Music Album Details ♪ Music by: Amit Trivedi, Badshah, Guru Randhawa & Preet Hundal ♪ Lyrics by: Amitabh Bhattacharya, Badshah, Guru Randhawa, Sabi, DIVINE & Dhaval Parab ♪ Music Label: T-Series ♪ Music Released On: 23rd March 2018 ♪ Movie Released On: 6th April 2018
Blackmail is a Bollywood dark comedy, starring Irrfan Khan, Kirti Kulhari, Arunoday Singh and Divya Dutta in lead roles. The film is directed by ‘Delhi Belly’ fame Abhinay Deo, and produced by Abhinay Deo, Ramesh Deo, Bhushan Kumar and Krishan Kumar. Now, the film’s music has been given by Amit Trivedi, with one guest composition each by Badshah and Guru Randhawa. Let’s see why I found that the two guest songs were better than Amit’s songs here!!
Now, who knows what blackmailed Amit Trivedi into accepting an album with two songs by other artists, something I believe he has never done after a certain point in his career! Anyway, he starts his part of the album with a pulsating, electrifying rap song Badla, an ode to the underdogs in the world, who wish to take revenge on the people who’ve been unfair to them. The song starts off entertainingly, with Amit singing in his trademark robotic voice, making the song actually sound as if it’s sung by one frustrated with the ways of the world. It’s the rap by DIVINE though, that lifts the song up and makes it what it is, and I’m glad Bollywood has started getting actual rap songs this year, starting from ‘Mukkabaaz’s ‘Paintra’. Amitabh Bhattacharya’s lyrics for the melody portion are functional; nothing great, but DIVINE and Dhaval Parab do a better job for the rap lyrics. Everything else like the techno sounds, is just as expected in a rap song. Bewafa Beauty doesn’t work as much as the first song; Amit seems to be trying to hard to make it sound like a 90s song just because Urmila Matondkar features in the video! The singing by Pawni Pandey is jarring at places, and the whole song as such doesn’t sound at all like an Amit Trivedi song. The lazy pace of the song and its neverending length makes it seem all the more boring. The arrangements too, are typical for such songs — there is no innovation in the synth sound, the dholaks, and it ends up sounding just mediocre. Amitabh Bhattacharya’s lyrics are the only high point of the song; they summarize the story of the movie in five minutes. Nindaraan Diyaan starts as a nice sad song with a pleasant acoustic backdrop, very similar to Amit’s ‘Jhuk Na Paunga’ (Raid) that came earlier this year. Amit’s own voice works wonders for the song, and it gives vibes of the signature Amit Trivedi sound. But when the song breaks into rock for the entire second half of the song, it seems unnecessary and loud — it would’ve been better, had it been restricted for an interlude and not till the end of the song. Just like ‘Jhuk Na Paunga’, Amit adds a soothing backing chorus that finds its way through the mist of the rock and manages to soothe the ears. The lyrics again, by Bhattacharya, are the highlight of this song that sounds like any other Trivedi song, and has nothing much working for it other than that.
Trivedi’s last song Sataasat is a quirky song, again, falling in the trademark Trivedi quirky zone, but again, it fails to impress, even with its jazz sound, the slurred vocals of Trivedi and Amitabh’s lyrics. It joins ‘Nindaraan Diyaan’ in being a “good, but not quite there” song. I can’t even see myself revisiting these four songs anytime in the near future, which is unfortunate, because Amit Trivedi was in great form last year, and to see him give an entire chunk of songs with none standing out, is disheartening.
Surprisingly, or maybe not, the mass caterers please my sensibilities even more. Badshah’s Happy Happy really manages to make you feel happy, with the signature Badshah techno loop, and groovy rhythm, not to mention Aastha Gill’s playful vocals. In fact, the portions sung by her are some of the best in the song. The lyrics are just alright for this kind of a song, but at least the song manages to make an impression and stay in the mind.
Guru Randhawa’s Patola is less memorable, but my personal favourite. That cheesy 90s sound, which he adds to Preet Hundal’s pop single ‘Patola’, to transform it from a typical Punjabi pop song, into a catchy wedding song, really works! The similarity to ‘Suit Suit’ (Hindi Medium) is forgivable, mainly because Guru takes out Bohemia’s rap, and adds his own touch to the lyrics, to tweak them as per the requirements of the movie. The same cheesy sound that ‘Ishqyaun Dhishqyaun’ (Goliyon Ki Raasleela Ram-Leela) carried, this song too carries, and in such an innocuous way, that it does create an impact.
Once again, who knows what blackmailed Trivedi into signing such an album where he was to share the field with two immensely popular hit makers, who end up surpassing him too, this time, as unbelievable as it sounds. Sadly this album is devoid of the usual Trivedi ’emosanal atyachaar’!
Total Points Scored by This Album: 7.5 + 6 + 8 + 7 + 8 + 8 =
Album Percentage: 74.17%
Final Rating for This Album: सा < रे < ग < म < प < ध < नी < सां
Note: The letter which is underlined is the final rating.
Khoobsurat is the latest outing of Sonam Kapoor. It is an upcoming Bollywood romantic comedy, and starring alongside her is Pakistani actor Fawad Khan in his debut performance. Ratna Pathak (playing Fawad’s character’s mother), Kirron Kher (playing Sonam’s character’s mother), Prosenjit Chatterjee and Amir Raza Hussain are playing supporting roles in the film. The film is directed by Shashanka Ghosh and produced by Anil Kapoor, Rhea Kapoor and Siddharth Roy Kapur, under the banners of UTV Motion Pictures, Walt Disney Pictures and Anil Kapoor Film Company. The story is about a prince named Vikram Rathore (played by Fawad) who falls in love with a clumsy girl from Delhi, Mili Chakravarty (played by Sonam), who is visiting as his new physiotherapist. This film is supposed to be a remake of the 1980 film, ‘Khubsoorat’, but as you can see from the trailer itself, many interesting tweaks have been made in the storyline, what with a royal theme to it. The fashion and glamour is more, the weirdness and quirkiness has been added, and almost everything is more than the original, so I don’t think I would call it a perfect remake, which is good, because remember ‘Himmatwala’? 😛 The film looks so quirky, so who better than Sneha Khanwalkar, to compose music for it? She is the only female in recent times who has made herself a distinct place as a composer in Bollywood. This year we saw her compose a song for ‘Youngistaan’ and two for ‘Dishkiyaaoon’, all of which were experimental to the core. That’s the specialty of Sneha. One song in the album is composed by Badshah and another song is by Amaal Mallik. So let’s see if this multi-composer album (you can definitely call it that) follows the pattern of the recent multi-composer albums and fails to impress, or if it impresses, after all! 🙂
1. Engine Ki Seeti:-Singers ~ Sunidhi Chauhan, Resmi Sateesh, Music by ~ Sneha Khanwalkar (Originally a famous Rajasthani folk song, remade before this by Anu Malik for the 1991 movie ‘Maa’), Lyrics by ~ Ikram Rajasthani
Sneha starts off the album with her version of the popular Rajasthani folk song, ‘Anjan Ki Seeti Mein Mhaaro Mann Doley’. When it’s Sneha, you have to be prepared for something out-of-this-world, and crazily awesome. She hasn’t just remade the folk song, but also added typical Sneha touches here and there, i.e, quirky noises. If there is anybody in this industry who is an expert at incorporating weird and new sounds in their music, the first names which spontaneously come to mind are Amit Trivedi, and of course Sneha Khanwalkar. Interestingly, both of them have sung for each other, too. A train whistle kicks off the track, and keeps on playing throughout the song. The item song feeling of the song is reduced a bit, thanks to Sneha’s interesting experiments. The heavy breathing in the song is one such experiment. She has also broken the singers’ voices at many instances in the song, making it sound more interesting like after the first line of the song. The weird techno noises are great, too. The backing vocals at the end of the antaras, which go ‘hich hich kole’ or ‘ras ghole kaano’ are also very fun to hear. Sunidhi has sung very well, and her voice has just the right amount of energy for the song. She has been supported very well by Malayali singer Resmi Sateesh, whose voice has provided the rustic, folk-ish feel to the song. The composition has to be credited to whoever has made it originally, but Sneha has taken it to a whole new level with her unusual experiments, yet retaining the enjoyability side of the song, so it will appeal to the masses as well. The lyrics have been modified a lot by Ikram Rajasthani, and not only modified, but also modernized. He has changed the ‘Mann doley’ to ‘bum doley’, not only creating a humourous impact, but also making the song sound more modernized. Also, instead of ‘chala chala re dalaiver gaadi haule haule’, here it is ‘dauda dauda re daraiver chal mat haule haule’! 😛 Another line has been added, ‘thoda aur bhagale driver chal mat haule haule!’ All this increases interest towards the song. The antaras have interesting lyrics too, do check them out as well! An entertaining affair, with entertaining arrangements, entertaining vocals, entertaining lyrics and no reason to hate it!#5StarHotelSong!
2. Abhi Toh Party Shuru Hui Hai:-Singers ~ Badshah, Aastha Gill, Music by ~ Badshah, Lyrics by ~ Badshah
Club party songs in Bollywood nowadays are getting more and more atrocious day by day. That’s why I started hearing this song with absolutely no expectation at all. When it started, I actually found it pretty decent, unlike other party tracks of Bollywood nowadays by Punjabi rappers like Raftaar or Badshah (‘Dhup Chik’ from ‘Fugly’, ‘The Pappi Song’ from ‘Heropanti’) The techno sounds in the beginning are very irritating, as of someone is shrieking in a very high pitch, right in your ears! The beats are catchy, which is what I pretty much see in a party track these days. Badshah doesn’t impress much with his vocals, they are still as expressionless as ever, which isn’t surprising, as he is a rapper, and I doubt he’ll ever get the meaning of melody in his whole life. However, he has roped in Aastha Gill, who was the background vocalist in ‘Dhup Chik’, to do the honors of singing the female part, and she actually sings beautifully. Her voice is very addictive (probably because of the auto tune, but who cares?) and so is the tune of her part in the song. The song has been composed like most of the party tracks, but the difference lies in the arrangements and female vocals. Everything else, like rap, is exactly the same — ridiculous. The rap actually has many, many references to Honey Singh’s songs, like ‘Lungi Dance’, and ‘Party All Night’. Lines like ‘aunty police bula legi, toh yaar tera kar lega handle’,‘kisi Ke bhi papa se ni darenge’ and ‘humein rok Ke dikhaaye jiski bum mein hai dum’ are an open challenge and ridicule to Honey Singh. It seems so funny that his ex-partner (yes, Badshah and Honey used to work together) is challenging him so obviously. The lyrics of other parts are nothing special, it’s your everyday ridiculous T-Series party song lyrics. I was surprised that this track didn’t turn out as bad as I expected, but anyways, it isn’t what you can call awesome or mind-blowing, either. Do attempt, it’s not as atrocious as the previous Punjabi rap songs by people like Badshah, Raftaar and Manj Musik. 🙂
3. Baal Khade:-Singer ~ Sunidhi Chauhan, Music by ~ Sneha Khanwalkar, Lyrics by ~ Sunil Choudhary
Sneha re-enters the soundtrack, and along with her, Sunidhi also re-enters. As I was thinking about it, I realized that in this album, a commercial female singer has dubbed for Sneha for the first time. Otherwise, Sneha always employsemploys either unknown female singers, or herself. along with these two, naturally, the weird experiments of Sneha return as well! The song is mainly about making fun of boys, and starts in a quite peculiar manner, with Sneha (?) singing ‘bwoy, bwoy’ (boy, boy), of course not without any disturbance from the techno elements. This time she has made it sound as if the voice is coming from a 60-year-old transistor. Sunidhi kicks in with probably the most deep and manly voice she can produce, and she gets some Haryanvi/Rajasthani lines to croon. Her voice has been altered a bit too, and it sounds as if she’s sitting in a copper vessel and singing. The composition doesn’t attract you as much as ‘Engine Ki Seeti’, but then again, that wasn’t original. The pace of the song has been kept less, and it works in favourite of the song, though not making it capable to be a hit. The arrangements are a bit more attractive than the composition here, again with the heavy use of techno sounds. The lyrics are humourous, but only if you listen carefully and try to understand what they mean, otherwise they come across as some Rajasthaninglish (Rajasthani + English) gibberish. Sneha has tried her best to keep up the weirdness level that she had set in the first song, and she succeeds in that, but fails in the composition part. Might not cater to everyone, but nevertheless worth listening, not at all bad! This time there’s a bit of a fault in the composition.
4. Preet:-Singer ~ Jasleen Kaur Royal, Music by ~ Sneha Khanwalkar, Lyrics by ~ Amitabh Verma
After the the three weird songs, here comes a sad song, which one would never have expected from Sneha, but here it is! She has composed it very efficiently, and her trend of introducing new singers carries on here; she employs a singer named Jasleen Kaur Royal, who was a contestant of ‘India’s Got Talent Season 1’, and gives her, her big Bollywood break. Though she’s not a young teenager, but she has sung so innocently, that she definitely sounds like one. Sneha has composed such a cute and touching tune, unlike her usual compositions. Here, her signature techno sounds are surprisingly very less, and instead the singer has been given a lot of space to showcase her talent. The instruments in the background are also very minimal, chimes being the leader here. Some sound effects can be heard here and there, but none try to overshadow the girl. The tune is superb, and of a type you would never expect from Sneha, as I said before. Especially the tune of the lines from ‘Jo main jaanti…preet na kariyo koye’ are very graceful, and WOW! The backing vocals throughout the song (Rajasthani style) are awesome, and carry on the song brilliantly. The strings in the interlude are beautiful too. It is supposed to be a sad song, and it does sound like one, but at other parts, it sounds like a lullaby too. It is a five-minute long song, but you will never get bored at any second of the song. The lyrics by Amitabh Verma are very brilliantly written. The concept itself is beautiful. It would translate to ‘If I knew that love was so painful, I would go around the town, shouting not to fall in love.’ Such a beautiful line. The heart-touching lyrics have been given a just as heart-touching tune by Sneha, and have been rendered in an even more soul-stirring way by Jasleen. It is a miracle, how Sneha has managed to compsoe such a melancholic song, and that too, without disturbing too much with her touches. A must-listen song, which will definitely reach out to you in the first listen itself!#5StarHotelSong!
5. Maa Ka Phone:-Singers ~ Priya Panchal & Mouli Dave, Music by ~ Sneha Khanwalkar, Lyrics by ~ Amitabh Verma & Sneha Khanwalkar
As soon as it starts, you can tell that Sneha’s otherworldly, alien sounds are back with this song, because of the way it starts. Her usual techno sounds open up the song, and a dialogue follows, ‘lekin tabhi meri ringtone baji’. Priya’s hilarious voice that follows, is something worth paying to listen for everyday, with her deliberately thin voice dominating the composition. She sings so differently each time, that one can’t help but get addicted to her voice each time. The last time, in ‘Johnny Johnny’ from ‘Entertainment’, the same thing happened, and it’s no less addictive here! She has tried her best to be at her humourous best, and impressed this time too. The way she says ‘melodrama, melodrama’ or ‘maan ka phone aaya, maa ka, Teri maan ka phone aaya..’ in an intentionally nasal voice, is just too hilarious! She’s just awesome! The way she says her line, ‘aaye tujhe bhi naani maa ka phone, maa Ki Maa ka’ is the most funny, and always leaves me in a ‘laugh-out-loud states every time. The arrangements might be too loud, but suit the theme of the song. It revolves mainly around a mother’s phone call coming at the wrong moment each time, and the complaints of the daughter. The club-type arrangements have been very well used with the lyrics. Mouli Dave, who gets relatively a very small part, does well, too, but her part seems like nothing as compared to the insane part which Priya has got and she always gets overshadowed by Priya. The last time they sing the hookline, it sounds a bit overdone and aggressive, but after so much entertainment, it can be forgiven, right? 😀 Sneha has played the tune of the hookline in the voice of the keys of a phone, numerous times in the song, which is another commendable and awesome experiment by her. The hookline itself is so catchy and wacky, that nobody can bear to not hear it. The arrangements, which are, as I said, mainly Sneha’s signature alien noises, also include some interesting South-Indian and Punjabi percussion, and the fusion sounds very, very impressive, creating an awesome impact. The lyrics are just as enetertaining, and zany. Amitabh and Sneha have worked together to make sure we double over with laughter while we hear the song. And it has worked. Another must-listen! Don’t expect anything decent, because it isn’t decent, instead it is as ridiculous as it could get, but I mean all this in the most positive way that there could ever be! Definitely a#5StarHotelSong!
♪ Extra Song:-
♪ Naina:-Singers ~ Sona Mohapatra, Armaan Malik, Music by ~ Amaal Mallik, Lyrics by ~ Kumaar
This song released later, and until it released, I was feeling the absence of a beautiful romantic song very badly in this album, but then it did release, and my wish was granted. It turned out to be just that, a touching romantic melody. Amaal Mallik, who didn’t impress me that much with his two songs in ‘Jai Ho’, has surprisingly composed a gem of a song for this album, and has also roped in a singer with one of the most distinct and beautiful voices, Sona Mohapatra, to sing it. His brother, Armaan, has sung the male part of the song. Beautiful guitar starts the song, and Sona enters with her great, earthy voice, which always imparts a relaxing feeling. She never fails to impress with her voice. Last we heard her was in ‘Purani Jeans’, singing the unplugged version of ‘Dil Aaj Kal’, so it was very refreshing to hear her again. Armaan has also sung wonderfully, and with a lot of expression! The hookline, ‘aey Mann karda ae thagi thoriya…’ has been composed in a very mature manner, and the arrangements in that part are magical as well. The soft drums and guitars make the song a beautiful romantic ballad, which is worth hearing for a hundred times on loop. The composition, as I said is very mature, and something I had never expected from Amaal, yet he proved me wrong, and gave this gem of a song. The tune is awesome and very sweet. The lyrics by Kumaar are in Punjabi, and they are just as beautiful as the vocals and composition are. The song somehow reminded me of ‘Kabira’ from ‘Yeh Jawaani Hai Deewani’, probably because of the arrangements in the hookline. Nevertheless, the song is something you shouldn’t be missing out on just because it released later! Get yourself updated, and if you haven’t heard this song yet, you haven’t heard what is, in my opinion, the best song of the album!#5StarHotelSong!
Khoobsurat was an album from which I was expecting quite a lot, ever since I got to know that the music composer is Sneha Khanwalkar. Quite interestingly, she has employed all female voices to sing in this album, showing woman power, because none of her songs disappoint as such. All have the ability of being heard again at least twice or thrice, or maybe even more number of times! Badshah tto hasn’t disappointed that much with his song, as Amaal Mallik has undergone a huge improvement in nine months, and has given an awesome, melodious, romantic song. Okay, these other two composers, I wasn’t expecting anything from, but they still delivered above expectations, since expectations were none. What I liked about the album was the weirdness, yet variety which unfolds at the end. The sweetness, yet bitterness of the album. (With sweet as well as some aggressive and not-so-sweet but still enjoyable songs 😛 ) This album turns out to be a thoroughly enjoyable one, with many interesting elements, and it lives up to its name, being khoobsurat after all, but just in a different way!
Final Rating for This Album:- सा < रे < ग < म < प < ध< नी < सां
Note:- The letter which is underlined is the final rating.
Which is your favourite song from thus album? Please vote for it below! 🙂
Next:- 5th Music Mastani Monthly Awards (September 2014)