CRYBABYIEE WEDS NRI!! (SWEETIEE WEDS NRI – Music Review)

Music Album Details
♪ Music by: Arko Pravo Mukherjee, Jaidev Kumar, Palash Muchhal, Raaj Aashoo & Shah Jahan Ali
♪ Lyrics by: Arko Pravo Mukherjee, Dr. Devendra Kafir, Late Shyam Bhateja, Palak Muchhal, Shakeel Azmi & Banjara Rafi
♪ Music Label: T-Series
♪ Music Released On: 24th May 2017
♪ Movie Releases On: 2nd June 2017

Sweetiee Weds NRI Album Cover

 

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

To buy this album on iTunes CLICK HERE

{P.S. The song “Shiddat (Reprise)” is sung by Mohd. Irfan on Saavn and YouTube, and Sharad Patel on iTunes. Since the former is there on two sites, I will review that}


Sweetiee Weds NRI is an upcoming Bollywood rom-com, with the clichéd theme of a wedding. The film stars Himansh Kohli and Zoya Afroz in the lead roles, and is directed by Hasnain Hyderabadwala, and produced by Cyrus Dastur, Dhaval Patel, Sada Bhuvad, and Tariq Mohammed. I couldn’t care less about the plot of the film, so heading on towards the music front. We have a multicomposer album, as is the norm for T-Series, but it is shocking to not see any of the T-Series protégés working for the film. Except maybe Arko. Jaidev Kumar, Palash Muchhal, Raaj Aashoo and newcomer Shah Jahan Ali are the other composers for the film. Jaidev just gave us a better-than-the-original mata-ki-chowki recreation of Badshah’s ‘Kala Chashma’, and he gets one song here. Palash, back after doing nothing in films for three years, gets five songs all of a sudden in this film. Let me break the suspense. It is actually two songs, one of them having four versions. Raaj Aashoo, who has composed quite passable music before, gets a song and its reprise too, while Shah Jahan Ali, newcomer, gets one song too. Let me specify that even Arko has one song only. So with five composers and ten tracks, let’s see whether this grand wedding is just all quantity or has some substance too.


1. O Saathiya

Singers ~ Armaan Malik & Prakriti Kakar, Music by ~ Arko Pravo Mukherjee, Lyrics by ~ Arko Pravo Mukherjee

Thankfully, the first song is composed by the person whose song I was waiting for and at least expecting something from, Arko. And sure enough, the song is a pleasant and enjoyable listen. The composition is a breezy one, and starts off quite pleasantly. The soothing quality of the song continues as it progresses, and the  peak point of the song is the “Humrahi” hook, which is like fresh air. (Don’t watch that part in the video song though! 😂) There is no antara as such, the mukhda is repeated twice in the song, once by the male singer Armaan and the other time, by the female singer, Prakriti. That’s why the song ends up sounding shorter than it is, because the mukhda is repeated twice and that’s it. The arrangements are breezy as Arko’s arrangements usually are. The Acoustic guitars, and shakers and those digital beats in the hookline, giving a ballroom feel, are amazing. The interlude consists of a nice, feel-good, guitar piece, followed by a refreshing flute portion, which is in turn followed by a sweet piano piece. The vocalists carry the song out with ease, Prakriti sounding amazing with the nuanced singing. Armaan sings in that slightly uncomfortable low pitch which he rarely sings in, in the beginning, but gets better in the high pitched hookline. Arko’s lyrics are typical romantic song lyrics, but suit the ambience of the composition. A simple but sweet and effective song.

Rating: 4/5

 

2. Kudi Gujarat Di

Singers ~ Jasbir Jassi, Sonia Sharma, Akasa Singh & KD, Music by (Original and Recreation) ~ Jaidev Kumar, Original Lyrics by ~ Late Shyam Bhateja, New Lyrics by ~ Dr. Devendra Kafir, Rap Written by ~ KD

Jaidev Kumar steps in here, and with another remake, after his remake of ‘Kala Chashma’ in the recent ‘Behen Hogi Teri’. As we know, this music company’s latest fad is to remake hit Punjabi pop numbers of the 90s, and after they remade ‘Ishq Tera Tadpaave’ by Sukhbir, in ‘Hindi Medium’ last month, they choose ‘Dil Le Gayee’ by Jasbir Jassi to remake this month. And the ingenious naming system of T-Series starts again, naming this one ‘Kudi Gujarat Di’, which are just the words that appear right after ‘Dil le gayee’ in the song’s lyrics. However, I’m quite pleased with this remake. The main reason is that Jaidev Kumar, who had composed the original, which was in fact his debut, has recreated it. So he keeps the flavour of the song intact, and yet manages to add a pleasant club touch. The composition has been kept the same, and lyrics have been changed. Unlike the ‘Ishq Tera Tadpaave’ remix, this one actually is a remake. The arrangements have been changed to good club arrangements that are actually enjoyable. The techno sounds here, make the song more viable for today’s audience, who is only behind club songs. The vocals are great too, with Jasbir showing that he is still sounding as young as ever. The female singers, get very less scope, and I don’t even know which of them has sung what. A rap by someone called KD sounds very spoofish and amateurish. The new lyrics by Dr. Devendra Kafir, who wrote ‘Bolna’ (Kapoor & Sons) before this, are fun but typical. An enjoyable remake. 

Rating: 3.5/5

3. Musafir / Musafir (Reprise) / Musafir (Remix)

Singers ~ Atif Aslam & Palak Muchhal / Arijit Singh / Atif Aslam & Arijit Singh, Music by ~ Palash Muchhal, Lyrics by ~ Palak Muchhal

The next song witnesses Palash entering film music after a long time; his last release was ‘Amit Sahni Ki List’ in July 2014 if I’m not wrong. And this song, he provides in as many as three different versions. The composition is a very typical, Bhatt-ish composition that at first seems very bland and boring, but sounds better the next time. And when you start liking it, you start listening to it frequently, and after listening to it a lot, you start hating it. So like almost all Bhatt-ish songs, this song has a quite uninteresting life story. Jokes apart, Palash’s composition, though nothing innovative, provides temporary relief like Zandu Balm and sticks in your head for that short while as if it has been stuck with Fevicol. (There, I managed to put ‘Dabangg’ references in my review.) The mukhda is very typical, and so is the hookline, so much so that the first time I tried to listen to the song, I didn’t go past the hook. The antara is nothing great either. But despite all this, the song somehow manages to get in your head. So it’s like a Rohit Shetty film — not perfect, but manages to get you watching ahead. The arrangements must be the reason we are able to go forward. Both actual versions (not counting the remix for now) have different arrangements. While the Atif Aslam version has a clichéd-to-the-core acoustic guitar setting with occasional electronic tabla beats, the Arijit Singh version has better arrangements, starting off with a flute, and progressing with a more unplugged-ish acoustic background, piano and guitars. The flute really impressed throughout the song, and Palash isn’t stingy with the use of the flute. Atif’s diction is very irritating in his version, and when he says “Gira” for “Ghira”,Batakta for “Bhatakta“, and “Dikka” for “Dikha“, you can’t help but cringe. Palak joins him to repeat the mukhda at the end of the song. Arijit goes solo in his version, and he rectifies all of Atif’s diction mistakes. However, Palash makes another mistake here, which is making Arijit sing the repeated mukhda at the end, making the song seem extra long. He could have stopped after the antara, or made Palak sing it for some respite from the overbearing drowsiness. The remix is a miserable attempt to quieten the two ever-at-war fan bases of Atif and Arijit, by cramming both into one song. But why would anyone want them to be together in a remix. And I can’t even say how sappy the vocal programming sounds when Palash uses it on Atif, making him sound like a goat. The beats are typical remix beats that make your ears explode. The lyrics by Palak are suitable for the song, but again, very typical and nothing innovative. I don’t even know whether I like this one or not, so I’ll say it’s somewhere in the middle.

Rating: 2.5/5 for Musafir, 3/5 for Musafir Reprise, 0.5/5 for Musafir Remix

 

4. Wedding

Singers ~ Shahid Mallya & Palak Muchhal, Music by ~ Palash Muchhal, Lyrics by ~ Palak Muchhal

Palash’s second song is the wedding song of the album, very uncreatively titled “Wedding”. The composition is something that totally belongs to an Indian animated film for children. Come on, even children’s songs are composed more thoughtfully than this. The “Saiyaan Oh Saiyaan” refrain by Palak is very cheesy. Some of it is way too sweet to digest, and the lack of usual Punjabi arrangements, makes it even more bland. Instead, Palash uses weird-sounding techno sounds that make it sound very over-the-top. And of course, the typical brass band, which is also, unfortunately, digital. A weird EDM-ish interlude tries to makes things “cool”. Palash tries to bring in a folksy feel to the song by roping in Shahid Mallya to sing it, but he sounds so uninterested, it comes out through his singing. And the lines he’s made to sing! 😵 Palak sounds too, too, sweet, like the syrup in Gulabjamun if someone adds too much sugar. Her lyrics too, are straight out of a fairy tale; the cringeworthy Hinglish takes a toll on you by the time the song ends. When EDM and an overly sweet melody spoil everything.

Rating: 1.5/5 

 

5. Shiddat / Shiddat (Reprise)

Singers ~ Armaan Malik / Mohd. Irfan, Additional Vocals by ~ Priyanka Negi, Seepi Jha & Bhuvan Ahuja, Music by ~ Raaj Aashoo, Lyrics by ~ Shakeel Azmi

With Raaj Aashoo’s song, things take an even more downhill turn. Totally overloaded by a very overbearing melancholic sound, the song exhausts you by the time it is over. The composition is something even the Bhatts would shy away from nowadays. What’s more, the song spans for over five minutes, something utterly unbearable. And two versions. So it sadly has eleven minutes of unmerited footage in this already long album. The arrangements are typical digital beats that would be a rage if it were 2007 right now. The vocalists in neither version could keep the interest of the listener in place, till the end. Armaan, trying to be K.K., disappoints like never before. On the other hand, Mohd. Irfan in his version sings in a voice that defies the beauty of his real, silky smooth voice. The female backing vocalists are irritating throughout. I would rather not talk about the unstylish lyrics. Welcome to 2007.

Rating: 1/5 for Shiddat, 1/5 for Shiddat Reprise

 

6. Zindagi Bana Loon

Singer ~ Palak Muchhal, Music by ~ Shah Jahan Ali, Lyrics by ~ Banjara Rafi

Newcomer Shah Jahan Ali comes into Bollywood with this song, and brings yet another old-fashioned, slow-paced song into the album, much to the dislike of the audience. The tune is so complicated, with so many pauses in random places, and no indication as to whether it is a happy romantic or a sad romantic song, that you just forget about it after you hear it once. Shah Jahan Ali must have been feeling like Roop Kumar Rathod felt while composing ‘Agar Tum Mil Jao’ (Zeher), or M.M. Kreem while composing ‘Jaadu Hai Nasha Hai’ (Jism), because the song is like a wannabe version of those. The slow pace doesn’t help either. Neither do the arrangements. The guitars are played so typically, the lack of innovation makes you go crazy. Palak tries to bring nuances like Shreya Ghoshal into her singing, succeeding at none of them. She sings in such an unnaturally high-pitched voice, it even surpasses the cheesiness of ‘Kaabil Hoon’ (Kaabil). The lyrics of the song are cringeworthy again. Another staid composition.

Rating: 1.5/5

 

7. Kinara

Singer ~ Palak Muchhal, Music by ~ Palash Muchhal, Lyrics by ~ Palak Muchhal

Finally the album comes to an end. But waiting right at the end for us, is another version of ‘Musafir’ by Palash Muchhal. This time it has been disguised under another name, ‘Kinara’ because the word ‘Musafir‘ doesn’t come in the new lyrics. But it is a version of ‘Musafir’. This album has so many versions of ‘Musafir’, which means tourist. As if the album is a tourist destination! The composition and lyrics are much the same, except one line in the hook, where the lyrics have been changed. The arrangements comprise an overtly sentimental combination of violin, piano and jingle bells. Palak tries again to imitate Shreya, when she does her Female Versions, like the one of “Sunn Raha Hai” (Aashiqui 2) and that of “Hasi” (Hamari Adhuri Kahani). Even Palash tries to imitate the arrangements of the former, with those jingles and the occasional tabla. Clearly, the makers were under the false impression that the public would love ‘Musafir’ so much that they would hover around long enough to wait for a mediocre female version. 

Rating: 1.5/5 


It looks like the album of Sweetiee Weds NRI was finalized years ago. Dated melodies, arrangements that originated sometime before the dinosaurs, and a tracklist trying to imitate ‘Aashiqui 2’ with vocals that sound bland to say the least and the same vocalists used over and over again, this album isn’t really as good as the makers made it out to be when they were promoting it. Instead of Sweetiee Weds NRI, the name should’ve been Crybabyiee (you can throw a few more e’s in there if you want) Weds NRI!!

 

Total Points Scored by This Album: 4 + 3.5 + 2.5 + 3 + 0.5 + 1.5 + 1 + 1 + 1.5 + 1.5 = 

Album Percentage: 40%

Final Rating for This Album: सा < रे < ग <  < प < ध < नी < सां

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

Recommended Listening Order:  O Saathiya > Kudi Gujarat Di > Musafir (Reprise) > Musafir > Wedding = Zindagi Bana Loon = Kinara > Shiddat = Shiddat (Reprise) > Musafir (Remix)

 

Remake Counter:
No. Of Remakes: 14 (from previous albums) + 01 (from Sweetiee Weds NRI) = 15

 

Which is your favourite song from Sweetiee Weds NRI? Please vote for it below! Thanks! 🙂

A COMMANDO WITH LESS COMMAND ON TUNE! (COMMANDO 2 – Music Review)

Music Album Details
♪ Music by: Mannan Shaah, Gourov-Roshin & Pritam Chakraborty
♪ Lyrics by: Kumaar, Aatish Kapadia, Raftaar & Sameer Anjaan
♪ Music Label: T-Series
♪ Music Released On: 13th February 2017
♪ Movie Releases On: 3rd March 2017

Commando 2 Album Cover

Commando 2 Album Cover

 

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

To but this album on iTunes CLICK HERE


Commando 2 is an upcoming Bollywood action thriller film starring Vidyut Jammwal, Adah Sharma, Esha Gupta and Freddy Daruwala, directed by Deven Bhojani, and produced by Vipul Amrutlal Shah. It is a sequel to 2013 sleeper-hit, ‘Commando’, which is still famous for its wonderful action scenes. That film had more of a rustic setting, wheras this one is a sleek, urban film. And that might reflect somehow in the music as well. Which is by the composer of the first movie, Mannan Shaah. I don’t know whether he did some other small albums during these four years, but I definitely didn’t hear any. He has composed three songs for the movie, while the guest composers Gourov-Roshin have “composed” another. It is a remake. My expectations are 50-50, considering that the music of the first film was good as per the movie’s theme, and that T-Series has changed over the years. And also, Gourov-Roshin have remade something, which succeeds only sometimes. At least I hope the Mannan Shaah part of the album is good. So let’s see how the album is, though I’m a bit apprehensive!


1. Hare Krishna Hare Ram

Singers ~ Armaan Malik, Ritika & Raftaar, Original Composition by ~ Pritam Chakraborty, Music Recreated by ~ Gourov-Roshin, Original Lyrics by ~ Sameer Anjaan, New Lyrics by ~ Kumaar, Rap by ~ Raftaar

“Hare Ram, hare Ram, Hare Krishna Hare Ram!”

– Sameer Anjaan

T-Series’ habit of rehashing old hits continues with the first song of the album itself. And the song isn’t a hit from the 70s, 80s, or even 90s! It is a (relatively) new song (can’t believe ten years have passed already!!) from 2007! The goat that gets sent to the slaughterhouse this time is ‘Bhool Bhulaiyaa’s title track, by Pritam! And the remake is in the hands of the people I least trust with remakes nowadays, Gourov-Roshin! (With Abhijit Vaghani doing the programming) So yeah, lethal combination. Now, the song’s new composition by Gourov-Roshin cleverly doesn’t stray too far away from the original one, and in doing so, sounds quite similar to the old one in totality. However, it sounds completely incomplete! The song starts off with a rapid rap from Raftaar (if you don’t know, his name means speed 😛 ) which is quite impressive as far as rap is concerned. Then comes the new mukhda, which, as I said, sticks very close to the original. The hookline is the only thing here that deserves to be heard, because of its original catchy and haunting tune by Pritam. The antara too, can’t survive without the old tune serving as a structure. So yeah, I bet the duo did a lot of put-this-note-here-and-that-there, and composed the new parts with the same notes, but jumbled up. The arrangements are quite cool, and there’s a nice tap dance part after the rap at the beginning, which sounds amazing. And that plucked instrument loop from the original has been incorporated in the places you would least expect it to be, sometimes played on some trumpet-like instrument. The beats are groovy. And that synthesiser loop that starts the song is mind blowing. Vocals by Armaan Malik are one of his worst performances ever. The makers have made him song in a different voice, yes, but it doesn’t suit him or the song at all. The female vocalist hardly gets scope to say anything, and that too, is unintelligible. Raftaar, as mentioned before, raps efficiently. The new lyrics by Kumaar are no weirder than the original by Sameer. 😀 Good as a song, but not as a remake as it doesn’t meet the standards of the original, which was way ahead of its time!

Rating: 2.5/5

 

2. Tere Dil Mein / Tere Dil Mein (Club Mix)

Singers ~ Armaan Malik / Armaan Malik & Shefali Alvares, Music by ~ Mannan Shaah, Lyrics by ~ Aatish Kapadia

“Abb toh intezaar hai, bas tere jawaab ka,
Milta hai khayal kya, tere mere khwaab ka,
Mera dil toh ho chala, ikk khuli kitaab re…
Tere dil mein kya hai tu bataa re!”

– Aatish Kapadia

Composer Mannan Shaah takes over from here, and his first song is a dulcet romantic ballad, that instantly gets you hooked. The composition is one of the sweetest I’ve heard this year. Each month seems to be having its own ‘Best romantic Song’, and while January’s and February’s songs were ‘Enna Sona’ (Ok Jaanu) and ‘Bawara Mann’ (Jolly LLB 2) respectively, I would vouch for this one as March’s best romantic track till now. Mannan’s composition is heart-rending, especially the hookline, which has an innate Indian touch to it. It is just so emotional-sounding for some reason! And the line going “Tu hi mera sach hai re…” has been composed beautifully! The antara just continues with the beauty of the composition, and I especially loved the part where the antara bridges to the hookline! That’s when the maximum goosebumps showed up. The arrangements are amazing, with acoustic guitar riffs (Warren Mendonsa) forming the base of the arrangements, and a ravishing Strings section by the Chennai Strings Conducted by Sax Raja blows away your mind. Electric guitar, also by Warren Mendonsa, makes a cameo in the interlude, and that’s quite interesting to listen to too. The vocals by Armaan are cute and sweet, but his diction falters at places, like “kaab” for “khwaab“, and he hasn’t seemed to have got time to rehearse those intricate aalaaps in the mukhda and hookline! Sad, because that makes a technical glitch in such a beautiful song! Armaan is usually good, but I cant help but miss Arijit here. The song is like a modern equivalent to ‘Commando’s romantic song ‘Saawan Bairi’, but gets nowhere close to it in terms of compositional intricacy and perfection. Then again, that was a semiclassical composition. There is a “Club Mix” included in the soundtrack, which is basically a remix, with the original track played at a very high tempo, that barely does any justice to it. There’s a female portion in that track, which is sung by Shefali Alvares (I got that even before reading the credits! Yayyyy! :p ). The song makes for a nice club track, but doesn’t at all do justice to the surreal composition. And yes, I am rating that because if the makers want to degrade their album by adding unnecessary remixes, it’s not my fault! Note that it is the first remix in all of 2017, and that means we are changing! The remix has been essentially done to bring forward another antara, which wasn’t in the original, and unused. So if you want to hear that, hear this club mix. Otherwise, I will only suggest that you hear it if you work as a DJ. The lyrics by Aatish Kapadia are simply wonderful, and I really loved them, both in the original and the antara of the song that got used in the remix. A romantic song straight from the heart.

Rating: 4.5/5 for original, 2/5 for Club Mix

 

3. Seedha Saadha / Seedha Saadha (Reprise Version)

Singers ~ Amit Mishra / Jubin Nautiyal, Music By ~ Mannan Shaah, Lyrics by ~ Kumaar

“Seedha saadha dil, Seedha saadha,
Mera Kam hai tera zyaada!”

– Kumaar

A melancholic rock song is the next song Mannan Shaah has to offer here, and from the way it starts, you can tell that it isn’t headed anywhere. The first version, at least. It has that feel to it right at the beginning, which tells you right away that it is a weird, unlikeable composition. And it definitely does start off that way. The composition is as colourless and dull as it can be, before the hookline. The only part the composition ever becomes likeable is in the hookline. The antara too, is decent, but because of the mukhda and other factors we’ll come to later, the song just doesn’t appeal to you. It is a pity that such a good hookline couldn’t get a better fitting part to it. Now for the other factors. Like Amit Mishra’s vocals. Amit Mishra. The one who stunned or entertained us with his renditions in ‘Manma Emotion Jaage’ (Dilwale), ‘Sau Tarah Ke’ (Dishoom) and the best, ‘Bulleya’ (Ae Dil Hai Mushkil), does nothing but disappoint in this song. His faltering voice doesn’t go with the composition, for which even K.K. would’ve worked. Jubin does way better in his version, but then, his version is a subtly arranged one, without as many hard-hitting rock noises as Amit’s version has. And I must say, Mannan’s composition sounds way better as a soft rock song, than a heavy rock song. Jubin’s soft voice had the right voice texture for it to come out right, which is why his version is way better. The arrangements in Amit Mishra’s version are too distracting, and the melody can’t be enjoyed as such. Whereas Jubin’s version has a wonderful, sway-inducing soft rock arrangement, enhanced by a synthesiser loop playing in the interlude. In a nutshell, you should go for the wholesome Reprise, than the incomplete and weird first version. Lyrics by Kumaar are good, but quite typical here. A sad song better felt in Jubin’s voice than Amit’s. It is basically a middling composition relying on voices to uplift it, out of which one clearly could not!

Rating: 2/5 for Original, 3.5/5 for Reprise Version

 

4. Commando (Title Track) / Commando (English Version)

Singer ~ Aditi Singh Sharma, Music by ~ Mannan Shaah, Lyrics by ~ Kumaar

Commando, commando, commando, commando!” :p

– Kumaar

The last song of the album is the title track of the film. Of course, it isn’t exactly the title track because they don’t say ‘Commando 2’, but then whatever. The composition is yet another middling composition by Mannan, and I don’t get why it flies all over the place and has so many turns and twists, that nobody will be able to decipher or even enjoy it. The mukhda makes it start off like a very run-of-the-mill track, without any shine whatsoever. The hookline is the easiest possible way you could imagine to put a tune to the word ‘Commando’. The interlude sees the song going all fusion-y, and then there’s a tempo increases that gets the song taking off at last. From there, the song at least sounds decent. There’s a nice traditional percussion in that part, and it is followed by a nice electric guitar piece. The antara that follows is also better composed, and has the required attitude that is seen in the action scenes of the movie’s trailer. There’s an English Version, in which just the mukhda’s Hindi parts have been replaced by lines in English, and it was actually unnecessary. They could’ve secretly added it in the movie without giving us another audio track, like some filmmakers do for certain songs that are actually good. Aditi is at her pretentious best, and stylises the words so much that it sounds too false! Mannan’s techno sounds do fare well for the song though. Kumaar’s lyrics are just bland. One of the most boring title tracks of late. *Remembers Raees title song*. Or maybe not.

Rating: 1.5/5 for original , 1.5/5 for English Version


Commando 2 is such a letdown, I can’t explain it in words. Only one song matches any expectations, and that too isn’t as good as the best song of “Commando”. Gourov-Roshin’s remake is good except for the fact that is unnecessarily relies on Pritam’s song to propel it forward. Mannan’s other songs are below the standards he set for himself with the first film’s album. Also, unnecessary reprises bog down the album. This Commando lacks command over tune, and composition! And maybe, choice of singers too.

 

Total Points Scored by This Album: 2.5 + 4.5 + 2 + 2 + 3.5 + 1.5 + 1.5 = 17.5

Album Percentage: 50% (How convenient!) 

Final Rating for This Album: सा < रे < ग <  < प < ध < नी < सां

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

Recommended Listening Order: Tere Dil Mein > Seedha Saadha (Reprise Version) > Hare Krishna Hare Ram > Tere Dil Mein (Club Mix) > Seedha Saadha > Commando (Title Track) > Commando (English Version)

 

Remake Counter:
No. Of Remakes: 06 (from previous albums) + 01 (from Commando 2) = 07

 

Which is your favourite song from Commando 2? Please vote for it below! Thanks! 🙂

SUPERBIA’S TASTELESS COFFEE! (COFFEE WITH D – Music Review)

Music Album Details
♪ Music by: Superbia (Gourov-Roshin-Shaan)
♪ Lyrics by: Sameer Anjaan
♪ Music Label: Zee Music Company
♪ Music Released On: 2nd January 2017
♪ Movie Releases On: 20th January 2017

Coffee With D Album Cover

Coffee With D Album Cover

 

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

To buy this album on iTunes CLICK HERE


Coffee With D is an upcoming Bollywood satirical film directed by Vishal Mishra, and produced by Vinod Ramani. The film marks the debut of popular comedian Sunil Grover, who we all know as “Guthhi” from the defunct “Comedy Nights with Kapil”, and now as Dr. Mashoor Gulati on “The Kapil Sharma Show”. Supporting sarcastic includes Zakir Hussain, Dipannita Sharma and Anjana Sukhani. The film is the story of a news reporter, Arnab Ghosh (which Sunil Grover claims, isn’t based on Arnab Goswami, and when any actor or actress or director says this, we know that it definitely is based on that person) who is going through a rough phase in his career, until he gets the golden opportunity to get back his TRP ratings — an interview with an underworld don name ‘D’ and we all can only guess who that ‘D’ is. The music for the movie has been composed by Superbia, which (don’t get too excited; it’s no foreign band or anything) is just a fancy term for Gourov-Roshin when Shaan joins them. So Gourov-Roshin-Shaan are behind the music of this, whose discography boasts of films like ‘Balwinder Singh Famous Ho Gaya’ (one song) and ‘Great Grand Masti’ (One song). Now they get the full album for his movie, and have composed four songs for it. Gourov-Roshin as a duo had worked previously for four albums, with three songs in ‘Force 2’, one in ‘Tum Bin 2’, one in ‘Wajah Tum Ho’ and two in ‘Kaabil’. One song from ‘Kaabil’ and the song from ‘Wajah Tum Ho’ was listenable; others were strictly atrocious. So now, let’s see if the addition of Shaan does any special magic to this duo. Not that their songs in ‘Balwinder Singh Famous Ho Gaya’ or ‘Great Grand Masti’ were excellent either!


1. Coffee With D

Singer ~ Anu Malik

(No line from the song is worth writing here!)

The first song takes the form of a kind of theme song for whatever show Sunil Grover’s is the anchor of in the movie. The composition is so bland and boring and dull and icky, that it just suits as a theme song to some talk show. Superbia do a good job in stringing together the most weird-sounding notes, trying to give it a gangster-rap touch, but it is the mukhda itself that sets you off. The song could’ve worked just as well with only the mukhda , and then it would actually sound like a theme song. What’s more, the way they’ve repeated the hookline for so many times, that it actually sounds like some stupid talk show on Doordarshan is going to follow. The two unnecessary antaras take away any interest the listener might’ve gained from the mukhda. The composers don’t add anything enticing as far as he arrangements go. A stale and outdated sound looms over the whole song like thunderclouds. The digital beats sound veryyyyy outdated. Anu Malik is at his obnoxious best with his vocals, though he doesn’t sound like he did in his earlier songs — it is a different kind of obnoxious. Also, Sameer’s lyrics are horrible. Not at all meant for repeat listening!

Rating: 1/5

 

2. Ali Ali

Singer ~ Shabab Sabri

“Hoke mayoos koi, maangne waala na gaya,
Hey tune itna diya, mangaton se sambhala na gaya”

The next song is a Qawwali, one which closely sticks to all the trademark Qawwali clichés used in Bollywood. It starts off with a long and almost neverending ad-lib, which, but for the good lyrics, just sounds sleep-inducing. After that ad-lib, though, the trio hopelessly resort to the very typical Qawwali beats (which they could’ve brought some variations into!) that we heard already in ‘Bhar Do Jholi Meri’ (Bajrangi Bhaijaan). The exact same beats, along with quite tedious arrangements of harmonium and tablas, which usually sound great, if done perfectly or innovatively (Like the Qawwalis ‘Allah Hu Allah’s and ‘Meherbaan’ from ‘Sarbjit’), but sound tedious here. Shabab Sabri sounds different in this song; usually, his voice sounds low-pitched and booming (I still love his rendition of Sajid-Wajid’s awesome rock Qawwali ‘Jadoo Tone Waaliyan’ from ‘Daawat-e-Ishq’) but here, he sounds quite high-pitched. To his credit, he has rendered he composition with the right amount of perfection required. Just that the composition and arrangements are too tedious to support him. Towards the end, the composers go for that quintessential rise in tempo that any Qawwali is incomplete without. Something that could’ve been interesting, though, they make it a repetitive portion, and it leaves the song ending in such a way that listener feels incomplete. Sameer’s lyrics might be something that might be working for the song, but it’s not that lyrics are what a listener first pays attention to, to decide whether he will like the song or not! A tedious Qawwali! Still waiting for a great Bollywood Qawwali! My favourite folk genre is betraying me these days! 😦

Rating: 2/5

 

3. Nation Wants To Know

(Named as ‘Teri Duniya Di’ on Saavn)

Singer ~ Shaan

“Hazaaron ke taadaad mein karodo ke ghotale,
Paisa power se jab chaahe jisse jo karwaale,
Har ghante breaking news,
At least a million views,
Arey ainvayi faltu issues banaaye asli mudde taale!”

The next song follows with the mediocrity, but only in terms of composition. The trio’s composition once again falls into their category of below average tunes. There isn’t anything catchy in the composition, and the only part that’s supposed to be catchy (‘Teri duniya di bajj gayi band…‘) seems dated. The rest is like a rap song, so it has almost no tune. The arrangements are another miserable fail from the trio’s sound, mixing various club beats with Punjabi dhols and seeing whether they work. Well, they didn’t. It just seems like a song from 2006. At least they haven’t overdone the club beats and it isn’t a bombardment to the ears, like Gourov-Roshin did in ‘Haseeno Ka Deewana’ (Kaabil). The song has been sung by one of the trio’s members, Shaan. And he has sung the song in a very different way than his usual style. At least he got rid of that sugary-sweet image he had created in so many songs of his that released nowadays. I’m still waiting for a good song from Shaan since ‘Chaar Kadam’ (Pk), but he seems more interested in judging ‘The Voice’. 😦 Anyway, he sounds mediocre here. The lyrics by Sameer Anjaan might be the best part of the song, which, in all my boredom, I forgot to tell you, is a satirical song. He sticks to the satirical theme and gives some nice lines to ponder on. Especially the second stanza, which I’ve written up in the ‘Lyrics Showcase’ portion, was quite good. Another mediocre song, but saved by the lyrics.

Rating: 2.5/5

 

4. Tumhari Mohabbat

Singers ~ Aakanksha Sharma & Shaan

“Mujhe din lagega, bhale raat ho, tumhari mohabbat agar saath ho.”

So not even this movie escapes from the ‘Romantic Song Bug’ that has infected all the filmmakers these days. The next song is a romantic song, and I wouldn’t say it is too impressive either, but it is quite pleasant. Again, the composition sounds very old-school, in neither a negative nor positive way. It really didn’t matter much to me this time, probably because it was the first pleasant and non-repetitive thing to hit my ears in this album. The composition is like a 90s Jatin-Lalit song, and does quite well in catching your attention too. Sajid-Wajid (‘Saanson Ne’ from ‘Dabangg 2’) and Himesh Reshammiya (‘Dhoom Dhaam’ from ‘Action Jackson’) occasionally give such old 90s-styled songs, and now Superbia follows their lead. The hookline pleases you, if not impresses and fascinates. You think, ‘At least it is better than everything else in the album!’ The mukhda doesn’t quite intrigue, but the antara is relatively better, as far as the composition goes. The arrangements are cool too, with a heard-before but pleasant tabla rhythm gracing the hookline. Harmonica is a prominent instrument used throughout the song, and that’s another main attraction of the song. The vocals are good, and Aakanksha gets to sing the mukhda and one antara, while Shaan sings only the last antara, so it doesn’t quite seem like a duet. Shaan is back to his mushy self, but tries not to be extra-mushy, while Aakanksha tries hard to imitate Monali Thakur. And even succeeds in places. Sameer’s lyrics belong to the 90s like everything else does, but like you did everything else, you overlook that too, just because. A ‘chalta hai‘ type of song.

Rating: 3/5


Coffee With D turns out to be even worse than expected. Not even one song adheres to today’s music sensibilities, and none of the songs proves for a pleasant respite. The songs may be situational, but I don’t think he movie too will excel too much with such dated tunes. An album that is best forgotten (if you hear it, that is)! 

 

Total Points Scored by This Album: 1 + 2 + 2.5 + 3 = 8.5

Album Percentage: 42.5%

Final Rating for This Album: सा < रे < ग <  < प < ध < नी < सां

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

Recommended Listening Order: Tumhari Mohabbat > Nation Wants To Know > Ali Ali > Coffee With D

 

Remake Counter
No. Of Remakes This Year: 03 (from previous albums) + 00 = 03

 

Which is your favourite song from Coffee With D? Please vote for it below! Thanks! 🙂

‘KAABIL’ OF BEING FORGOTTEN! (KAABIL – Music Review)

Music Album Details
♪ Music by: Rajesh Roshan & Gourov-Roshin
♪ Lyrics by: Nasir Faraaz, Manoj Muntashir, Anjaan, Anand Bakshi, Kumaar & Raftaar
♪ Music Label: T-Series
♪ Music Released On: 22nd December 2016
♪ Movie Releases On: 26th January 2017

Kaabil Album Cover

Kaabil Album Cover

 

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

To buy this album on iTunes CLICK HERE


Kaabil is an upcoming Bollywood action/romantic film starring Hrithik Roshan, Yami Gautam and Ronit Roy. The movie is directed by Sanjay Gupta, and produced by Rakesh Roshan. The movie is about two blind people who fall in love (God knows how…). And then dishoom dishoom happens and then it probably ends happily. Moving on to the music. The music has been composed by yesteryear hitmaker Rajesh Roshan, who has given quite a number of great songs in the olden days, but seems to have lost his charm with his last outing, ‘Krrish 3’. I mean, I don’t even know how it is possible that his music in ‘Kites’ (2010) sounded so much with the music of the time, and so modern and all, while three years later in 2013, when ‘Krrish 3’ released, his music sounded dated. You would think that’s impossible! Well, all we can hope is that he has composed great tracks for this album. Again, as always, T-Series gives us a shock by adding a composer duo in the music directors panel for the album. The duo is Gourov-Roshin, the go-tos for remaking and spoiling old songs. This time they have been given charge of two of Rajesh Roshan’s hits from the 70s and 80s respectively — ‘Dil Kya Kare’ (Julie) and ‘Sara Zamaana’ (Yaarana). So technically, Rajesh Roshan has composed the songs. Smart. Expectations are a bit more than zero, and given that the songs to be remade are of such a high standing, the remakes have to be good or else T-Series wouldn’t have added them.. or at least that’s what I think.. 😛 Anyway, since I have such less expectations from the first album of 2017 to release, I’m just diving into it very cautiously and sceptically.

Note: Before you start off, you might want to check out the new rating scheme with effect from 2017..


1. Kaabil Hoon / Kaabil Hoon (Sad Version)

Singers ~ Jubin Nautiyal & Palak Muchhal / Jubin Nautiyal, Music by ~ Rajesh Roshan, Lyrics by ~ Nasir Faraaz

“Tere mere sapne sabhi, band aankhon ke taale mein hain,
Chaabi kahaan dhoondhe bataa, woh Chaand ke pyaale mein hai,
Phir bhi sapne kar dikhaaon Sach toh kehna bas yehi…
Main tere kaabil hoon ya, tere kaabil nahi!”

– Nasir Faraaz

So this was the first song of 2017 to release, releasing in early December or so. You’d think that the makers had some reason behind releasing the song so early, but after hearing the song, you understand that the only reason was to get the songs released and aside, so the makers can concentrate on other ‘important’ stuff, like getting bad reviews. Veteran Rajesh Roshan offers nothing new in terms of composition. One might argue that he just tried to compose in his trademark style, and I agree, but it just doesn’t suit in today’s times. The mukhda is quite bland, but you start liking it after you hear the dreary hookline. And what’s more, it plays four times throughout the song! (Not the hookline, but the WHOLE mukhda!) The antaras are two very ear-splittingly high-pitched stanzas that irritate more than pacify. Look Mr. Roshan (and I hope you aren’t reading this..), we really appreciate you bringing forth the music of yore, but at least modernize it like Vishal Bhardwaj & Sanjay Leela Bhansali do! Yes, after a few listens, it gets listenable, but that’s only because we are so much rooted to our beautiful 90s music. 🙂 The arrangements are as typical and predictable as typicality and predictability can get. I don’t know if music programmer Abhijit Vaghani has chosen the beats (or maybe arranger Dhrubajit Gogoi), but whatever it is, it sounds like a desperate attempt to modernize the stale composition, by adding beats similar to Major Lazer and Justin Bieber’s pop single ‘Cold Water’. The dafli makes the arrangements sound sooooooo old-school. And whoever has arranged the song, has put in a mishmash of synth sounds as if his life depended on it, and horns wherever they shouldn’t have been. That guitar riff which the song starts off with resembles that hook tune of the aforementioned ‘Cold Water’ so much. And same with the trumpet. And the first time Jubin sings “Chaabi kahaan dhoondhe bataa…”, there is an unexpected outburst of noise that wasn’t required. However, in the first antara’s beginning, there is a nice trademark Rajesh Roshan percussion, which pleases the ears. The composer ditches his recent regulars for such songs, Sonu Nigam and Shreya Ghoshal, to bring in two supposedly ‘modern’ voices, Jubin Nautiyal & Palak Muchhal, but Mr. Roshan! Songs don’t sound modern because of singers! You need a modern tune for that…! Jubin sounds suppressed for some reason, and drawls out the lines like he’s bored, making you miss Arijit’s voice for once. And Palak is hands down off tune. Everything she sings is way too high-pitched for her to carry off perfectly, and her voice comes across as cheap. Especially when she sings the hookline after the first antara. And both of their voices have been kept raw, as they were recorded, making it sound more like a scratch version of the song. And at the end, the singers are made to sing “la la la…” and “hey hey hey...”, as if they are from the 80s! Nasir Faraaz’s lyrics ooze of the 90s! What is “Tere Naam ko hi pukaarke, khanakengi meri choodiyaan“??? I highly doubt she’s wearing bangles in the song.. unless the second antara is shot at their wedding. In the sad version, Rajesh Roshan slows down the pace so much that it is tough to discern that it is the same song. Not that it sounds any better though. The arrangements there are minimal except for some strings. And it is just one and a half minutes long, so it is clearly made only for the background score. The lyrics have been tweaked too, with no better result. A song that would’ve created waves, had it been included in ‘Krrish’! Heck, even the ‘Krrish’ album sounds better!

Ratings: 2/5 for Original Version, 1.5/5 for Sad Version

 

2. Haseeno Ka Deewana

Singer ~ Payal Dev, Rap By ~ Raftaar, Original Composition by ~ Rajesh Roshan, Music Recreated by ~ Gourov-Roshin, Original Lyrics by ~ Anjaan, New Lyrics by ~ Kumaar, Rap Written by ~ Raftaar

“Sara zamaana, haseeno ka deewana,
Zamaana kahe phir kyun, bura hai dil lagaana!”

– Anjaan

Before the song released, I was having a tough time wondering how Rajesh Roshan would remake his own old song! And then it hit me, and my worst fears came true. T-Series had conveniently handed over Rajesh Roshan’s two old songs in the album to Gourov-Roshin! Unfortunately, there was no choice for us listeners but to hope the song would be remade well. The result, however, is atrocious. Gourov-Roshin follow the path they paved for themselves when they remade ‘Kaate Nahin Katte’ (Mr. India) in ‘Force 2’. They spoil this song, ‘Sara Zamaana’ (Yaarana) as well and present in front of us a bad mix of noises and horrendous singing. The mukhda and antara have been recomposed, and they sound horrible, nothing else. Even the original hook, which could’ve been the best part of the song, is spoiled by singing which is supposed to sound cool. The arrangements are nothing but a lot of unbearable noises, supposed to be club sounds. I don’t know if they want the clubbers to enjoy or die of some undiscovered ear disease. Random techno sounds grace the whole song, and it just sounds BAD! Payal Dev sings in her ‘Veerappan’ voice — an extremely harsh, cutting voice that does nothing but grate your eardrums. I don’t know what she’s up to.. on one side she sings gems like ‘Ab Tohe Jaane Na Dungi’ (Bajirao Mastani) and on the other hand, bleats out songs like this. She also mauls the hookline, the hookline that anybody raised in a Bollywoodish background has grown up listening. And the last straw is when she sings the antara. (“Yeh kaaauuuuun keh raha hai..”) Raftaar, after his successful stint in ‘Dangal’s ‘Dhaakad’, reverts to his original form, and delivers a rap that proves that it was a mistake that he bagged ‘Dhaakad’. The lyrics by Kumaar are just your normal Bollywood item song fare, with the lady praising her flaws. And the boy agrees, somehow. Now that everyone must have heard it, I can’t even tell you to skip it. A horrific remake.

Rating: 1/5 (and that’s being generous)

 

3. Kuch Din

Singer ~ Jubin Nautiyal, Music by ~ Rajesh Roshan, Lyrics by ~ Manoj Muntashir

“Aksar ataa pataa mera, rehta nahin, rehta nahin,
Koi nishaan mera kahin milta nahin, milta nahin,
Dhoondha gaya, jab bhi mujhe, tere gali mein mila..
Kuch din, se mujhe, teri aadat ho gayi hai,
Kuch din se meri, tu zaroorat ho gayi hai!”

– Manoj Muntashir

The next song is a romantic song, with a lulling melody. It starts off well enough, with dreamy music on the piano and something like a church organ. But then Jubin starts singing and you realise the blaring problem in the song — Bad recording. The vocals might be good, but bad recording and mixing help to steal all credit from Jubin. The voice is all muffled; even songs recorded in the 1970s sound better! The composition is better this time, because of that lilt in the melody. Again, it is a signature Roshan tune, and reminds you of the beautiful music of ‘Kaho Naa Pyaar Hai’. The mukhda plunges right into the hookline, and succeeds in the mission of soothing you. The antaras are a nice extension to the already nice tune. At least it pleases the ears. The high notes in the composition are pleasant this time, and the composition as a whole is hummable. Arrangements are nice and soothing, but muffled due to that flawed recording. Strings and brass instruments bring a nice 90s flavour to the song. Again, Roshan takes the help of techno beats, but this time it is a bit toned down, and hence doesn’t bother much. The second interlude has a nice guitar portion, which sounds good in spite of being a bit dated. Jubin, as mentioned before, sings well here, adhering to Roshan’s tune loyally, and evoking memory of Abhijeet’s songs with Shah Rukh Khan, at places. As mentioned above, that recording spoils the feel. Manoj Muntashir’s lyrics are good, but nothing extraordinary. He sticks to the 90s style of lyrics-writing. A good, pleasant melody, with good vocals and arrangements, is spoiled by the bad recording and sound mixing!

Rating: 3/5

 

4. Mon Amour

Singer ~ Vishal Dadlani, Music by ~ Rajesh Roshan, Lyrics by ~ Manoj Muntashir

“Kadam se kadam jo miley, toh phir saath hum tum chale,
Chale saath hum tum jahaan, wahi pe baney qaafiley!
Mon Amour!!”

– Manoj Muntashir

Rajesh Roshan’s last song on the album takes the form of an upbeat Latino-flavoured song, that’ll surely get you up and dancing. The song starts off with a nice intro, taking the one of the repeating lines from the song having Vishal Dadlani sing it in a slow tempo, and it serves as a good buildup for the upbeat song that follows. The composition by Roshan this time too, is enjoyable. The hookline starts off the song, when the intro is over, and gets you ready for a nice dance song. The mukhda is what Vishal had sung in the intro, and it has a nice Spanish flavour to it, carried out very efficiently by Roshan. The antaras are as enjoyable as can be. They don’t seem like antaras, more like continuations of the mukhda, giving the effect that the whole song is a single stanza. All I can say is that they have been composed wonderfully. In the process, Rajesh Roshan tries to make a ‘Senorita’ (Zindagi Na Milegi Dobara) for this album, and succeeds to an extent. The arrangements remain loyal to the Latino flavour of the song, with guitars leading the way for some time, before handing over first command to the trumpets, which infuse life into the song after that short introduction is over. Percussion is topnotch, and it gives the Salsa feel very nicely. The xylophone that comes in the antara’s last line is so playfully awesome! I like how the title of the song stands alone in the song, with nothing to support it. It makes the song progress seamlessly from line to line. Vishal’s energy seems a bit diluted here, but nevertheless, the song sounds quite energetic still. Recording seems a problem here too, but it is ignorable because of the song being good. Manoj Muntashir’s lyrics here, are probably the only moderate lyrics on the album — not too old-fashioned (‘Kaabil Hoon’ and ‘Kuch Din’) and not toooooo modern (‘Haseeno Ka Deewana’). They are enjoyable though, making use of sounds like ‘Da ra di da ra’ and ‘Baila baila’ to make it sound more Latino-flavoured! A nice upbeat number, but I’m not sure whether it will be promoted enough to create an impact on the public!

Rating: 3.5/5

 

5. Kisi Se Pyar Ho Jaye

Singer ~ Jubin Nautiyal, Original Composition by ~ Rajesh Roshan, Muusic Recreated by ~ Gourov-Roshin, Original Lyrics by ~ Anand Bakshi, New Lyrics by ~ Kumaar

“Oonchi oonchi deewaron si, iss duniya ki rasmein,
Na kuchh tere bas mein jaana, na kuchh mere bas mein!”

– Anand Bakshi

Another remake. Once again, a Rajesh Roshan melody of the golden era, and again, remade by Gourov-Roshin. This time, Roshan’s beautiful melody from ‘Julie’, ‘Dil Kya Kare’. Expectations were zero, and maybe that’s why I was pleasantly surprised by this one! The main reason I liked it was that the composers have tried to retain the flavour of the original, and not tried to change everything. The mukhda has been changed, and that’s about it. This tracks starts with a nice modern touch, similar to so many (good) English songs you hear nowadays, to such an extent that that person singing ‘Woah’ or whatever at the beginning sounds like Justin Bieber. :\ Is this soundtrack inspired by Bieber or what? Anyway, the new mukhda is a nice addition to the song, it just takes time to get used to it. The hookline follows the new mukhda, and the mukhda of the old song (“Oonchi oonchi deewaron si…”) takes the form of the first antara, as it is (except the ‘Na kuchh mere bas mein Julie‘ is changed to ‘Na kuchh mere bas mein jaana‘) and the hookline returns, bridged to the antara by one of the lines of the new mukhda. The first antara of the old song appears as the second antara in this track, and it sounds good in Jubin’s voice! And this time, the programming is good too! The duo’s arrangements are pleasant, surprisingly, and they don’t bombard the ears with a fusillade of unwanted noises. Instead, they’re quite calm club beats. Now these are club beats! Piano graces the second interlude with its presence, to a great effect. The finger snaps are intriguing throughout the song. However, what I missed is that drum which Rajesh Roshan had added in the background of the old song (which he has also used in the title track of this album, if I’m right). Jubin perfectly takes over from Kishore Kumar, but of course the original always is better. Now that we have to deal with it though, I must say Jubin has done a good job. He sings the “oonchi oonchi..” part exceptionally well. I don’t know whether it is autotune or not, but here, his high notes sound good. At least it doesn’t sound like a scratch version. The additional lyrics are quite functional, if not great. I’m still in love with the original ones! 😍 A pleasant redux. That’s a remake for you. I think Gourov-Roshin are better at romantic songs (except ‘Maahi Ve’ from ‘Wajah Tum Ho’) than idiotic item numbers that are remakes.

Rating: 3.5/5 


In Kaabil, Rajesh Roshan actually delivers better than his last ‘Krrish 3’. Out of three songs, two are pleasant and sound much better than what he had offered in his last album. Gourov-Roshin with their two remakes of his old songs, do a mediocre job in one, and better in the second. However, as a whole, the albums seems extremely dated and behind its time. Had the album released somewhere around 2005 or so, the songs might’ve gained more momentum and more hearts. But now, it just seems like another average album. A middling start to 2017!

 

Total Points of the Album: 2 + 1.5 + 1 + 3 + 3.5 + 3.5 = 14.5

Album Percentage: 48.33%

Final Rating for This Album: सा < रे < ग <  < प < ध < नी < सां

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

Recommended Listening Order: Mon Amour = Kisi Se Pyar Ho Jaye > Kuch Din > Kaabil Hoon > Kaabil Hoon (Sad Version) > Haseeno Ka Deewana

 

ALERT! ANOTHER NEW SECTION!

Here is a remake counter, counting the number of remakes this year. :p Just for fun. 😉

Number of Remakes: 02

 

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

LAIDBACK BREATHS! (SAANSEIN – Music Review)

Music Album Details
♪ Music by: Vivek Kar
♪ Lyrics by: Kumaar
♪ Music Label: T-Series
♪ Music Released On: 26th October 2016
♪ Movie Releases On: 11th November 2016

Saansein Album Cover

Saansein Album Cover

 

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

To buy this album on iTunes CLICK HERE


Saansein is an upcoming Bollywood horror film, starring Rajneesh Duggal, Sonarika Bhadoria and Hiten Tejwani. The film has been directed by Rajiv S. Ruia, and produced by Goutam Jain and Vivek Agarwal. The story is about a club singer, who, every night after her performance, disappears without talking to anyone or meeting anyone. She’s probably possessed.. Come on, Bollywood, we know you better than you do yourself! Anyway, the movie is a horror/romance film, and in such movies, I expect wither a chilling and spine-tingling score, or a sappy, romantic, typical Bhattish score. The music of the film has been entirely composed by Vivek Kar, which makes this his first solo album ever. He is fresh from the success of his song ‘Cycle Se Chalaang’ (Saat Uchakkey), and now he is here with a complete album of a horror film. Going by the songs he composed in his previous albums (‘Zindagi 50-50’, ‘Meeruthiya Gangsters’, ‘Direct Ishq’, ‘One Night Stand’ etc) I think he’s going to give the second category of music I expect for such films (the typical romantic songs), but I do expect a lot more as it is his first solo album. So, without further ado, let’s go through the music of ‘Saansein’, and see how horrific it is!


1. Mera Ishq
Singers ~ Ash King, Arijit Singh & Swati SharmaBacking Vocals ~ Dev Negi & Joi Barua

Vivek Karta presents, as the first song on the album, a fresh and pleasant romantic number, that does impress, but fails to bring that climax point throughout its whole length. I’ll explain. So, the song starts off, with a soothing English verse, that has the backing vocalists Dev Negi and Joi Barua pronouncing words in a quite hilarious way. However, as soon as the main melody kicks in, you starts finding the song to be not as bad as you thought it would be. The mukhda starts with Swati singing some lines in a very soothing but heard-before-ish tune, which sounds a lot better than the songs she sang after her launchpad ‘Banno’ (Tanu Weds Manu Returns). Then Arijit enters with a nice, goosebumps-giving tune, that I think would have sounded quite ordinary had he not sung it. And then, the whole song is passed over to Ash King. It is like Arijit & Swati are backing vocalists like Dev and Joi. Anyway, the hookline sounds brilliant, until you remember the antara of that old song, ‘Yunhi Kat Jaayega Safar’ (Hum Hain Raahi Pyaar Ke), after which the hook sounds like a direct lift-off from the old song. The antaras of this song are soothing, and probably the best part of the song, but what I don’t understand is, why Arijit keeps singing only the same line. He sings it so beautifully that I don’t know why Ash has been given the other parts, which seem tailor-made for Arijit! We saw Ash overshadow Arijit earlier this month in ‘Alizeh’ (Ae Dil Hai Mushkil), but here, Arijit overshadows Ash with just his one line against Ash’s almost-entire song. The English verses just sound bad and quite laid-back. Arrangements are soothing too, until you delve deeper and understand how normal they are. The rhythm is nice, with the digital sounds sounding great occasionally, but the programming is horrendous. The sound isn’t clear, resulting in the instruments seeming to be mixed into each other. The flute though, is beautiful! 🙂 Kumaar’s lyrics are more ordinary stuff in an already ordinary song. Seems harmless at first, but the faults start popping up as you delve deeper. A good way to spoil a nice composition.

 

2. Tum Jo Mile / Tum Jo Mile (Unplugged) Singers ~ Armaan Malik / Amit Gupta & Pratap Dodla

The next song on the album fares a lot better than the first one, in that it gets the composition just as right as the first song, but that composition is also carried forward well, and embellished with good recording. The composition, though it might sound very heard-before, just like the previous song, does interest the listener, if not fascinate. The mukhda starts the song off well on a mellow note, while the hookline works well. Though it is one of those self-proclaiming hooklines, I really can’t imagine how else the hookline could’ve been incorporated into the song. The initial notes of the hookline somehow reminded me of the line “Abb toh humein…” from ‘Kandhon Se Milte Hain Kandhe’ (Lakshya) but then rather quickly dissipates and changes course. The hookline also consists of a small line with the mandatory word, “Rabba” in it. That part is quite good too. The antara is pleasant too, and again, heard-before, but functional. There is a nice little conclusion stanza at the end, which I quite liked. The main reason the song seems to work, is the vocals, which have been done amazingly by Armaan Malik, who infuses his charm into everything he sings. His voice perfectly suits the composition, and I’m glad Vivek chose him as the singer. The unplugged version on the other hand (which, by the way, is not even unplugged — it has the same arrangements as the original version for the most part of it, just starts off a bit unplugged) doesn’t fare as well, because the lead singer Amit Gupta seems misplaced there. He doesn’t sing the very formulaic song with as much charm as Armaan, thereby exposing the genericness of it. Pratap Dodla joins Amit in this version for backing vocals, I suppose, as I can’t really make out who’s voice is which. The arrangements in the first version are quite typical digital beats, with a nice piano intro to it, while strings shine throughout. However, in the ‘unplugged’ version, the violin gracefully forms the prelude, and interludes, and how I wish that this arrangement had been given to Armaan’s version of the song! Lyrics by Kumaar are quite formulaic as well, with him making note to include ‘humsafar’, ‘Dil’, ‘pal do pal’, ‘Dil’, ‘rabba’, ‘Dil’, and maybe more ‘Dil’, a good many times. After all, they’re the mandatory, quintessential words! Generic-sounding, but the first version is nevertheless a #5StarHotelSong!!

 

3. Tum Ho Mere
Singer ~ Najam Bajwa

The next song doesn’t start off too promisingly, with many melancholic ‘Woahh’s making up your grand welcome into it. And after that, the song barely fails to interested you even a bit more. The whole composition is lazy, and terribly slow-paced, with nothing interesting ever happening. The hookline is painfully complicated, with the singer just repeating the line “Tum Ho mere yaa ho nahi?” a gazillion times. By that time, the girl must already have even given her answer! The arrangements don’t help at all, to make the listener like the song. The beats are outdated, and there is no instrument that stands out amidst the dusty and laidback feel of the song. I could hear the piano and strings, but it is too plain and also buried too deep inside the arrangements. The guitars are audible mostly, but they are played so slowly, that you question whether they are guitars or sloths. The vocals are another reason to not listen to the song. Debutant Najam Bajwa doesn’t seem like he was fit for a solo song, but he nevertheless drawls his way through this. Kumaar’s lyrics have already been talked enough about, I guess. Easily skippable!

 

4. Dil Yeh Khamakha / Dil Yeh Khamakha (Reprise)
Singers ~ Dev Negi / Nikhil D’Souza

The next song too, starts off in such a way that you get frightened whether it isn’t the same melancholia of the previous song repeating itself all over again in this one. But to be honest, this song gets lots and lots better as it progresses. The composition does start off on a faltering note, but then steadies itself, and by the time it reaches the hookline, you happily keep listening to it. It is the first time I have witnessed such an improvement from the initial notes to the hookline of a song! The hookline is beautifullyand hauntingly amazing. The composition sounds even a bit of something Rahman would compose. The antara continues what the hookline started off, making the song actually sound complete and wholesome in itself. The song appears in two versions and I must say, both singers have done a great job at it. Dev Negi, with a more newbie approach to it, sounds innocent in his rendition of the pleasing composition, whereas Nikhil D’Souza brings more of a professional approach to it, singing in his trademark style, which he used to sing in for Pritam and the Bhatts. Both singers provide a fulfilling touch to the song, though. The arrangements remain the same in both versions. The unexpectedly brilliant electronic tabla beats amazed me, while the nice digital sounds in the hookline reminded me of Viju Shah’s excellent arrangements, which were quite similar, and way ahead of their times in the 90s. (‘Mushkil Bada Yeh Pyaar Hai’ from ‘Gupt’ being one of my most favourites!) The whistle is nice, and the chimes bring in a fresh factor to the song. Piano was expected, and it does a nice job here. Kumaar’s lyrics again, are very typical. One of the better song of the album, maybe the best too! Both versions are a #5StarHotelSong!!

 

5. Royi
Singer ~ Shibani Sur

The last song on the album is what actually blew me away. Rightly kept as the album’s last song, this song has everything that a song should, in order to impress my musical sensibilities. The composition again, starts off very slowly, but this one hooked me from the start — perhaps the introduction of a female solo singer provided the necessary change in the album. Whatever it is, the composition is great. The mukhda, the hookline and the antaras are inexplicably finely crafted. The slow composition did the trick here, which didn’t quite work in the other songs. Also, the nice little semi-classical touch was enough to blow me away. The arrangements, with nothing much happening, gave a nice lounge-ish feel to the song. Whatever does happen though, is attractive enough for the listeners to enjoy. The digital beats, for one, are really cool! The vocals by débutante Shibani Sur, a trained classical singer, are awesome, and her husky voice is a perfect match to the quite drowsy feel of the song. The little nuances she performs in the antara lines, is to fall for! She handles her high notes, as well as the low ones, very well. Hoping to hear more of her in Bollywood in the future, and kudos to Vivek for presenting her beautiful voice in front of us all. Kumaar’s lyrics are quite better here, and have some meaning, other than the usual melancholia he wrote in the album. The best took long enough to arrive. A perfect grand finale to a not-so-perfect album! #5StarHotelSong!!


Saansein kind of meets my expectations. It certainly met my expectation that it would consist of typical Bhatt-style romantic songs under the name of spooky songs, but it didn’t quite meet the expectation I kept towards it being Vivek’s first solo album and chance to score a nice soundtrack. The tracks are nice, no doubt, but the compositions in most of them seem very laidback, and that’s the turn off. Two of the tracks are fantastic, while the other three try to fiddle with the rapidly-disappearing genre of typical Bhatt romance, which even the Bhatts will move on from soon, as far as I presume! This album lacks fresh air…!

 

Final Rating for This Album: सा < रे < ग <  < प < ध < नी < सां

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

Recommended Listening Order: Royi > Dil Yeh Khamakha = Dil Yeh Khamakha (Reprise) > Tum Jo Mile > Mera Ishq > Tum Jo Mile (Unplugged) > Tum Ho Mere

 

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

UTTERLY UN’POSSESSIVE’!!! (1920 LONDON – Music Review)

Music Album Details:
♪ Music by: Sharib-Toshi, Kaushik-Akash (JAM) & Shankar-Jaikishan
♪ Lyrics by: Kunaal Vermaa, Hasrat Jaipuri, Sharib-Toshi, Kaalim Sheikh, Azeem Shirazi & Prashant Ingole
♪ Music Label: T-Series [‘Gumnaam Hai Koi’ on Saregama]
♪ Music Released On: 21st April 2016
♪ Movie Releases On: 6th May 2016

1920 London Album Cover

1920 London Album Cover

 

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

To hear ‘Gumnaam Hai Koi’ on Saavn CLICK HERE

To buy this album on iTunes CLICK HERE

To buy ‘Gumnaam Hai Koi’ on iTunes CLICK HERE


1920 London is an upcoming Bollywood horror flick. It is the third installment in the “dreaded” 1920 franchise, and stars Sharman Joshi as the exorcist, Meera Chopra as the wife of the person who is possessed, and Vishal Kharwal as the person who is possessed. 😛 The film is written by Vikram Bhatt, and directed by Tinu Suresh Desai, who was supposed to debut with the upcoming Akshay Kumar flick, ‘Rustom’, but this happened to release first. The film is produced by Reliance Entertainment. There’s no point discussing the story, because there will be a twist somewhere or the other, so let’s move on to discuss about the music. The music has been composed by Sharib-Toshi (Now to be credits as Shaarib and Toshi) who haven’t really impressed highly with their previous works (maybe a bit in ‘Zid’ and ‘Jashnn’). Hopefully, this might be their best album, going by the music of the first and second parts of the franchise. The duo has three songs in the album. Debutants Kaushik-Akash are the guest composers, with two songs, representing a company known as JAM (Just About Music) which has been founded by Pritam. It is an A&R (Artists & Repertoire) venture by Pritam, under which he will launch new music directors and look after their development in the industry. This is his first go at the venture, and hopefully, it turns out successful, so that he will be motivated to introduce more newbies and we will get many new, talented composers! 😀 So, here I start hearing the music of ‘1920 London’ with great expectations! Let’s hope the music keeps up to expectations!


♪ BONUS SONG

♦ Gumnaam Hai Koi
Singers ~ Jubin Nautiyal & Antara Mitra, Original Song’s Singer ~ Lata Mangeshkar, Music Recreated and Composed by ~ Kaushik-Akash, Original Composition by ~ Shankar-Jaikishan, New Lyrics by ~ Kunaal Vermaa, Original Lyrics by ~ Hasrat Jaipuri, Music Label ~ Saregama

Saregama is still at its silly behaviour, claiming rights to their old songs, if remade. That’s absolutely right, but kinda irritating by now. 😛 Anyways, they should be proud of the wonderful collection of songs they have in their kitty and the first song of the ‘1920 London’ album is yet another one of such famous old songs from them. This time, since it is a horror movie, nothing could’ve been better than this song to pick, and the makers have chosen it perfectly. The song I’m talking about is the haunting old song composed by maestros Shankar-Jaikishan, and sung by none other than Lata Mangeshkar, ‘Gumnaam Hai Koi’ (Gumnaam). And the newcomers Kaushik-Akash get a chance to put forth to the world, their version of the classic haunting song. They get the general idea, which is to make the song haunting and totally ghoulish, right. The starting itself is wonderful with all kinds of sound effects — wind, screeching bats, and a whole lot of weird ghostly whispers. Antara starts the song with a line that sounds more of a backing vocal line. Once Jubin starts singing, you definitely will get goosebumps. His smooth voice has the right amount of haunt and romance and even dominance. He touches the high notes with such ease, it is hard to imagine. The duo has beautifully crafted his part of the song, which is their own composition. The only thing retained from the old song is the hookline, and that is helmed by Antara, not sounding like herself thanks to the heavy programming of whispers, trying to make her sound like a ghost, but kind of failing. I would’ve preferred it if she would’ve been allowed to sing freely without any programming done to her voice. Nevertheless, it has been sung great, in a whispery voice and I guess it was necessary to make it sound more scary. The duo has composed Jubin’s parts perfectly, and they’re the best parts in the song. The mukhda hooks the listener, while the antara does the job of not letting go, which means the attempt has been successful. Kunaal Vermaa (‘Hasi’ — Hamari Adhuri Kahani fame) writes nice lyrics here, but I can’t make out whether they’re romantic or haunting or both. The duo excel in the arrangements. As mentioned earlier, various sound effects grace the song, and it sounds awesome. They send chills down the spine, but of course it isn’t exactly spooky; after all, it is a song. Piano and strings gracefully lead the arrangements, while the rest is digital stuff. Owls, bats, ghouls form the sound effects part of the song, and it is commendable. A great first attempt for Kaushik-Akash, and a decent revamp of the classic. Jubin excels, while Antara gets very less scope to open up!


Now, the review of the ‘1920 London’ album, released by T-Series, consisting of four songs, with three by Sharib-Toshi and one by Kaushik-Akash. 🙂


1. Aaj Ro Len De
Singer ~ Sharib Sabri, Music by ~ Sharib-Toshi, Lyrics by ~ Sharib-Toshi & Kaalim Sheikh

The first song in the album starts off with a beautiful Middle-Eastern feel of the oud, starting off the song on a high. Sharib-Toshi go the familiar way, composing a song quite similar to all their previous works of this genre. I couldn’t help but think of all their other works. It is a romantic song with a very heavy melancholic touch. To be honest, I am already very tired and sick of all this from the duo. The hookline, though repetitive and typical, however, foes garner some interest from the listener, as do all of Sharib-Toshi’s melodies. It is in the parts surrounding the hookline, where the problem lies. Nothing has been composed in a very likable or catchy tune; in fact, it exhausted me to hear the song, which is just less than five minutes long (too long when the song has nothing new to offer!) The mukhda might interest listeners, but the interest wears off until the antara. Sharib’s voice is good, but I would’ve preferred somebody else to sing this song. His voice seems too soft and rustic for the composition, which hasn’t worked in its favour, sadly. The duo really works hard to make up for the lack in melody, by giving wonderful, awe-inspiring arrangements! The arrangements are something which I haven’t heard recently! With an Indian and Middle-Eastern touch, they touch the heart and sound really grand — the aforementioned oud, various string instruments, and I think a santoor, if that’s not the oud itself, being played on a higher note. The lyrics are exhausting and boring, too, trying to be too fancy. I wonder what Sharib-Toshi wrote and what Kaalim Sheikh wrote. 😁 This will be liked only by those who love the typical Bhatt-ish songs. I’m so drained out after hearing this song! 😦 A very disappointing start by the duo.

 

2. Rootha Kyun
Singers ~ Mohit Chauhan & Payal Dev, Music by ~ Sharib-Toshi, Lyrics by ~ Azeem Shirazi

The next song in the album does start off quite promisingly. As I have said before, piano notes are a wonderful way to start off a song. They have the power to grab the attention of the listener from the beginning of the song. This time, Sharib-Toshi do just that. They use the very diplomatic piano to lure listeners into the song. However, once the listeners are lured inside, the trap is quite pleasant. Unlike my expectations after hearing ‘Aaj Ro Len De’, this song fares better. Mohit Chauhan is a safe choice taken by the composers. He sings the heard-before-yet-appealing composition beautifully. Especially the way he sings the hookline, is impressive. Payal gets to sing the second antara along with the hookline. Let me say it takes time to get used to her voice there. She seems to have used an unnecessarily high-pitched voice, trying to ape Sadhana Sargam, but after a listen or two, it starts sounding beautiful, and then it seems nobody could have done better. i don’t know how that happened because until I wrote this, I had only heard the song once and didn’t like her voice, but now suddenly started liking it. Sharib-Toshi get it right with the composition, and play  it safe there too. Though typical, it is pretty catchy, unlike the first one, which only had a catchy hook. But this song has the mukhda and antaras catchy too. The main reason for the catchiness has to be the fast pace of the song, which does make a huge difference. The hookline has been composed really well, and as I said before, sang just as well by Mohit and Payal, later on. Again, arrangements are fabulous. I remember Sharib-Toshi’s fab arrangements in ‘Zid’ as well, and it is great how they always pay attention to their arrangements, though their compositions might not be so strong. Here, they have equally balanced both. The arrangements are a good mixture of a string orchestra, rock elements (guitars and drums), digital sounds and sparkling Indian instruments like the santoor. Azeem’s lyrics are typical too, but still go well with the song and sound good, so that’s is passable. When typicality meets genius, it sounds like this. A safe song from all angles! #5StarHotelSong!!

 

3. Tujhko Mein
Singer ~ Shaan, Music by ~ Sharib-Toshi, Lyrics by ~ Azeem Shirazi

Here Sharib-Toshi try to do what I’ve been ranting and rambling on about — something that isn’t the typical horror Bhatt-ish stuff. They rope in Shaan for this, and you will understand why, after you hear the song. Sharib-Toshi have composed a happy-go-lucky, sugary-sweet song, which tries so hard to be romantic without getting melancholic. The result? The duo fails miserably even there. The sweetness is overdone, just like an over-ripe fruit. Too sweet, and you start feeling nauseated. The same is the case with this song. The composition falls into the same category of songs which Shaan is getting nowadays, that sound pretty mild and kiddish. He does well, no doubt, but it has gotten boring hearing him sing the same types of songs, with no variations at all. In the hookline he sings “main aankhon mein” in a very irritating manner. Sharib-Toshi do try hard to  give a good composition, but as I sad, it sounds too goody-goody, and artificial. With the composition and vocals not making a deep impact, we can only expect the duo to add great instrumentation, but sadly, the arrangements here are pretty clichéd and banal. What with the seemingly forced finger snaps, and other weird digital beats. Guitars and the saxophone try to normalise things, but to a limited extent. A synthesiser tries to impress in the first interlude, but even that does not work. There is nothing new in the arrangements, and if the duo wanted to make an outstanding romantic track, there are many things they could have added to the otherwise boring composition. It is high time they realise that things have changed since their debut in ‘Raaz: The Mystery Continues’ in 2009, seven years ago, when all this seemed appealing. Azeem Shirazi’s lyrics are plain and simple, but not backed by a strong composition, they fall flat on their nose, if they have one. 😛 I wanted the duo to do something different. They did. But not very impressively. It is called Typicality in Experimentation.

 

4. Aafreen
Singers ~ K.K. & Antara Mitra, Music by ~ Kaushik-Akash, Lyrics by ~ Prashant Ingole

The newcomer duo comes back to finish off the album with their second song, a romantic duet. The song does have a heard-before tune, but it has been crafted so well, that it manages to appeal to the ears, and fits into the category of breezy romantic songs Bollywood used to produce in wholesale, until those melancholic romantic songs started arriving in bulk. So, this song provides a great respite from those melancholic songs of these days. Unlike ‘Tujhko Mein’, this is a great example of how such a song is done. Kaushik-Akash score with the composition. The distinct Pritam-ish touch is omnipresent in the song, and it sounds good. The hookline does remind of Salim-Sulaiman’s method of composing romantic hooklines, and is quite pleasant itself. As with the composition, the duo has made a great choice by roping in K.K. to do the male vocals. This is his territory, and he rules in such songs, as is evident in the song. Antara does seem out of place, and to be extremely honest, Tulsi Kumar would have carried it out beautifully too, as she has sung such songs before. Antara gets more scope to open up in this song than ‘Gumnaam Hai Koi’, but still she sounds too artificially sweet. It is all the fault of her having different voices in each song. Her parts have been composed beautifully, though, doing half of her job for her. The arrangements are mostly techno sounds, but electric guitars and a faint string orchestra are audible. The fingersnaps sound good in this song. In the line just before the hookline, a wonderful church-like choir joins in with great harmonious backing vocals. Prashant Ingole’s lyrics, which would seem dull and typical otherwise, are definitely saved by the composition. At last the finale is great, with the duo showing a lot of promise. Great for a debut! Vocals and composition holds all the magic! #5StarHotelSong!!


As much as I was expecting, 1920 London isn’t even half as good! The newcomers from the A&R project fare well, even if I don’t consider that it is their debut. While on one side, with the remake of ‘Gumnaam Hai Koi’, they give a quite hellish composition, on the other side they give a breezy, heavenly composition with ‘Aafreen’. Sharib-Toshi, the more seasoned artists of the two, however, disappoint. They stick to their old templates, out of which luckily, one turned out to be exceptional, while the other two are extremely avoidable. In 2014, when the duo had claimed that ‘Zid’ was their career best, I ignored it as it was unbelievably ordinary. But now I think they had said it right. In retrospect, their career best does seem to be ‘Zid’. Horror films are seemingly their forté, seeing their albums, but here they disappoint. And thoughh the newcomers do well, neither of their two songs will have a long life; they aren’t that strong either! So overall, the album is full of song that would not grip you, or shall I say would not ‘possess’ you?? 😀 👻👻

 

Final Rating for This Album: सा < रे < ग <  < प < ध < नी < सां

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

Recommended Listening Order: Aafreen > Rootha Kyun > Gumnaam Hai Koi > Tujhko Mein > Aaj Ro Len De

 

Which is your favorite song from 1920 London? Please vote for it below! Thanks! 🙂

 

Next “dish”: Cabaret, Chefs: Kaustav Narayan Niyogi, Munish Makhija & Tony Kakkar

THE ALBUM MIGHT MAKE YOU FLEE TO KARACHI!! (WELCOME 2 KARACHI – Music Review)

Music Album Details
♪ Music by: Rochak Kohli, Jeet Gannguli & Amjad-Nadeem
♪ Lyrics by: Rochak Kohli, Ravi Singhal, Kausar Munir & Sameer Anjaan
♪ Music Label: T-Series
♪ Music Released On: 29th April 2015
♪ Movie Releases On: 28th May 2015

Welcome 2 Karachi Album Cover

Welcome 2 Karachi Album Cover

 

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

To buy this album on iTunes CLICK HERE


Welcome 2 Karachi is an upcoming Bollywood action comedy film, directed by Ashish R. Mohan, produced by Vashu Bhagnani and starring Jackky Bhagnani, Arshad Warsi and Lauren Gottlieb in lead roles. The movie is about how two adventurers find themselves in Karachi, Pakistan where they meet a girl who plays the role of an ISI agent on chase. The trailer makes things look pretty interesting and one looks forward to the film because of Irshad Warsi and the comedy that follows him everywhere. As far as the music is concerned, I wasn’t expecting all that much, but was expecting some pretty good and enjoyable songs. The music has been scored by Rochak Kohli, who impressed us with his songs in ‘Hawaizaada’ earlier this year, Jeet Gannguli, who keeps impressing but didn’t quite do so in his latest project, ‘Ishqedarriyaan’, and Amjad-Nadeem from whom I expect nothing. So let’s find out what the album of ‘Welcome 2 Karachi’ has to offer!! 🙂


1. Lalla Lalla Lori
Singers ~ Vishal Dadlani & Shivi, Music by ~ Rochak Kohli, Lyrics by ~ Rochak Kohli

Rochak Kohli is someone who has gained great appreciation and praise from everyone for his three songs in ‘Hawaizaada’. Here, he has two songs. Now, since things are different in this movie — it is a comedy film, it is kind of commercially viable — Rochak needs to follow those guidelines, go with the script and give exactly those type of songs. And that is why, you might feel that his quality has stooped very low with his songs of this album. The first song starts with an instantly appealing techno tune, which is very catchy and easily grabs your attention. The vocals of Vishal Dadlani that come afterwards, “La la la, la la la Lori” are also pretty addictive. However, after that, things take a sharp U-turn, and become really weird, ungraspable and nonsensical. First of all, the tune after that didn’t hook me that much, except in the hookline. The same tune gets repeated as the antara. The voice of Vishal Dadlani has been programmed so heavily, that it might be the first time where his natural energy can’t been heard. Shivi (I believe that’s the same Shivi [R. Kashyap] who composed the album of ‘Tere Mere Phere’, and a song ‘Aisi Hi Hoon Mein’ from ‘Amit Sahni Ki List’ previously.) sounds weird and aptly drunk, going by the theme of the song. Her parts are the worst in both tune and vocals. Jackky’s rap is not that catchy, but neither is it worse as Honey Singh, Badshah and all. Of course, Jackky has just sung, and Rochak has composed and written the rap. Also, the rest of the song which Rochak has written too, is nothing great, and makes that lullaby about a bowl of milk into a lullaby about a bowl of alcohol. The whole song revolves around that. With all those negative points, however, I have got to appreciate Rochak’s arrangements, with awesome club beats, techno/EDM sounds, and towards the end, a wonderful concert effect, complete with claps and echoes. Not excellent, but pretty catchy in the hookline, which it needed. Vocals are average as they’ve been programmed too much, lyrics are bad, but arrangements stand out!! An apt party song, but good for nothing else!!

 

2. Boat Ma Kukdookoo
Singers ~ Mika Singh, Shivi, Deane Sequiera & Rochak Kohli, Music by ~ Rochak Kohli, Lyrics by ~ Rochak Kohli & Ravi Singhal

This song starts just as impressively (arrangements-wise) as the first, and loses its impressiveness just as quick as the first, as well. The beats with which the sing kickstarts, get you hooked. But only for a relatively short time. After that the interventions (by Rochak??) that go “Kuku duku duku du” makes you lose some interest, and those female vocals succeed in doing so completely, and whatever little patience and interest you have left, quickly drains out. Anyways, after that things get a bit better once again, when the song starts with its mukhda, sung by Mika in his usual characteristic style, that makes it sound enjoyable, undoubtedly. Rochak composes the mukhda in a catchy style, but the antara gets utterly ridiculous!!! Both of them do not go together at all, and it sounds pretty weird after that. The antara has Mika singing in a very low pitch, and it doesn’t really suit him. And those female vocals come back, this time with an even more stupid tune. The hookline, again, just as in the first song, is the best part of the song. Towards the end, we get to hear some experimentation from Rochak, adding garba beats in the party song, and also singing the trademark “Hey Jeereyyyyyyy” as soon as those beats start. I was expecting something good to go with the garba beats, but no such luck, and he just repeats the hookline in a higher tempo, where those irritating voices of Shivi and Deane come back. Arrangements are good, saving the song to some extent, consisting mostly of techno beats. The dhols have been added in the hookline very efficiently, and they are what makes the hookline as catchy at it is. And, as I’ve mentioned, that garba rhythm, though not utilized well, does give some relief. Rochak teams up with Ravi Singhal this time, and they both create very slightly entertaining but mostly cheap lyrics about Gujarati food items mixed with alcohol. A failure from Rochak, barring the arrangements and the hookline!! And Mika sounds good, but only in the high-pitched portions! Everything else is irritating!

 

3. Shakira
Singer ~ Shalmali Kholgade, Music by ~ Jeet Gannguli, Lyrics by ~ Kausar Munir

Jeet Gannguli, when he had composed for Vashu Bhagnani’s production ‘Youngistaan’, had remade one of his Bengali songs to give us ‘Suno Na Sangemarmar’, one of the best romantic songs of the year. This time, the makers give him not his usual genre, romantic songs, but give him an item song to make. Yup, item song. And to do the honours in this track, Jeet chooses Shalmali Kholgade, whom he has worked with in the Bengali music industry. The song starts with an entranocng shayari by Shalmali, making you ready for an awesome mujra track. But then, the middle-eastern instruments like the banjo, horns played in an Arabic style, alter the whole feel of the song. When Shalmali starts singing the mukhda, ich is quite catchy in itself, you can’t help but move to the groove of Jeet’s composition. He succeeds in doing something different, after the album of ‘Shirin Farhad Ki Toh Nikal Padi’ and ‘Kya Raaz Hai’ (Raaz 3). The antaras have been composed just as efficiently, which make you keep listening and keeps your interest towards the song intact throughout the song. The hookline, which showcases Shalmali singing the title of the song in various tunes, is addictive too. Shalmali’s fiery rendition, in a cute but flirtatious high-pitched voice, is another reason to love it. Arrangements have been done appreciatively as well, and hats-off to Jeet for succeeding in giving catchy arrangements in a track which we are not used to hearing from him (which of course, doesn’t mean that he can’t make one) The Arabic rhythm plays throughout the song, guitars and railway engine-type beats entertain you at places, and the strings are awesome! Kausar Munir writes lyrics that don’t degrade women, as in other item songs, but somewhere sounds a lot like the woman is bragging too much. The use of different places and cities in the lyrics, though, make them interesting to hear. It adds quirk as well as a mass appeal to the song. Something never expected from Jeet, and in which he surprisingly succeeds! A catchy Latino-Araboc flavored item song, with impressive vocals, lyrics and arrangements!!! #5StarHotelSong!!

 

4. Chal Bhaag
Singers ~ Wajid & Love Juneja, Music by ~ Amjad-Nadeem, Lyrics by ~ Sameer Anjaan

The last song which this album has to offer, starts with a catchy rock guitar riff, which builds up your interest as to find out what lies ahead. But all that lies ahead is an annoying rock song, sung in an irritating manner by nobody but the composers, Amjad-Nadeem’s cousin brother, Wajid along with someone called Love Juneja. Amjad-Nadeem try to make a suspenseful, situational track, that would also appeal to the masses, but fail to come up with a grasping composition. Wajid’s energetic vocals don’t help at all either, because they sound irritating due to sounding double. What at first sounds like something interesting, turns out to be an exhausting affair. First of all, though the arrangements are commendable, with rock guitars and drums, they need to be used with an efficient composition, don’t they? But because the composition isn’t at all good, they fail to impress either. Amjad-Nadeem take inspiration from Sajid-Wajid, but the song ends up nowhere near their brothers’ rock songs, which usually impress. Also, after the Mukhda and first antara get over, the moment when you realize that there’s another interlude and antara to follow, you have no wish to continue to hear the song, as it seems too stretched at one antara itself, that you would get exhausted by the time the second antara is over. So the song is unnecessarily long and stretched. Sameer writes his usual lyrics that fall under the ABSURD category, and they don’t impress nor do they entertain. They’re just stupid and don’t make sense. Nothing to hear here, except the rock arrangements!


Welcome 2 Karachi is an album, that might as well be forgotten within one week of its release and then again be remembered after the film releases, only to be forgotten forever after that. With only Jeet’s song standing out amongst the varying degrees of ridiculosity that the album has to offer, it can be said that it is one of the most middling affairs of recent times. Also, though the film might not be needing one, a romantic track would have been appreciated! Thank God that the album is short!! Instead of hearing this album, I advise you to flee to Karachi yourself! 😝😝

Okay, it’s not that bad, as each song has something or the other to offer, and hence I have given a rating that might seem too high for this album to you.

 

Final Rating for This Album: सा < रे < ग <  < प < ध < नी < सां

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

Recommended Listening Order: Shakira > Lalla Lalla Lori > Boat Ma Kukdookoo > Chal Bhaag

 

Which is your favourite song from Welcome 2 Karachi? Please vote for it below! 🙂

 

Next: 13th Music Mastani Monthly Awards (May 2015)