AAI SHAPPAT, A NAADKHULA ALBUM FROM SLB AND TEAM!! (MALAAL – Music Review)

Music Album Details
♪ Music by: Sanjay Leela Bhansali, Shreyas Puranik & Shail Hada
♪ Lyrics by: Prashant Ingole, A.M. Turaz & Vimal Kashyap
♪ Music Label: T-Series
♪ Music Released On: 21st June 2019
♪ Movie Releases On: 5th July 2019

Malaal Album Cover

Listen to the songs: JioSaavn | Gaana

Buy the songs: iTunes


Malaal is an upcoming romantic drama starring Meezaan Jaffery and Sharmin Segal in lead roles; the film is directed by Mangesh Hadawale and produced by Sanjay Leela Bhansali, Bhushan Kumar, Krishan Kumar and Mahaveer Jain. The film revolves around two youngsters “from different backgrounds who experience the innocence of true love”, as per its official synopsis. In short, it is an everyday Bollywood romance. The film has songs composed by Sanjay Leela Bhansali, and two of his assistants who have been around in the music credits for his directorials for quite some time, Shreyas Puranik (who composed a song for ‘Bajirao Mastani’) and Shail Hada (SLB’s usual arranger/programmer). While Bhansali handles the major chunk of the album (five out of seven songs), the other two get charge of one song each. It isn’t everyday that Sanjay Leela Bhansali composes for his non-directorials (in fact, I believe it is the first time he is composing for one of his non-directorial productions), so it will be interesting to see what he offers, especially because he has been in this period/folk musical world for his previous two to three films, so I’m quite excited how he returns to the contemporary setting.


Bhansali’s first song on the album is the techno-tapori dance number Aila Re, an amalgamation of sorts, of ‘Tattad Tattad’ (Goliyon ki Raasleela Ram-Leela) and ‘Malhari’ (Bajirao Mastani). If the cacophonous programming is ignored in this song (which isn’t as easy as it sounds) it has the potential to be a hit among the masses; a catchy hookline is all it needs to catch public attention. Obviously, my attention isn’t grabbed by just a catchy hookline. For me, it is the antara‘s composition that redeems the song for me. The dhols are remnants from ‘Tattad Tattad’ and ‘Malhari’, and that’s where the music gets a bit heard-before and stale. But the other elements like the piano in the prelude and interlude, and the crazy bass and synthesizer sounds, make it listen-worthy, at least once. Vishal Daldani puts his irresistibly grungy voice to good use — the singing by him makes the song suitable for the setting the film is shown to be in. Shreyas Puranik’s Marathi rap is cringeworthy, being a Marathi speaker myself, and could have been avoided. Prashant Ingole’s lyrics are also suitable for the song’s setting; can’t really comment more on that.

Providing much more fun to my Maharashtrian ears is the love song with an aarti backdrop to it, Udhal Ho. The song is a mishmash of cliches from many traditional Marathi numbers, but in entirety, it seems to work as an enjoyable folksy number. Adarsh Shinde, the vocal boombox of the Marathi music industry, finally gets his solo singing debut in Bollywood, and he seizes the opportunity and makes the most of it. His voice texture being so fresh and raw, would provide something new for Bollywood music listeners. The arrangements are traditional Maharashtrian folk arrangements, with the banjo (bulbultarang) and dhols being the most prominent. The comoosition by Bhansali becomes really catchy after a few listens, and the ladies’ choruses in the hookline, interlude and towards the end, where the song detours down a wonderful aarti path (“Dono ka hoga kalyaan…”) provide a fresh touch. The use of the Fu Bai Fu refrain is cool too! Prashant Ingole’s Marathi+Hindi lyrics are refreshing; most Marathi film songs nowadays are a mix of Marathi and Hindi, but it is nice to see so much Marathi in a Hindi film song for once.

Another traditional Marathi-sounding song, Aai Shappat, takes the Koli route, what with the dholkis (Sanjeev Sen) and guitars (Rutvik Talashilkar) being plucked in the Koli fashion. Sanjay Leela Bhansali introduces a new singer, Rutvik Talashilkar, with this one, and he sings the song well, except that he seems to be struggling with his Marathi diction even with the one line of Marathi he sings in this song. The composition of the antara is charming in this song, but something seems forced or missing in the first half. The song is just two and a half minutes long, and is probably the least appealing of all the songs in the soundtrack, composition-wise. Prashant Ingole, once again, pens down very regular but functional lyrics.

The quintessential Shreya Ghoshal song of every Sanjay Leela Bhansali album cones next. Kathai Kathai is a beautiful romantic ballad for the monsoons; Bhansali’s composition is soothing, though very closely overlapping the composition of his own ‘Ishqyaun Dhishqyaun’ (Ram-Leela) in one bar of the song. (Dil pe mandraaye, bhanvre sa woh haaye) You half expect her to sing ‘Ishq yeh tera mera ishqyaun ki dhishkyaun..’! However, the next line “Dekho na dekho na” makes up for it big time. The use of mandolin (Tapas Roy) and flute (Paras Nath) in this song makes it sound all the more beautiful, Jackie Vanjari’s music production making the song stand a class apart. Melody queen Shreya traverses the dulcet melody with ease; then again, when does she ever sound off when it is with Bhansali, her mentor? A.M. Turaz joins Ingole for the lyrics for this song, and the use of the word ‘Kathai’ (meaning ‘light brown’) is an interesting choice to describe the eyes of the heroine’s love interest, because if I am not wrong, it has previously been used only to describe the eye colour of the girl in Bollywood songs — as in Anu Malik’s ‘Kathai Ankhiyon Wali Ek Ladki ‘ (Duplicate) and Sajid-Wajid’s ‘Rabba’ (Heropanti).

The last of the Bhansali compositions happens to be a very pensive and melancholic title song, Ek Malaal. Bhansali’s melody doesn’t flinch from touching the teevra and komal notes, giving it an overbearing haunting quality. The use of strings and the grand Bhansali-esque beats (the song has been arranged by Shail Hada, who arranged most of Bhansali’s latest albums, so that is where that touch comes from) makes the song sound more opulent. The composition of the antara is splendid, Shail handling the aalaaps with perfection. The slow tempo of the song only adds to the suspense and aura of the song, though it isn’t a song I would go and voluntarily play. Prashant Ingole’s lyrics are thoughtful, with the use of the titular word done quite well especially.

After the great singing performance by Shail Hada, we are treated to his entrée as a composer, a soft romantic duet, Zara Suno. The short duration and its adorably captivating composition work in its favour — the song doesn’t get to waste too much time in letting you like or dislike it, and that is what led me to like it, the honest and genuine attempt. Rutvik Talashilkar and Aanandi Joshi are in charge of the vocals, and though Aanandi does a great job (as she did earlier this year in her spectacular song ‘Anand Ghana’ from ‘Anandi Gopal’) with her portion, I couldn’t help but wish the male singer was somebody else. Shail’s composition being so honest and simple, didn’t need grand arrangements, but he tries to give it justice by adding guitars (Shomu Seal) and strings, and the tablas and sitar deserve special mention. Vimal Kashyap writes the lyrics as cute as Shail has composed the song, completing the package as a cute and simple affair, all in all.

Having saved the best for the last, Shreyas Puranik’s Nadhkhula seems to be the best romantic song I’ve heard in a long time, and just how I like it — a perfect mix of Indian instruments and a melodious tune. Shreyas sings the song himself, and his voice is brilliant; we did get a sneak peek of it towards the end of the Payal Dev-led ‘Ab Tohe Jaane Na Dungi’ (Bajirao Mastani), but this seems to be his first full-length solo song. As soon as it starts, with the piano and ethnic strokes (Tapas Roy), it evokes some kind of magical feeling that seems all the more magical because of the rains. The melody is decorated with sounds of running water, and a beautiful percussion loop (Prashant Sonagra and Mayank Shankar) props the hookline to a pedestal that just places it higher than the hooklines of any other recent Bollywood song. The interlude has a beautiful flute solo by Tejas Vinchurkar, and the flute follows into the antara, which by the way, is one of the most impeccably put together set of notes I have come across in a long time. But the real goosebumps moment is when you hear the Marathi chorus coupled with Vinchurkar’s flute towards the end of the song — which is when it really hits you, what a magical song you had been listening to for the past three minutes. Prashant Ingole’s lyrics are interesting again for the use of the word Nadhkhula, a Marathi slang word used to denote something awesome. This song would be the qualitative and musical equivalent of ‘Nainowale Ne’ (Padmaavat), in that it is in essence a ‘rainy season song’, if you know what I mean!


Total Points Scored by This Album: 7 + 8 + 6.5 + 8.5 + 7.5 + 8.5 + 9.5 = 55.5

Album Percentage: 79.29%

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: Nadhkhula > Zara Suno = Kathai Kathai > Udhal Ho > Ek Malaal > Aila Re > Aai Shappat

 

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

MULTI-COMPOSERS KI OONCHI UDAAN!! (HAWAIZAADA – Music Review)

Greetings! I just thought that it would be sensible to post this review on Republic Day as the movie is about the achievement of an Indian, after all! So Happy Republic Day and enjoy the music review of Hawaizaada!


Music Album Details
♪ Music by: Rochak Kohli, Mangesh Dhakde, Ayushmann Khurrana & Vishal Bhardwaj
♪ Lyrics by: Vibhu Virender Puri & Mirza Ghalib (Dil-E-Nadaan)
♪ Music Label: T-Series
♪ Music Released On: 19th January 2015
♪ Movie Releases On: 30th January 2015

Hawaizaada Album Cover

Hawaizaada Album Cover

 

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

To buy this album on iTunes CLICK HERE


Hawaizaada is an upcoming Bollywood film which is the directorial debut of lyricist Vibhu Virender Puri (‘Guzaarish’, ‘Chor Chor Super Chor’), produced by Vishal Gurnani, Rajesh Banga & Reliance Entertainment and starring Ayushmann Khurrana, Pallavi Sharda & Mithun Chakraborty in key roles. The movie is based on the life of Shivkar Bapuji Talpade, who had allegedly invented a flying machine (the world’s first unmanned plane) here in India six years before the Wright Brothers did so in U.S.A. Since very little information is known about Talpade, Vibhu Puri decided to explore this topic further and make a film about it! The story really seems very interesting, and I just wish the movie also gets all the love and positivity from the audience when it releases on 30th January. Coming to the music, because this is a music review, it has been composed by four composers, thus making it a multi-composer album. The composers are a Marathi composer Mangesh Dhakde, who has composed a Hindi album in 2013 called ‘Chor Chor Super Chor’, Rochak Kohli, Ayushmann Khurrana and a guest composition by the one and only Vishal Bhardwaj! So you can see now why I am so excited about this album. And now, the time has come to review it! Let’s see exactly how high this plane flies! 😉


1. Hawaizaada Dil
Singer ~ Rochak Kohli, Music by ~ Rochak Kohli

The soundtrack is opened up by Rochak’s light and heartwarming rhythmic vocals (pbrooo-pbroo-pbru-pbru-pbru), after which the actual words start. Rochak sounds a lot like Mohit Chauhan, and sings the song in a very lively way. Western-styled guitar has a prominent role in the track; it makes sure the listeners do not get bored, and also keeps the track lively and also very quirky and different. The antaras have the charm in them which makes us groove to the tune and the guitars which Rochak has equipped in the background, also sound great in this composition. Lyrics by Vibhu Puri are also sweet. I also found ththough the composition does not instantly hook you, it grows with time and then it couldn’t be any better! I found myself humming it all day! 😀 Nice, lively opening to the album by Rochak! #5StarHotelSong!!

 

2. Daak Ticket
Singers ~ Mohit Chauhan & Javed Bashir, Music by ~ Rochak Kohli

So here, along comes the actual Mohit, after the first song sung by Rochak who sounded like Mohit. And as always, Mohit impresses and how! His metallic voice proves to be very effective for the song, and half the battle is won there itself. His voice is supported by Javed’s Sufi-esque vocals, which enhances the already great song even more. Going on to Rochak’s composition, I believe that it is one of the sweetest and most motivational songs of the year so far. A beautiful traditional melody mounted on a catchy tabla rhythm just makes you delighted when you hear it. Arrangements are fabulous and make great use of mostly traditional style of playing instruments like the tablas, daflis and flutes. Occassional trumpets and drumrolls give the British rule feel. Again, Vibhu Puri excels with the lyrics, which are so very motivational and radiate that unmistakable positivity. It’s all about the confidence Shivkar Talpade had in himself that he would surely make history. Full marks to Vibhu for the lyrics! A beautiful song, impossible to hate. Full marks for composition, lyrics, arrangements and vocals!! #5StarHotelSong!!!

 

3. Maazaa My Lord
Singers ~ Mohit Chauhan & Neeti Mohan, Portuguese Vocals ~ Thomson Andrews & Gwen Dias, Music by ~ Mangesh Dhakde

The next composer Mangesh steps in with yet another song drenched in brilliance. Mangesh Dhakde had composed a very retro-style tune, one which reminds you instantly of the 50s era of Bollywood music. Mohit and Neeti’s fabulous singing reminds you of the classic Rafi-Asha duets of the time. Right from the beautiful prelude which the song opens up with, wonderfully sung by Mohit Chauhan, you can sense something different and unique about the song. The accordions and Spanish guitars are the main attractions of the song, and they have been equipped mastermindedly by Mangesh. The Latin feel has been brought out awesomely because of the unique composition and music. Neeti sounds a class apart in the song even though she has a comparatively smaller part than Mohit. Her part in the antara is just too lovely. One of the interludes, has a splendid Portuguese chorus which takes your breath away. This song has a very distinct Victorian feel to it. Lyrics are even better in this song, comparing the whole love process to a court case. Unique concept! Words like “my lord”, “vakaalat”, “hukumat”, “kachehri”, “daleel”, “mukaddama”, “binaah” and many more make the song sound more sophisticated. Finally, Neeti’s grand conclusion to the song leaves you wanting more even after 5 and a half minutes! Everything about this song is truly stupendous, and Mangesh very impressively gets his big break in the Bollywood industry! #5StarHotelSong!!

 

4. Dil-E-Nadaan / Dil-E-Nadaan (Reprise)
Singers ~ Ayushmann Khurrana / Ayushmann Khurrana & Shweta Subram, Music by ~ Ayushmann Khurrana, Poetry by ~ Mirza Ghalib

Ayushmann gets his first credit as a music composer in a Bollywood film with this film, and what he has given us, really proves that he deserves this honour! Actually, this should’ve happened ages before, is what we think! Mirza Ghalib’s immortal poetry, which has already been recreated many times before, gets yet another variation to it. Ayushmann has composed a completely different tune to the poem, and it is one which will give you goosebumps, literally! The use of tablas really enhances the composition throughout, and a lot! Santoor notes each time in the hookline, really give a calming effect. Guitars have not been used as prominently as in other Ayushmann songs, but this time the classical instruments have overshadowed it. Violins and a sitar interlude also impress greatly, not to mention waterdrop sounds in the second antara. Ayushmann’s performance is awesome, with his usual sweet sounding variations. The reprise version takes the classical song to rock level, giving it an altogether different feel. Do watch out for the twist in the second antara in this version. Shweta Subram, newcomer, starts off wonderfully with the couplets of Jigar Modarabaadi’s “Aag Ka Dariya Doob Ke Jaana”. She sounds awesome! Though it is rock song, it still sounds very soothing somehow! Hats-off to Ayushmann for giving such a beautiful composition!!! #5StarHotelSong!!

 

5. Udd Jayega
Singers ~ Sukhwinder Singh & Ranadeep Bhasker, Backing Vocals ~ Rahul Mukherjee, Ranadeep Bhasker, Aanandi Joshi & Moumeeta Choudhury, Music by ~ Mangesh Dhakde

A folksy string instrument welcomes us into the nest song with Sukhwinder’s unique rustic vocals following. The song is another motivational and inspirational one, feeling even more so because of the energetic composition by Mangesh. Actually, the composition reminded me a lot of A.R. Rahman’s songs from ‘Lagaan’. Awesome job by Mangesh to accomplish something like this. His arrangements are also outstanding. The wind instruments and Daflis placed each time the hookline comes, makes you get hooked to the song instantly. The lyrics by Vibhu enhance the inspirational feeling even more. He has compared the plane (which is being designed by the scientist in the film) to a swan or hans. What a great comparison! Of course, we can also take it to mean that the hans is the scientist, who will accomplish his dream of building a flying machine and fly to the heights (as in, get famous). That has been left to us to decode. 😃 The vocals by Sukhwinder, are as always great, and Ranadeep’s short recitation from the Bhagavad Geeta has been wonderfully incorporated into the song. The backing vocalists also do a brief but great job. Catchy arrangements enhance the composition to levels which are unbelievable! Kudos to Mangesh! Yet another #5StarHotelSong!!!

 

6. Dil Todne Ki Masheen
Singer ~ Rekha Bhardwaj, Music by ~ Vishal Bhardwaj

The senior to all the other composers, and a musical genius according to me, Vishal Bhardwaj, finally enters this till-now superb album, to add some magic of his own to it. And what he presents in front of us, is something very amazing and stunning. For a female item or dance number, what better choice has he than to take his own better half, Rekha Bhardwaj? And she renders his awesome, catchy composition with ease and expertise. Here, he has composed a very traditional Maharashtrian folk song, a Lavani, in a very professional way, as if he himself is a Maharashtrian. The introduction to the song itself assures you that the song will definitely have something incredible to offer you. The contrast between the mukhda, which is very raunchy and masaaledaar, and the antaras, which are a bit milder and have a easier-to-the-ears tune, has been balanced expertly. Traditional lavani instruments like lezim and dholkis have been used by Vishal to make the song sound like a genuine lavani. Both the male and female backing vocals appointed by Vishal have done great to take the song to another level. The unusual Spanish guitars in the lavani also work in favourite of the song! That was an interesting fusion! Vibhu’s lyrics also go with the theme of the song. 😃 Vishal gives us one of the most dhamaakedaar item/dance numbers of late! Finally a song for the masses in this classy album! Not that the classes won’t appreciate it, though! #5StarHotelSong!!

 

7. Yaadien Gatthri Mein
Singer ~ Harshdeep Kaur, Music by ~ Mangesh Dhakde

Mangesh returns with a shorter and more soothing version of ‘Udd Jayega’, this one sung peacefully by the Sufi queen of today, Harshdeep Kaur. Though she has very little lines to sing, she does present them with extreme serenity and showcases her immense talent even in these one and a half minutes. Mangesh supports her with beautiful backing orchestrations consisting of violins and flutes. Short and sweet, sure to bring a smile on your face! Nevertheless, it is definitely a #5StarHotelSong!!

 

8. Turram Khan
Singers ~ Papon, Ayushmann Khurrana & Monali Thakur, Music by ~ Rochak Kohli

Rochak returns towards the end of the soundtrack after his two brilliant opening songs, bringing back with him, his quirk and individuality. Ordinary, soft, contemporary guitar riffs kick off the song, composed mostly on the country template. An abrupt and unexpected tempo switch not too far into the song, surprises, but also makes you smile. Lively arrangements made up of impressive banjos and whistles, have been awesomely managed by Rochak. The hookline with the rhythmic “Tu Tu Tu Tu turru Tu..” also sound great. Lyrics by Vibhu Puri give a clear insight as to what situation this song must have been placed in the film, with the scientist’s peers not quite believing in him, and dismissing his dream as nonsense. Of course, since the song is situational, it might not impress all at once, but the vocalists and energetic tune take care of that. Ayushmann and Monali, do not have very big parts as compared to Papon, who does very well, but even they impress in their short portions. A wonderful glimpse of country music is displayed in this song, with awesome vocals, lyrics and quirky music! #5StarHotelSong!!

 

9. Teri Dua
Singers ~ Wadali Brothers, Lakhwinder Singh, Harshdeep Kaur, Ravindra Sathe, Backing Vocals ~ Ranadeep Bhasker, Rahul Mukherjee, Aanandi Joshi & Moumeeta Choudhury, Music by ~ Mangesh Dhakde

‘Udd Jayega’ once again gets a makeover, and this time, with a divine Qawwali and Bhajan touch. The Wadali Brothers, Lakhwinder and Harshdeep bring in the beautiful Sufi touch required and Mangesh does a brilliant job in giving a Qawwali twist to the already magnificent composition. A wonderful Bhajan touch has also been given towards the middle of the song. Qawwali instruments like harmonium, tablas, pakhawaj make the composition sound even more angelic. Vibhu’s altered lyrics, in my opinion, are the best lyrics of any song in the album! Again, the song radiates a lot of positive and supreme energy. Backing vocals have been equipped and managed expertly in this song as well. In the Bhajan portion, sacred manjeeras and bells do the job of grasping our attention very well, before giving way again to the Qawwali. All the singers have been aptly chosen and do an outstanding to provide a memorable ending to the album! The best version of ‘Udd Jayega’ in my opinion, solely for the Qawwali-Bhajan fusion and the vibrant arrnagemnts and vocals! Brilliant ending to this fabulous album! #5StarHotelSong!!


As you can see, Hawaizaada can easily be called a #5StarHotelAlbum, as all songs in it are #5StarHotelSongs! With the numerous multi-composer albums releasing nowadays, which didn’t quite impress, Hawaizaada is the first in months that we actually had faith in to break the stereotype and prove that, of well-managed, even a multi-composer album can do wonders! Director and lyricist Vibhu Puri has done a great job in selecting apt songs for all the situations which would sound great with the narration as well as sound great when heard individually! Hawaizaada turns out to be a special case, in the sense that it is the first multi-composer album in which all the songs impress, and all the composers seem to be complementing each other very well, unlike others in which the composers seem to be conflicting in musical style and genres! The multi-composers have shown their ability to embark on a flight to the musical heights!!

 

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: No order as such, as all the songs are gems, but make sure you do not miss even a single one!

 

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

 

Next “dish”: Khamoshiyan, Chefs: Jeet Gannguli, Bobby-Imran, Naved Zafar & Ankit Tiwari