholaks that give the song a rhythm to which you can nod your head! The vocals by Orunima are great here as well, and she showcases her versatility in this song, which is so different from the first one! Vivek Naik has a short interruption, which disturbs more than sounds good. A fun and cute folksy number!

Rating: 3.5/5

 

3. Ghungta

Singer ~ Neha Kakkar, Chorus ~ Vivek Naik, Santosh Bote & Rahul Chitnis, Original (Hook) Composition by ~ R.D. Burman, New Composition by ~ Gaurav Dagaonkar, Original Lyrics by ~ Anand Bakshi

Here comes another remake, and this time, it’s incorporated into an item song. But before we apply our judgements to that sentence, let’s listen to the song with an open mind. Because when I did that, I really enjoyed the song, thanks to Gaurav Dagaonkar’s enjoyable music, and Neha Kakkar’s very energetic vocals! The song is the remake of R.D. Burman’s ‘Haye Re Haye Tera Ghungta’ (Dhongi), and what I liked is that the only part taken from the old song is the hook. The only difference is that the girl is singing ‘mera ghungta‘ instead of the boys singing ‘tera ghungta‘. The rest of the composition goes well with that hook, and especially the antara is very catchy, and has a trademark Panchamda touch to it. The arrangements are just as lively, with the signature Maharashtrian dhol-taasha rhythm backing it. But amazing guitars (Arvind Haldipur) welcome the listeners into the antara, and that makes the antara sound even more enticing. The vocals are something that propel the song to heights that might not have been touched, had the singer been different, or if Neha Kakkar had sung even a little bit lifelessly. However, her rendition is lively, and she proves again how much energy her voice has. Ghalib Asad Bhopali’s lyrics are very typical to this genre. One of the better of such songs to release this year.

Rating: 3.5/5

 

4. Chulbuli

Singer ~ Papon, Additional Vocals ~ Vivek Hariharan, Music by ~ Gaurav Dagaonkar

The retro vibe kicks in with the next song, a naughty, mischievous number with a very retro tune. Gaurav Dagaonkar has composed it very well, and right from the opening harmonium bar, you know you are in for a treat. The composer has created a nice vaudevillian-esque tune, resembling the musical style that was prominent in the 50s. The tune of the Mukhda is amazing, and gets you gripped there itself. The lilt of the song is increased by the tempo and the beats. The Antara is irresistible, again having a very retro tune. The arrangements are beautiful; surprisingly, they’re a little less retro-esque. The European touch is high in them, with the accordions, mandolins and chimes being most prominent. However, to balance this old-school vibe, Gaurav throws in a number of wonderful things like electric guitars, drums and brass instruments. The vocals are mellifluous, and what can you expect other than mellifluous when it is the genius Papon behind the mic? His voice is so magnetic, you just can’t pay attention to anything else. Vivek Hariharan joins him in backing vocals. His rendition reminds me of ‘Labon Ka Karobaar’ (Befikre), and so do the arrangements, now that I think of it. Ghalib’s lyrics are great and fun! The best song of the album yet!!

Rating: 4.5/5

 

5. Khali Khali

Singers ~ Mohit Chauhan, Music by ~ Debojyoti Mishra & Abhilash-Joel

The debutants Abhilash Lakra and Joel Dubba step in for this song, and they are in charge of a melancholic number, that haunts your soul. The composition is very haunting, and has been composed with such notes, that are sure to make you emotional, and frightened at the same time. The pace is very slow, aptly so. The problem arises in the Antara, where the song gets into the Bhatt mode, and as the listener, I started to zone out. And the way it runs after that is very tedious. The duo tries to make up for that with mysterious arrangements, but that too, sounds maudlin. There are amazing strings though, all throughout the song, and even the percussions are great. Mohit Chauhan sounds good, but doesn’t manage to keep our interest in the song. The lyrics are good, again. Not very impressive of a debut.

Rating: 2.5/5


Babumoshai Bandookbaaz is a pretty surprisingly good album! I was expecting very little from it before the first song came out. After that came out I started hoping for a little more, and the makers just gave more and more after that! Gaurav Dagaonkar finally gives an album that he can be proud of for ages — with Indian classical, folk, European music that proves his versatility. The debutant duo Abhilash-Joel do disappoint relatively, but show promise in their great sense of composition and arrangements. That makes this a quite sangeetbaaz album!!

 

Total Points Scored by This Album: 4.5 + 4.5 + 3.5 + 3.5 + 4.5 + 2.5 = 23

Album Percentage: 76.67%

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: Barfani (Male) = Barfani (Female) = Chulbuli > Aye Saiyan = Ghungta > Khali Khali

 

Remake Counter:
No. Of Remakes: 24 (from previous albums) + 02 (from Babumoshai Bandookbaaz) = 26

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

TWO GENTLEMEN WHO HARDLY EVER DISAPPOINT!! (A GENTLEMAN – Music Review)

Music Album Details
♪ Music by: Sachin-Jigar
♪ Lyrics by: Vayu, Priya Saraiya & Raftaar
♪ Music Label: T-Series
♪ Music Released On: 17th August 2017
♪ Movie Releases On: 25th August 2017

A Gentleman Album Cover

 

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

To buy this album on iTunes CLICK HERE


A Gentleman is an upcoming Bollywood action comedy, starring Sidharth Malhotra, Jacqueline Fernandez, Suniel Shetty and Darshan Kumar in lead roles. The film is directed by Raj Nidimoru & Krishna DK and produced by Fox Star Studios. The film features Sidharth Malhotra in a double role, one being Sundar Susheel, and the other ‘Risky’. Hence the tagline of the film, ‘Sundar Susheel Risky’. The music of the film is given by the go-to music composers for Raj & DK, Sachin-Jigar. Going by the music of ‘Shor In The City’, ‘Go Goa Gone’, and ‘Happy Ending’, I’m sure this one’s also going to be a treat for people who love quirky music, and the genre of action comedy would give amazing song situations as well! Sachin-Jigar’s discography this year boasts of as many as seven film albums (with ‘Hindi Medium’ being a multicomposer one), and this one is the third to release. ‘Meri Pyaari Bindu’ remained my favourite album of the year until Pritam’s gigantic ‘Jab Harry Met Sejal’ released. I can just hope that this one follows suit and becomes another favourite of mine this year!


1. Disco Disco

Singers ~ Benny Dayal & Shirley Setia, Lyrics by ~ Vayu

“Aaja ve hila denge hum aaj angana,
tere naal karke beat drop nachna,
Dil disco disco bole saari raat SAJNA!!” 

– Vayu

Sachin-Jigar’s third album of the year starts off with a very filmy disco song. Is filmy bad or good? Let’s find out. The composition is very catchy, especially the cross line that goes “Aaja Ve Hila Denge Hum Aaj Anganaa“. That part sounds so much like a retro number. The hookline is a typical Bollywood fare, but still manages to hook the listeners. I, for one, found this song more instantly appealing than any of the others on the album (because they took time to grow). The mukhda and antara follow suit, and don’t let the interest of the listener waiver. The major reason you are hooked to the song till the end, must be the short duration. Sachin-Jigar keep the song at a crisp 2:47, neither too long nor too short. The arrangements are great: the disco-esque feel comes out through the nice bass,drums and guitars, and a totally unexpected tumbi (Tapas Roy). The tumbi is what actually makes the song sound very experimental. It gets a nice solo portion in the interlude and towards the end. The vocals are entertaining; Can Benny Dayal ever disappoint in a club number? I love how he pronounces “sajna” as “sajjena“! Sachin-Jigar help Shirley Setia get her first Bollywood song, and despite everything against her on social media, she really handles the song well, and Sachin-Jigar with their genius thoughts, know how to use her voice to the best effect — in a club song! However, she does mumble a bit in the antara, but I guess the song called for that. Vayu’s lyrics are the usual Hinglish lyrics of Bollywood, but work quite well in the filmy song. A totally filmy disco song!

Rating: 4/5

 

2. Baat Ban Jaaye

Singers ~ Siddharth Basrur & Priya Saraiya, Lyrics by ~ Priya Saraiya

“Hum dono aur yeh saari raat, sharaabi ho jaaye toh,
Band ho kamre mein hum do, aur chaabi kahin kho jaaye toh!
Toh baat ban jaaye!!” 

– Priya Saraiya

Here onwards in the album, things get a bit more Sachin-Jigar-ish, in that you take more time to get accustomed to the song and like it. The time may be two listens, three listens or even more, but the song is actually are wonderful once you listen to them, with close attention to the music. This one here, is a beach party number, and again, it has a bit of a retro touch. It starts off with a very contemporary vibe, the composition flowing like a romantic song. However, it takes an unexpected turn in the cross line (“hum dono aur yeh saari raat“) where, if you pay close attention to the music, a retro vibe kicks in. The composition for the hookline is a trademark Sachin-Jigar one, and makes you groove instantly, especially the hoots after the words “baat ban jaaye” have been sung. The antara is where the song loses pace and we lose interest; that composition is quite heard-before. Luckily enough, this song is short too, which makes the cross line come back soon enough. The arrangements are fantastic here, and suit as a beach party number. Acoustic guitars start the song off, giving the freshness to the song, as a beach number should be. The retro vibe I talked about consists of amazing guitars played in a retro manner. The digital beats are more heavy in this song, and quirky sounds decorate the song. The vocals are good, Siddharth Basrur leading the way in getting the listeners hooked. However, Priya Saraiya seems a bit too much autotuned here, and it loses the charm of her actual voice. Her lyrics too, are an ordinary fare, but suit the situation well, especially the hookline. A party song that seems ordinary, but will grow!

Rating: 4/5

 

3. Chandralekha

Singers ~ Vishal Dadlani & Jonita Gandhi, Lyrics by ~ Vayu

“Maari tuney aisi entry, hil gayi poori country,
Mere dil pe dent permanent pad gayi, nazrein jo mili,
Hadd se bhi zyaada cute tu, mere karmon ka fruit tu,
Koi hai gagan mein toh heaven jahaan se aakar tu giri!”

– Vayu

The next song throws us back into the years, with a characteristic rock and roll/hard rock vibe to it. It slightly resembles what Sachin-Jigar had done in ‘Yeh Jawaani Teri’ (Meri Pyaari Bindu), but in a more Westernized manner. The composition again, takes time to grow, and till then all you can really focus on is the music. The guitars and drums are groovy as expected in a rock and roll song, but of course, Sachin-Jigar add a surprise element every time, and here, it is that sensuous saxophone, which sounds amazing every time it plays. The composition is good too, and like I said, it just takes time for you to catch on. The hookline is the mukhda, making it very short yet again. Two antaras follow, and also an interlude by Jonita. I loved the effect Sachin-Jigar have given to the last line of each antara — “Mud Mud Ke Na Dekha“, and “mujhe ek bhi paise ka”. There’s another amazing saxophone solo in the interlude before Jonita’s portions, and that’s even more impressive. The characteristic piano played in that retro manner, is mind blowing too. The vocals are amazing. I mean, how can Vishal Dadlani fail to crank up the energy? His husky voice is all you need to make this song entertaining. Jonita gets a very small part to sing, which is more like an interlude, but she nails it, in the traditional ‘Bollywood girl’ ‘I’m-Not-Interested’ manner. Vayu’s lyrics are fun as well, and kudos to him for using a name like Chandralekha for the girl, and also to Sachin-Jigar for fitting it into the tune so perfectly! A retro rock song that is really stress-busting!

Rating: 4/5

 

4. Laagi Na Choote

Singers ~ Arijit Singh & Shreya Ghoshal, Lyrics by ~ Priya Saraiya

“Iss tarah chaahun tujhe,
Chaahun bhi toh tujhse main,
Ik pal ko bhi door na reh sakun..
Chaahe judaa,tere mere, raaste hain magar,
Aa main manzilein jod doon!
Rishta sa hai yeh, judne lagaa jo,
Chahoon kabhi na yeh toote!
Laagi na choote… Laagi na choote!”

– Priya Saraiya

After three upbeat numbers, and after much thought about whether the album does indeed have a soft and mellow number or not, here pops up a romantic song. Actually, this song was the last to release, so the makers successfully kept the romantic song a secret till the very end. The song falls into the category of ‘Slow Poison’ romantic songs — as you can tell, the song does take time to grow again! However, this time, the amount of time it takes is relatively less, thanks to the amazing composition! It has shades of Sachin-Jigar’s own ‘Thoda Thoda’ (Jayantabhai Ki Luv Story), but is way more intense. The mukhda is very trademark Sachin-Jigar, and the way the female portions are composed in the lower octave, is also, very characteristic of Sachin-Jigar’s previous works. It increases the magic manifold. The hook is something you just can’t forget soon! It has been made to stun us, and stun it does! The flow of the song is just so powerful, you are attentive till the end. Again, a short duration helps that to happen; your attention doesn’t wander somewhere in the middle. The arrangements are minimal and digital beats make up most of the background of the song. But the piano at the beginning and throughout is just so captivating, that you can’t dislike it. The guitar in the interlude also sounds unconventional. As for the vocals, Arijit and Shreya always make a good pair, and this time, Arijit takes the high portions while Shreya quite expertly handles the low portions, a role we see her taking up quite rarely. Well, Sachin-Jigar even made Rekha Bhardwaj (who is know for her beautifully high-pitched voice) to take up an amazing low-pitched voice in ‘Mileya Mileya’ (Happy Ending) and ‘Judaai’ (Badlapur), so I guess it’s just an innate trick that they use! Priya Saraiya’s lyrics are good too, and she keeps them simple and sweet, avoiding heavy philosophical ideas. A beautiful romantic song, with nothing new, but really has you hooked!

Rating: 5/5

 

5. Bandook Meri Laila

Singers ~ Ash King & Jigar Saraiya, Rap Performed by ~ Sidharth Malhotra & Raftaar, Lyrics by ~ Vayu, Rap Written by ~ Raftaar

“Aaye haaye haaye, yeh goli daayein baayein jaaye,
Har disha mein yeh visphot kardi ae,
Jaaye jaaye jaaye, jiya na jaaye jaaye jaaye,
Meri jaan pe yun chot kardi ae,
Seene mein tuney, bullet utaari toh,
Udey jugnu haan, udey jugnu,
Le gayi dil ko, kudi tu shikari,
Bana Majnu main, bana Majnu!
Bandook meri Laila!”

– Vayu

Now this was the song everybody was waiting for ever since the motion poster of the film had released. It is described by the makers as an action song, and an action song it is! The song is probably some of the most addictive stuff to have released in the recent years. The hook has had everyone grooving to it for a long time. I don’t know why, maybe because of high expectations, the song seemed very flat the first time I heard it. However, with every subsequent listen, it grew more and more. The composition is addictive; the mukhda is awesome, and the hookline is world-famous now. The rest of the song is mostly rap. Now, about the rap. The rap by Sidharth Malhotra seems very odd, and it seems like a publicity stunt. Earlier this year, Sachin-Jigar made Parineeti sing a ghazal ‘Maana Ke Hum Yaar Nahin’ (Meri Pyaari Bindu), and she aced it. However, here Sidharth seems a bit dull, and when Raftaar performs his rap, you can tell the huge difference between both of them. Of course, Raftaar is a professional rapper and that’s the reason, and I feel he should’ve gotten to sing the entire rap. The ‘Ban meri Laila‘ hooks are very addictive, and the way they sing ‘Laila!!‘ after that line is amazing! The arrangements are international sounding, and very impressive. It falls into the Tropical house genre which Pritam introduced earlier this year with the ‘Raabta’ title track. The EDM is highly impressive. It starts like a Chainsmokers track, and gets better than any Chainsmokers track as it progresses! The action theme is brought out amazingly through the arrangements. Ash King as the leading vocalist, does a fabulous job; it’s been a long time since we’ve heard him in such a groovy song! And Jigar Saraiya sounds great on the hookline. Vayu’s lyrics are fun and interesting as well. The song has a proper international touch to it, but it could’ve been better without Sidharth’s rap! 

Rating: 4/5


A Gentleman is yet another Sachin-Jigar album that doesn’t disappoint. It’s so tough to have an album in which all the songs have repeat value, and especially for an action film. Thankfully enough, Sachin-Jigar and Raj & DK always make a good team, and all of their albums together have been quirky and cool, not to mention catchy. And such albums are the ones that become chartbusters right away. After ‘Meri Pyaari Bindu’, Sachin-Jigar provide another wholesome album with ‘A Gentleman’! Sachin-Jigar are two gentlemen who hardly ever disappoint!!

 

Total Points Scored by This Album: 4 + 4 + 4 + 5 + 4 = 21

Album Percentage: 84%

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 the album! 🙂

 

 

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

MULTICOMPOSERS KI KHATTI-MEETHI BARFI!! (BAREILLY KI BARFI – Music Review)

Music Album Details
♪ Music by: Tanishk Bagchi, Arko Pravo Mukherjee, Tanishk-Vayu, Samira Koppikar & Sameer Uddin
♪ Lyrics by: Shabbir Ahmed, Pravesh Mallick, Arko Pravo Mukherjee, Tanishk-Vayu, Puneet Sharma & Akshay Verma
♪ Music Label: Zee Music Company
♪ Music Released On: 11th August 2017
♪ Movie Releases On: 18th August 2017

Bareilly Ki Barfi Album Cover

 

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

To buy this album on iTunes CLICK HERE


Bareilly Ki Barfi is an upcoming Bollywood rom-com, starring Kriti Sanon, Ayushmann Khurrana, and Rajkummar Rao in lead roles. The film is directed by ‘Nil Battey Sannata’ fame Ashwiny Iyer Tiwari, and produced by Nitesh Tiwari and Shreyas Jain. The movie revolves around the Mishra family, who are in search for a suitable groom for their daughter, played by Sanon. The complexities and pressure of getting married is too much for Bitti, Sanon’s character, and she decides to run away. On the run, she finds a book, ‘Bareilly Ki Barfi’ at the train station, and picks it up, only to realise that the female protagonist thinks a lot like her! Thus she embarks on a quest to look for this someone who thinks so much like her. The story seems very content-driven, but that’s not to stop it from having some good music; in fact, most content-driven films have better music than others! Ashwiny Iyer Tiwari’s first film, ‘Nil Battey Sannata’, had an awesome album completely composed by a newcomer duo, Rohan-Vinayak. This time, the makers go for the multicomposer route. Tanishk Bagchi, Tanishk-Vayu, Arko Pravo Mukherjee, Samira Koppikar and Sameer Uddin are composing the music for this film. As I am expecting an overall good album, and since every name is a known name (even Sameer Uddin, who is the one who had done those remixes in ‘Bluffmaster’ long ago) I don’t think I need to say what I expect from each of them individually! So let’s help ourselves to this ‘Barfi’!


1. Sweety Tera Drama

Singers ~ Dev Negi, Pawni Pandey & Shraddha Pandit, Music by ~ Tanishk Bagchi, Lyrics by ~ Shabbir Ahmed, Rap Written and Performed by ~ Pravesh Mallick

An aptly U.P. flavoured start to the album, the first song is a fun and upbeat dance number, along the lines of ‘Badrinath Ki Dulhania’s title song. Coincidentally, the man behind it is Tanishk, the composer of that song. The composition is very fun and enjoyable, and the composer has kept it relevantly short; such songs are least enjoyable if they ramble on for four minutes and longer. The shortness gives it a crisp feel, and leaves you wanting more. There is one mukhda and one antara, both composed entertainingly. The arrangements too resemble those of ‘Badrinath Ki Dulhania’ title song, with the dholaks (Naveen Sharma), harmoniums and bulbultarang (Pradip Pandit) and quirky digital beats. The star music is amazing, especially that sarangi bit by Sangeet, that is so easy to miss! Tanishk adds very fun sound effects like that rap by Pravesh Mallick, then a random but funny “Myujik” that just plays anytime. His digital instrumentation is fun as well. The song has been sung by three singers and the rapper. The rapper, as stated before, brings out the U.P. flavour very well, and begins on a promising note. Dev Negi is his usual fun self, while Pawni and Shraddha, the two female vocalists, with two lines each, make a difference even with the little scope! Shabbir Ahmed’s lyrics are fun too! A fun dance number that strives to be simple but sweet!

Rating: 4/5

 

2. Nazm Nazm / Nazm Nazm (feat. Ayushmann Khurrana) / Nazm Nazm (feat. Sumedha Karmahe)

Singers ~ Arko Pravo Mukherjee / Ayushmann Khurrana / Sumedha Karmahe, Music by ~ Arko Pravo Mukherjee, Lyrics by ~ Arko Pravo Mukherjee

Arko steps forth to present his song, and as is the requisite whenever Arko composes for a multicomposer album nowadays, he gets to do the romantic song of the album. Well, since he is so good at making these, it seems logical. This song here, is yet another example of his romantic song composing skills. The composition is charming, but there is one small drawback, and that is that it takes a long time to grow. It consists of many twists and turns, and isn’t instantly hooking like most of his other songs. The second antara is particularly beautiful. The hookline manages to get the audience charmed. The lyrics though, are beautiful, and are another instance of how beautiful Arko himself writes!! The song appears in three versions, though, and one does feel that it is one too many. Arko doesn’t sing this song as well as he sang ‘Kaari Kaari’ (Dobaara), ‘Dariya’ (Baar Baar Dekho) or ‘Saathi Rey’ (Kapoor & Sons), and thus, his version comes across as slightly boring. The arrangements in this version also resemble ‘Tere Sang Yaara’ (Rustom) with those extra sugary Duff rhythms and synthesizer tune (Keys by Aditya Dev). It reduces the likability a bit. Ayushmann increases the ear-friendliness of the song with his trademark charming voice, and renders it with ease. His style of rounding the vowels makes the song sound so much like he has composed it himself. The variations he takes on many notes, which Arko had not, makes the song sound more layered. The arrangements too, get more Ayushmann-ish, with acoustic guitars (Krishna Pradhan), but the Arko-ness is retained with the amazing piano notes. Thankfully, the Duff rhythms are done away with. The last version happens to be a female version; a version I personally feel was least required. So Zee Music releases videos of singers singing covers of hit songs, and I almost know that this version will be used as that. Not to take it away from Sumedha though; she sings beautifully! Arko arranges this one with a soothing flute, but nothing else really stands out! A romantic song that features so many times, we have no choice but to love it!

Rating: 4/5 for Arko’s Version, 4.5/5 for Ayushmann’s Version, 3.5/5 for Sumedha’s Version

 

3. Twist Kamariya

Singers ~ Harshdeep Kaur, Yasser Desai, Tanishk Bagchi & Altamash, Music by ~ Tanishk-Vayu, Lyrics by ~ Tanishk-Vayu

The next song has Tanishk coming back together with his partner with which he debuted, Vayu. They keep coming back together occasionally, and it is quite fun. Though their last song ‘Beat It Bijuriya’ could’ve been better, this one is a real treat. The composition is very simple, and if it were not for the amazingly quirky beats and arrangements, the song would not have sounded half as good. Of course, a very templated dhol rhythm accompanies the song, but a very quirky digital sound also comes along with that and everything sounds so innovative. The interlude is amazing, with the dhols and shehnaai. Rock guitars are really electrifying in the antara. The hookline, the way it is sung, is so cool. The pause between ‘Twist’ and ‘Kamariya’ really makes the difference. Im probably hearing Harshdeep Kaur in this zany avatar for the first time. I mean, she has sung upbeat numbers, but not so crazily funny! Tanishk-Vayu’s lyrics are a clever mix of Bhojpuri and Hindi and English. A song that calls for loud whistles and cheers in the theatre! U.P. folk meets techno music!

Rating: 4/5

 

4. Bairaagi / Bairaagi (Samira Koppikar Version)

Singers ~ Arijit Singh / Samira Koppikar, Music by ~ Samira Koppikar,  Lyrics by ~ Puneet Sharma

Samira Koppikar, who really pleasantly surprised me with her song in ‘Dobaara’ earlier this year, jumps onto the album next, with a melancholic song that is sung by –obviously — Arijit! The song is good, I can’t take that away from it. But somewhere the composition evokes so many memories of previous Arijit songs that were composed on the same rock lounge-ish template. It actually sounds like a Pritam song when that beautiful backing chorus comes in, and that’s probably the best effect of the song. The composition too, is beautiful, and hits the heart straight. I just don’t think I would listen to it a lot. The vocals are, obviously spot-on. What can be expected when it is Arijit? Fortunately, there’s another version, possibly for the music lovers. Samira sings this one, and it starts with a heavenly chorus by her. She sings in beautifully, and is first of all supported by a wonderfully soothing folksy string instrument, evoking memories of ‘Sahiba’ (Phillauri). Later that Punjabi feel is increased, when a nice dholak-led rhythm sets in. This version is definitely better than Arijit’s. The lyrics by Puneet Sharma are aptly romantic and melancholic at the same time. The word ‘bairaag‘ is a word I don’t think I’ve heard in a Bollywood song after ‘Laal Ishq’ (Ram-Leela)! Beautiful song, but might not stay with me for long.

Rating: 3.5/5 for Arijit’s Version, 4/5 for Samira’s Version

 

5. Badass Babua

Singers ~ Abhishek Nailwal, Neha Bhasin & Sameer Uddin, Music by ~ Sameer Uddin, Lyrics by ~ Akshay Verma

A relatively newer addition to the album (as the composer Sameer Uddin wasn’t credited in the trailer or first poster of the film), this one is a funky “gangsta” song, probably made for Rajkummar’s character in the movie. The U.P. vagabond and rowdy feel is brought out with entertaining lyrics rendered with spunk by Abhishek Nailwal and the composer himself. The gangster feels are brought out by the rap, the techno beats and the overbearing sinister tone. The composition is catchy, but again, not a very lasting tune. The arrangements are more of what the song might be remembered for, if at all. The vocals are fine, and obviously the male singers have done an amazing job, or else, it wouldn’t have sounded so much like a gangster song full of attitude. Neha Bhasin is sidelined unfortunately, and reminds me of Ambili’s portions in ‘Hum Hain Bank Chor’ (Bank Chor). Entertaining, but not everlasting.

Rating: 3/5


Bareilly Ki Barfi is a relatively good multicomposer album. I think these days, the quality of multicomposer albums is definitely increasing, because makers now know the formula for it. You obviously need two upbeat numbers to increase the album’s hit status, and of course, a romantic song, a sad song (preferably by Arijit) and then a couple of versions. Zee seems to have mastered the formula, and they produce another album like ‘Behen Hogi Teri’, which is a mix of styles from different composers, yet comes together as a united album. With a mixed variety of songs, these multiple composers have come up with a nice, khatti-meethi Barfi!

 

Total Points Scored by This Album: 4 + 4 + 4.5 + 3.5 + 4 + 3.5 + 4 + 3 = 31

Album Percentage: 76.25%

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: Nazm Nazm (Ayushmann Khurrana) > Twist Kamariya = Sweety Tera Drama = Nazm Nazm = Bairaagi (Samira Koppikar) > Bairaagi = Nazm Nazm (Sumedha Karmahe) > Badass Babua

 

Which is your favourite song from Bareilly Ki Barfi? Please vote for it below! Thanks! 🙂

A TRIPLE-DEBUT TREAT TOILET!! (TOILET: EK PREM KATHA – Music Review)

Music Album Details
♪ Music by: Vickey Prasad, Manas-Shikhar & Sachet-Parampara
♪ Lyrics by: Siddharth-Garima
♪ Music Label: T-Series
♪ Music Released On: 13th July 2017
♪ Movie Releases On: 11th August 2017

Toilet – Ek Prem Katha Album Cover

 

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

To buy this album on iTunes CLICK HERE


Toilet – Ek Prem Katha is an upcoming Bollywood satire, starring Alshay Kumar, Bhumi Pednekar, Divyendu Sharma and Anupam Kher,  directed by Shree Narayan Singh, and produced by Aruna Bhatia, Shital Bhatia, Abundantia, Viacom Motion Pictures, Arjun N. Kapoor and Hitesh Thakkar. The film comes in support of PM Modi’s ‘Swacchh Bharat Abhiyaan’ by raising fingers at the issue of open defecation, prevalent in remote and underdeveloped parts of the country. Now it is a really good topic, but somehow, by the trailer and promos, I am not sure whether it will be carried out in a humorous way without looking dramatic. Anyway, the music, very surprisingly, has been scored by three debutant music composers, two duos and one individual. Vickey Prasad, Manas-Shikhar and Sachet-Parampara are the five lucky people who got to debut in Bollywood with an Akshay Kumar album, and how wonderful an opportunity is that!! I hope they make great use of it though, and provide us with a nice and clean ‘Toilet’! {Sorry for the desperate joke!}


1. Hans Mat Pagli

Singers ~ Sonu Nigam & Shreya Ghoshal, Music by ~ Vickey Prasad

The first newcomer starts off the album with a cute romantic song which sends off a great rural-setting vibe. The song’s composition is nothing innovative as such, but it still manages to hook the listeners, since it is so cute and such a throwback to Bollywood of the 90s. The only grouse I have with the composition is that the hookline sounds a lot like the antara of ‘Pardesi Pardesi’ (Raja Hindustani), which would be where the 90s vibes are coming from. The song is structured quite oddly, with a male mukhda, a male antara, and then a female mukhda followed by a female antara. Why couldn’t they just club the mukhdas together and the antaras together? That way, the listener would get some variation from male to female and then back to a male voice. Anyway, as they wish. The composition for all these stanzas is very cute again. The recording seems a bit faulty and raw, but that’s probably deliberate? The arrangements are again, not anything new or innovative, but that soft Qawwali setting to the hookline gives a soothing feeling, and the dholaks have been played beautifully, as are the plucked string instruments throughout the song, and the guitar itself. There is a wonderful rapid tabla piece before Sonu sings his antara. The rhythm is heard before, but the cuteness of the composition helps you listen to such a rhythm yet again without complaining. The vocals send you back to 2005-2007, when Sonu-Shreya duets were the thing. Every director wanted a Sonu-Shreya duet in their film; sadly, nowadays, that happens only in films where the director knows only about the old singers, and hence his music ends up sounding outdated. But here, there is no datedness whatsoever. It is more like a nostalgia. Both singers do an amazing job, though I somewhere thought that Shreya was struggling with such a high-pitched line in the antara. Siddharth-Garima choose the perfect line for the hookline; it increases the cuteness quotient of the song. The rest of the lyrics are cute too, but not too innovative. A good song to start the album with, but it has its own faults.
Rating: 4/5

 

2. Bakheda

Singers ~ Sukhwinder Singh & Sunidhi Chauhan, Music by ~ Vickey Prasad

Vickey has the second song to his credit as well, making him the main composer on this album. This song takes a more lively route, but stays a romantic song. As soon as it starts, the folksy vibe hits you, and you are also relieved that Vickey has used a more modern recording style for this one; it proves that the recording was deliberately done that way for the previous song. The composition is a lively one, but the hookline is really a letdown — it is so staid and bland. Also, we have heard such a hook so many times where the mukhda builds up to it, and then after a pause, the hookline takes the song forward. The antaras are very well composed. Sukhwinder, at his usual energetic self, renders the song with ease, and creates a good impact on the listeners. The problem lies in Sunidhi’s vocals, which seem less energetic as usual. It really sounds like she wasn’t interested, or maybe the pitch was too low. That makes her portion sound very odd, despite the beautiful composition of the antara. The arrangements are lively folksy arrangements with the percussion leading, and a nice plucked instrument entertaining throughout. A sarangi can also be made out occasionally. The percussion is the star of the song though. Siddharth-Garima, again, write an effective song to go with the film, but the impact of the lyrics doesn’t reach the audience out of the film. A functional song, but won’t really stay with you for long.
Rating: 3/5

 

3. Gori Tu Latth Maar

Singers ~ Sonu Nigam & Palak Muchhal, Backing Vocals ~ Umesh Joshi, Vijay Dhuri, Swapnil Godbole, Karan Kagale & Rishikesh Patel, Music by ~ Manas-Shikhar

The Rahman vibe hits you as soon as this one starts with the beautiful chimey music at the beginning. Manas-Shikhar, another debutant duo, enter the album with this song, and with only one song to prove their worth, they seize the opportunity and let me tell you, they make the best use of it, better than both of the other composer teams on this album! They employ a very lively setting to a supposed-to-be sad song. It is the festival of Holi, but of course, Bhumi Pednekar’s character is mad at Akshay’s character, because of we know what! So this is a situational song, in which Akshay pleads to her for forgiving him. Against the backdrop of a Holi song, a very emotional song, and I’ve heard something like this for the first time. Siddharth-Garima’s lyrics reveal all the emotion in the best way possible. Now let’s go back to Manas-Shikhar’s music. Their composition is just so catchy, especially the mukhda, which should be catchy in order to hook the listeners right away. It sounds like something straight out of a Rahman song. The hookline also succeeds in being a very beautiful, and catchy line. The antara is the female part of the song, and it has a very beautiful tune as well, which will remind you of the 90s songs, that used to slow down in the middle for the female parts. There’s a nice tempo-rise towards the end, in which we hear the already popular “Radhe Radhe” chorus. Sonu Nigam renders the tune with such brilliance, knowing when to emote which emotion, and wonderful aalaaps. Palak too, sings beautifully, and the brilliant composition of her portion helps her do that wonderfully. The arrangements are ever fluctuating, with the emotional and soft sound from the mukhda alternating with the usual Holi sound of the dholaks and other percussions. The shehnaai is played in a very beautiful tune. Those bells at the beginning are the most beautiful though. A wholesome song that defines what Bollywood is all about — colour, festivity, emotion and dance! Oh, and congratulations to Manas-Shikhar for a smashing debut!
Rating: 5/5

 

4. Subha Ki Train

Singers ~ Sachet Tandon & Parampara Thakur, Backing Vocals ~ Sukriti Kakar & Rituraj Mohanty, Music by ~ Sachet-Parampara

The last of the debutants bring up the finale of the album, which happens to be yet another cute romantic song. This one is a little less folksy than the others, but it does have the effect that it should. Sachet Tandon and Parampara Thakur have composed a lilting melody, that, though situational, and very predictable, still makes you smile and feel good. The prelude gave off some vibes of “Tere Sang Yaara” (Rustom). The mukhda is very sweet and simple, and instantly grabs your attention. The letdown here is the hook, which is as staid and heard-before as imaginable. But the antara is mind-blowing; especially the second line of it. The arrangements too, follow a very simple template, with that cute Duff rhythm, and in a wonderful second interlude, the flutes assortment and strings orchestra just mystifies. The first interlude with the mouth organ is splendid too. Sachet and Parampara handle the vocals themselves, and strangely enough, employ Rituraj Mohanty and Sukriti Kakar as backing vocalists for the aalaaps. Parampara’s is a voice to look out for, while Sachet’s voice just blends in with the multitude of new male voices we have in Bollywood, other than Arijit. 😅 Again, Siddharth-Garima stick to situational yet catchy lyrics; the hook lyrics made me smile. A good finale, and a promising debut, but not a song that will stay in my head for more than a month.
Rating: 3.5/5


Toilet – Ek Prem Katha is an album just like Akshay Kumar movie albums usually are — fun, vibrant and groovy, but with an overbearing romantic theme. What makes it even more special is that all the composers are debutants and it is commendable of the makers to have accepted the three for a film which will reach so many people! Seizing the opportunity, all three newcomers do a good job, and especially Manas-Shikhar do an amazing one. The album is a triple-debut treat!!

 

Total Points Scored by This Album: 4 + 3 + 5 + 3.5 = 15.5

Album Percentage: 77.5%

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: Gori Tu Latth Maar > Hans Mat Pagli > Subha Ki Train > Bakheda

 

Which is your favourite song from Toilet – Ek Prem Katha? Please vote for it below! Thanks! 🙂

A LIPSTICK WITH SHADES OF WOMEN EMPOWERMENT!! (LIPSTICK UNDER MY BURKHA – Music Review)

Music Album Details
♪ Music by: Zebunnisa Bangash (Zeb)
♪ Lyrics by: Anvita Dutt
♪ Music Label: T-Series
♪ Music Released On: 14th July 2017
♪ Movie Releases On: 21st July 2017

Lipstick Under My Burkha Album Cover

 

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

To buy this album on iTunes CLICK HERE


Lipstick Under My Burkha is an upcoming Bollywood film starring Konkona Sen Sharma, Ratna Pathak Shah, Aahana Kumra, Plabita Borthakur, Sushant Singh, Vikrant Massey, Shashank Arora and Vaibhav Tatwavaadi. The film has been directed by Alankrita Srivastava, and produced by Prakash Jha. I don’t think it is necessary to introduce the film to you; you’ve probably heard  lot about it, thanks to our beloved Mr. Nihalani. Without further ado, I’ll veer towards the music. The simple and short three-song album is composed by Zebunnisa Bangash (Zeb), who we have all heard singing many times before in Bollywood. But this is (I believe) her composing debut in Bollywood. So let’s give it up for her, and see what she has to offer in this women-uplifting soundtrack!


1. Jigi Jigi

Singer ~ Malini Awasthi

A ladies sangeet kind of song starts off the album, but of course, it has apt folksy vibes, considering that Zeb Bangash has composed it. It is actually an adaptation of a folk song by Haji Saifuddin, which Zeb had performed at the Sandaraa music concert in New York in 2015, a concert that was fronted by Zeb along with Brooklyn’s clarinet virtuoso Michael Winograd, which was a musical collaboration exploring a vast repertoire of South Asian musical traditions blended with the sounds and sensibilities of Eastern Europe, the Balkans and New York, according to the YouTube video that Michael Winograd has posted of this song. The Balkan flavour still appears prominent in Zeb’s Bollywood recreation of the song, but all the musician credits have changed, that is, she’s reworked the arrangements. First of all, the composition is a raunchy and catchy one, kind of like the songs from earlier this year’s ‘Anaarkali of Aarah’. The ‘Jigi Jigi’ hook seems like gibberish, or it could be something in Afghani, who knows, but it is catchy nevertheless. The composition traverses the sinister line of notes, and in befitting in such a strong film, which Anvita Dutt makes clear through her lyrics. What impresses me even more are the arrangements. The wonderful folksy sound that the rabaab (Siddiq Sameer), dholaks (Sharafat) and harmonium (Ankur Mukherjee) collectively exude, makes the song sound even more raunchy. The tambourine (Sharafat) gives a very unconventional rhythm throughout the song. There is a brief brass band (Shyam Raj & Friends) interlude that sounds like the only Bollywoodish cliché in the song, besides the harmonium, but still sounds great. The simple dholak-led rhythm is wonderful though. Malini is her usual folksy and raunchy self, and delivers the song with zest and zeal. A nice and folksy start to the album!!

Rating: 4/5

 

2. Ishquiya

Singer ~ Neeti Mohan

The next song in the album happens to be the only song which hasn’t been adapted from any other song like both of the other songs on the album. It takes the form of a retro, disco funk kind of song, a genre which really has seemed to have taken off quite abruptly in the past month or so, what with “Munna Michael” trying, and ‘Beech Beech Mein’ (Jab Harry Met Sejal) succeeding. This one is sung solely by Neeti Mohan, and that makes it all the more interesting somehow. Zeb’s arrangement is really sprightly, and light and frothy, something that instantly lightens up the ambience and mood. The composition is a lilting one, but perfect for the electrifying  music. There are crescendo notes all over the composition, and they make the song sound all the better, not making it he everyday retro funk song. Zeb makes the antara a bit more mysterious and suspense-holding, and sensuous. The drums and disco sounds have been done perfectly. You can’t really ask for a better done track. The backing vocalists help increase the intriguing feel of the song. The trumpets, guitars and occasional strings (what a surprise!) are amazing. The amazing arrangements are complemented very well by Neeti’s whispery voice, and she sets free of all inhibitions to render a no-holds-barred performance. Anvita Dutt’s lyrics seem situational, but they are functional nonetheless. A nice throwback to the REAL disco era, and not the Bappi Lahiri disco era!

Rating: 4/5

 

3. Le Li Jaan

Singer ~ Zebunnisa Bangash

For the finishing act, Zeb reprises yet another of her previous performances, this time, ‘Laili Jaan’ which she had sung at Coke Studio. The song was itself an adaptation of an Afghani folk song, and this one has the same composition, decorated with Hindi lyrics. The way it starts, you are instantly thrown back to the 1940s-1950s, the Charlie Chaplin era. And that effect is produced by Michael Winograd’s amazing clarinet. But Zeb retains the Afghani flavour by employing a wonderful rabaab (Siddiq Sameer) and accordion (Patrick Ferrel), making it sound a lot like the Balkan style of music, something that is so underdone and awfully underrated in Bollywood! More wonderful guitars and ethnic strings (Ankur Mukherjee), coupled with the drums (Kami Paul), throw in a modern touch. The composition itself is a sugar-coated raunchy one, exuding the folk feel as no other song ever did. It kind of reminds me of a couple of Vishal Bhardwaj’s songs from ‘Saat Khoon Maaf’. The hookline literally takes away your life, as Zeb sings “Le li le li le li jaan”, which means “You took my life!” 😍 The antaras are beautifully composed, reminding one of the wonderful 50s, when even Bollywood was heavily influenced by this kind of music, and it reflected in O.P. Nayyar’s music very highly. The treatment given to the song too, is highly unconventional, but it really wins your heart by the time it is over! Another clarinet portion ends the song on a bright and lively note for us. Anvita’s lyrics are cute and simple! A song that should serve as an example of how Balkan music must be done in Bollywood!

Rating: 4.5/5


Lipstick Under My Burkha is a short and sweet folk-oriented album that we hardly get to hear these days in Bollywood. Getting on board a composer from Pakistan herself was a great move, in order to get that folksy touch. The variety in the album is still so ranged, even though two out of three songs sprout from the same folk music. A disco funk song stands out among these folk songs as well, and all of them are unconventional in their approach. What’s most important, all the songs have been sung by women, and composed by a woman, which is so apt for the film. So the album is like a lipstick with different shades of women empowerment!

 

Total Points Scored by This Album: 4 + 4 + 4.5 = 12.5

Album Percentage: 83.34%

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: Le Li Jaan > Ishquiya = Jigi Jigi

 

Which is your favourite song from Lipstick Under My Burkha? Please vote for it below! Thanks! 🙂

NECESSITY IS THE “MOM” OF EXPERIMENTATION!! (MOM – Music Review)

Music Album Details
♪ Music by: A.R. Rahman
♪ Lyrics by: Irshad Kamil, Rianjali, Rajakumari & A.R. Rahman
♪ Music Label: T-Series
♪ Music Released On: 27th June 2017
♪ Movie Releases On: 7th July 2017

Mom Album Cover

 

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

To buy this album on iTunes CLICK HERE

 


Mom is an upcoming Bollywood thriller, starring Sridevi, Sajal Ali, Akshaye Khanna and Nawazuddin Siddiqui. The film has been directed by Ravi Udyawar, and produced by Zee Studios, Sunil Manchanda, Naresh Agarwal, Mukesh Talreja, Gautam Jain and Boney Kapoor. The film revolves around a mother and her daughter, and as the daughter never reciprocates the love which her mother gives her, the mother, played by Sridevi, just waits patiently for that day. However, an unfortunate incident (not revealed because this is a thriller, duh!) widens the gap between the two, to a point of no return. Now the mother has to make a choice between what is wrong and what is very wrong, in order to fight for her daughter’s love. So the story seems quite intense, and way at the other end of the spectrum than Sridevi’s previous film ‘English Vinglish’, though that too had a “Mother” subplot. What is another attraction in this film, is that it has A.R. Rahman giving music. Now, it has been a long time since Rahman has signed such a small film, and I’m very glad he did, because it’ll just go to prove that he provides his best to any film (that is, if the music is good). He has given seven songs for this soundtrack, and Boney Kapoor calls it one of his best works. Let’s check for ourselves!


1. O Sona Tere Liye

Singers ~ A.R. Rahman & Shashaa Tirupati, Lyrics by ~ Irshad Kamil

“Aaye na kabhi, aankhon mein nami,
Khushi ka jahaan, laayenge hum hi,
Yeh toh baat hai, jeene ke liye,
Hoon zaroori main, tu bhi laazmi!
O Sona, tere liye, duaaon se jalte diye,
O Sona, tere liye, farishton ne sajde kiye!”

– Irshad Kamil

The beginning song of the album is aptly, a lullaby, from a mother to her daughter. Yes, it is sung by a male voice, with a small stanza by a female voice, but the sentiments come forth nevertheless! I personally never think the gender of the singer matters, when the lyrics say what they want to. Anyway, the song starts off quite slow, and reminds you of many a Rahman composition, with its dulcet, slow-paced yet heart-moving sound. The structure of the composition is quite similar to earlier this year’s ‘Hind Mere Jind’ (Sachin: A Billion Dreams). The composition is very, very moving; it starts off like a soothing Western tune, high on Western arrangements, like the guitars. As soon as the hookline kicks in, the song starts gaining pace, and the composition of the hook is just so beautiful, you just can’t help but get a bit emotional. The antaras both having the same tune, have been composed so calmingly, and their soothing vibe is what makes the song sweet and simple. Rahman keeps the arrangements simple, with a basic piano melody and guitar riff (Keba Jeremiah) forming the base of the arrangements. The piano chords throughout the song give the song more gravitas. As soon as the hookline starts, a wonderful guitar riff takes centre-stage. The first interlude has a wonderfully done strings piece, by the Chennai Strings and Sunshine Orchestra, conducted by VJ Srinivasa Murthy, and that is intertwined later with Kamalakar’s beautiful flute piece. And it is at interludes like this, where you can truly appreciate Rahman’s arrangements. The second interlude takes an unexpectedly Pritam-ish turn, with the digital notes, playing in a loop, in the trademark Pritam way. Again, a nice guitar piece is superimposed on that. Mind you, this is the only song on the soundtrack without any kind of experimentation in arrangements whatsoever, so it’ll probably be the most popular and public-friendly song from the film, or maybe not. As far as the vocals are concerned, Shashaa outdoes her mentor and co-singer, the composer himself, in her small stanza. Rahman’s voice doesn’t really suit the composition, but there are some places where you think nobody else could’ve sung it. Shashaa, on the other hand, manages her lines well, with a beautifully pitched voice, and not only does she do her solo portion well, but she enhances the song with her various backing vocal inputs as well. That “Tere Liye, Tere Liye” she sang once, after Rahman had sung the hookline, has stuck in my head! Irshad Kamil’s lyrics are beautiful, beautiful and beautiful. The fact that, due to Rahman’s diction, some of it is unclear, is different though. A nice and dulcet start to the album, which is now going to take an experimental turn, so brace yourselves!

Rating: 4.5/5

 

2. Kooke Kawn

Singers ~ Sukhwinder Singh, Blaaze, Suzanne D’Mello, Lyrics by ~ Irshad Kamil & Traditional

“Kothe utte kooke kawn! (Kooke kawn, Kooke kawn!!)”

– Irshad Kamil

This song onwards, the soundtrack becomes purely experimental; some things are such that we’ve never heard experimented with before and others are merely an everyday experimentation for us, which Rahman too happened to do in this album. This song falls into the second category. A Punjabi club number isn’t a new idea to Bollywood music listeners. In fact, Rahman himself has given a Punjabi experimental number ‘Jugni’ in Tamil album ‘Kaatru Veliyidai’. This one is different, though. The song starts with the cawing sound of a crow, and that makes you think, “WHHATT?” (For the uninitiated, “Kawn” in the song’s title actually means “crow”). And then a typical club setting is set up by Rahman, and Sukhwinder’s initial lines, though they aren’t a very strong start to the song, sound fascinating due to their incongruity. The folk song (apparently some of the lyrics are “traditional”, as per T-Series) sounds mismatched as well as perfectly fitting into the club setting, at the same time. But it isn’t until the “oh-oh-ohhhh” portion arrives, that you actually get the addictiveness of the song. There is one antara, that sounds like Rahman tried to give his trademark sound to a Punjabi song. The composition isn’t too strong; most of the addictiveness of the song arises from its fabulous arrangements. The guitars (Keba Jeremiah) during the aforementioned “Oh-oh-ohhhh” part sound very good, and help to make the song appeal to a very niche audience, that likes guitars in Punjabi songs. 😂 Of course, Rahman doesn’t keep out the dhols that characterize a Punjabi song. He ropes in Taufiq Qureshi (Feat. Arun Solanki, Deepak Bhatt, Dipesh Varma, Omkar Salunkhe, Gautam Sharma, Shikhar Naad Qureshi) to control the amazing percussion and rhythms. But still, it is the guitars that shine. An interlude has a very rowdy-sounding, Naagin-dance type of sound, which must’ve been introduced because Sridevi is in the film. (Though she won’t be dancing on it, but it seems like a kind of tribute! 😄). To conclude, Rahman puts in an odd end in the form of a brass band kind of sound, which only reminds me of ‘Zingaat’ (From Marathi Movie ‘Sairat’). Sukhwinder handles the song well, and especially the rapid-paced portion in the antara. Blaaze has a short rap towards the end, and I can’t say the clichéd line that it’s better than the Punjabi rappers we hear these days, because it isn’t, frankly! 😂 But Suzanne D’Mello really shines in her backing vocals portions. Irshad Kamil’s lyrics and whatever the Traditional lyrics were, are hardly intelligible. An experimental song, and probably the most addictive Club song from Rahman after ‘Pappu Can’t Dance’ (Jaane Tu Ya Jaane Na) way back in 2008. 

Rating: 4/5

 

3. Raakh Baakhi

Singers ~ Jonita Gandhi & Rianjali, Lyrics by ~ Irshad Kamil

“Aag toh hai yeh magar dil ki, jalaaye, kisko jalaaye,
Cheekh seene mein hai dabi jo, bulaaye, kisko bulaaye,
Zindagi mein toh teri jaan, kahin chalaaki, kahin chalaaki,
Roz bun-bun ke tu humdard, banaaye, kisko banaaye,
Raakh baaki thi jisse, leke chali hai aandhi,
Phoonk maari hai kisse waqt bujhaaye, kisko,
Ashq dete na mujhe koi, nazar kuch din se,
Dard mera hausla hai toh rulaaye kisko?”

– Irshad Kamil

Next up is a thoroughly experimental, rock song, with very less rock elements! The composition by Rahman is a proper composition you would expect to be in a rock song, embellished heavily with electric guitar strums and drums, with a pulsating rhythm! Not that the rhythm of the song that Rahman has used here, isn’t pulsating! In fact, it is quite thrilling, considering that only a few rock guitar portions are helping it stand up. A techno loop provides the rhythm throughout the song, which is very low on the composition front; it is more like a song that is completely whispered by Jonita Gandhi. She seems to get the weirdest (but beautifully experimental) songs from Rahman! ‘Implosive Silence’ (Highway) was a reverse of her humming, and now this is a whispered song, barring some English lines that are more like an angsty outburst. The few instances where the rock guitars do show up, are amazing. Though the song has no tune as such, the words are chanted in such a way, that it almost sets up a catchy rhythm, like the parts when she says “Jalaaye, Kisko Jalaaye“, or “Bulaaye, kisko bulaaye”. Jonita herself, sounds very different from her usual voice, even in the parts where she properly sings those English lines. Or maybe the English lines are by backing vocalist Rianjali, who has given great supporting vocals. The song seems like it will be placed in the background score somewhere, during a crucial point in the film. There are more frequent electric guitars towards the end of the song, and those parts are really fun to hear. At first when I heard this song, I thought, “What a waste of six minutes, when this is all you have to hear.” Now I see how amazing it would sound at the cinemas. However, I must say, it sounds quite repetitive after some time; you just have to wait it out in some parts when it gets boring, because it gets better towards the end. Irshad Kamil’s lyrics are full of angst, and appropriate for the thrilling setting of the film. A thrilling song, that would sound amazing in the film itself, but still sounds catchy even now. Less repeat value, though.

Rating: 3.5/5

 

4. Freaking Life

Singers ~ Rianjali, Raja Kumari, Suzanne D’Mello & Darshana KT, Lyrics by ~ Rianjali, Raja Kumari & A.R. Rahman

“All my life I’ve been trying to run,
And now I can’t see,
Now I can’t breathe,
All the time I had, I just faded away,
All this time I was scared of me,
But now I’m just me,
And I won’t leave,
No, I can’t go back,
I’m just flying free!”

– Rianjali, Raja Kumari & A.R. Rahman

Another youthful song is up for us to listen to, after that thrilling BGM-kind of song. This one starts off in a very staid manner, with an electric sound that starts it off quite vaguely. And as the singers start off, with that very cheesy-sounding line, you just wait for it to get better. And it does. A very cheerful composition follows, and especially Suzanne’s portions (“All my life I’ve been trying to run…”), the mellifluous one before the hookline, is amazing. The hookline itself, is again, very boring and sounds as if the singers are taking out their frustration on the listeners for some reason. The “It’s my, it’s my, it’s my” is so irritating. I mean, one moment, they’re happy, and the other, they’re frustrated with their lives. The four singers (one is Darshana KT, the backing vocalist) sound great as a whole, but I could separate Suzanne D’Mello being her usual awesome performer self, and singing beautifully. It is her part of the song, which is the best, coincidentally. The song also reminded me of the other such song that released this year, “Buri Buri” (Dear Maya), which followed quite the same template, but wasn’t so long. A.R. Rahman, along with two of the singers, Rianjali and Raja Kumari, pen down the lyrics, which are a clichéd depiction of teenagers. The arrangements are a bit better, with nice techno sounds embellishing the frustrated singers’ outbursts. This song isn’t going to stay with me for long; it is befitting as an English pop single.

Rating: 2.5/5

 

5. Chal Kahin Door

Singer ~ Shashaa Tirupati, Lyrics by ~ Irshad Kamil

“Ranjishon, ruswaaiyon se, bewajah bechainiyon se,
Uljhe raaston se, dard ke sab bandhanon se,
Khush nahi hai dil tu jin se, apni hi unn uljhanon se,
Chal Kahin dooooor chale!!”

– Irshad Kamil

Now this song, is what we were waiting for, from Rahman, ever since he gave us “Agar Tum Saath Ho” (Tamasha). The way he fused Indian classical with Western sounds in that song, is now an example of excellent fusion, without it having to be rock. This one too, is along the same lines. The composition starts off like an offspring of “Kahaan Hoon Main” (Highway), and continues being so for about one minute, until a very, very unexpected turn arrives, which has a very sanctimonious-sounding tune, and then it bursts into a Western orchestral piece. The composition is a very beautiful one, taking many such unexpected twists and turns, and by the time it ends, we are just awestruck. The antara is so charmingly cute, and again, it breaks into a waltzy tune somewhere in the middle, which makes you feel as of you’re floating in the sky, if I were to be sounding the most clichéd I can. The number of time Rahman seamlessly switches genres and rhythms in the song, is just amazing. The arrangements follow the composition and change with it everytime. The song starts off with the peaceful sound of water flowing in a stream, and this is when the prelude similar to ‘Kahaan Hoon Main’ is sung. To increase the serenity, Rahman’s piano chords, as always, provide the required soothing quality. Soon enough, the stream vanishes, and, in a very ‘Chali Kahani’ (Tamasha) way, the composition changes tune and rhythm, and I would describe this portion as a bhajan-like portion, because of the wonderful chimes, Manjeeras and harp that Rahman has employed on the arrangements. As the hookline actually breaks out, the Chennai Strings & Sunshine Orchestra comes back to awe us with its ravishing strings, and a string guitar strum ends the long Mukhda. Only to bring yet another fascination in the form of a BEAUTIFUL flute (Kamalakar) portion that leaves you spellbound. The Antara brings back the bhajan-like part, but later on, it changes course again, into a waltzy tune, decorated with a beautiful flute piece in the background. And then the violins start up yet again, as soon as the hookline returns. Actually the song ends here, but Rahman throws in a bonus one-and-a-half-minutes of music to leave us spellbound before we end the song. The guitars provide a nice rhythm to Shashaa’s humming in this portion, which is like an interlude, and the flute returns to kill us yet again. The hookline is repeated once more after that ravishing interlude, and then the song (which was surprisingly 6½ minutes long, but never felt so long) ends, sadly. Shashaa sings something that I think is her best yet. After ‘Sarsariya’ (Mohenjo Daro) and ‘Sunn Bhavara’ (Ok Jaanu), she gets yet another masterpiece with Rahman, and she seizes the opportunity to showcase her singing prowess yet again. Her talent is so properly utilised by Rahman everytime, as he seems to direct her talents to bring out her best each time. And now I am yearning for her to sing a proper Bhajan with Rahman’s music, because we all know what masterpieces Rahman makes in the name of bhajans! Irshad Kamil’s lyrics are wonderful here too! Quite like the lyrics of his recent song “Sune Saaye” (Dear Maya) with Anupam Roy, this one too, is about forgetting your worries and staying happy! 😍 A song that leaves you utterly spellbound and speechless. One of the best experimentations of the year!

Rating: 5/5

 

6. Muafi Mushkil

Singer ~ Darshana KT, Lyrics by ~ Irshad Kamil

“Chehre pe Khalish hai baaki,
Yaad mein woh tapish, hai baaki,
Bante bante bante banta hai,
Mausam matam jaisa phir,
Hote hote hote hota hai,
Hansna bhi ghum jaisa phir,
Koi ho hum jaisa phir,
Andhera, uthaale, ujaala, sambhaale,
Aankhon ki jheel mein, subah hai jawaan!
Subah se rootha toh, Maafi, maafi, maafi, maafi mushkil!”

– Irshad Kamil

This song starts off in a very distinct way, very, very different from any song (at least any song in a Bollywood soundtrack) that I’ve heard, ever! The a cappella style takes a never before heard form, with a very quiet and soft sound. The composition is good, but again, very experimental, and will appeal only to a niche audience. The part where it goes high in a crescendo, is just mind blowing, and singer Darshana KT carries it out amazingly. Again, it reminds me of ‘Kahaan Hoon Main’ (Highway)! The first half comprises only Darshana singing in the foreground and singing the a cappella portions in the background, while the piano leads the second half of the song, making it sound more intense and beautiful from that point. It aptly sounds mysterious when the piano enters, and it sounds like a sad song; but I’ll have to watch the film to know what exactly it is. Darshana’s vocals are amazing, and she makes a smashing debut in singing, under Rahman’s experimental sound. Now this isn’t a song to go on playing on loop, but as many times as you listen to it, you’ll get something more out of it. The first time, you will definitely not love it. The second time is better, and the third time is (as always) the best. Irshad’s lyrics are good, while I think some of the backing vocals she does in the a cappella portions, is Arabic. The song is interesting, with many layers to unfold each time you listen to it!

Rating: 3.5/5

 

7. Be Nazaara

Singer ~ Sudeep Jaipurwale, Composition & Lyrics ~ Traditional, Music by ~ A.R. Rahman

The finishing song to the album is a traditional classical melody, with traditional lyrics, arranged by A.R. Rahman. Sudeep, a singer from the Jaipur Gharana of singing, gets to debut in Bollywood, and I must say, what a brilliant vocal texture he has. It’s not exactly the earthy, folksy texture you find in usual folk singers, but it is surprisingly very clear and smooth, because of which he can do perform the intricacies of the composition with perfection. The composition itself is so strong, it won’t go without leaving your mouth hanging, and making you leave whatever you are doing at the moment to concentrate only on the song. Again, the nuances of it are so beautiful, and that is the beauty of folk compositions! Rahman adds a modern touch with his digital arrangements, also adding beautiful chimey sounds that make the song even more deep-sounding. In the true nature of a classical song, it is 7 minutes and 35 seconds long, but you never get bored for one second. A perfect, spine-chilling (because of its intricacy) finale to the experimental album!

Rating: 4/5


Mom is an album that is quite brave in its presentation. Never before have I seen such an unconventional album, that is half made out of songs that we would usually never hear except in the theatre, in the Background music of a film. But Rahman and the makers of ‘Mom’ have tried it and emerge successful too. There is such a variety even in the experimentation — with a Punjabi club song, a whispered-out rock song, an a cappella sad song, a semiclassical song which has numerous twists and turns and a purely classical song. Yes, it is less on repeat value, but this album will be remembered for standing out as an unconventional one. The makers needed such experimental music for a thriller like this, and so I would just tweak the age-old saying and say that “Necessity is the Mother (or rather, MOM) of Experimentation!!” 

 

Total Points Scored by This Album: 4.5 + 4 + 3.5 + 2.5 + 5 + 3.5 + 4 = 27

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: Chal Kahin Door > O Sona Tere Liye > Be Nazaara = Kooke Kawn > Raakh Baakhi = Muafi Mushkil > Freaking Life

 

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