NO CHANGE IN THE JUGRAAFIYA OF AJAY-ATUL’S MUSIC!! (SUPER 30 – Music Review)

Music Album Details
♪ Music by: Ajay-Atul
♪ Lyrics by: Amitabh Bhattacharya
♪ Music Label: Zee Music
♪ Music Released On: 9th July 2019
♪ Movie Releases On: 12th July 2019

Super 30 Album Cover

Listen to the songs: JioSaavn | Gaana

Buy the songs: iTunes


Super 30 is an upcoming Bollywood film starring Hrithik Roshan, Pankaj Tripathi and Mrunal Thakur in lead roles. The film is directed by Vikas Bahl and produced by Nadiadwala Grandsons Entertainment, Phantom Films and Reliance Entertainment. The film revolves around the life of mathematician Anand Kumar, who helps prepare 30 brilliant but underprivileged students for their entrance exams for Indian Institutes of Technology. Bahl’s previous two films have had music by Amit Trivedi, but here, surprisingly, he chooses Ajay-Atul, maybe due to the setting of the film in a rural backdrop, and Ajay-Atul’s music rides high on folk influences. The album is a short and situational one, with five songs, so let’s see how Ajay-Atul deliver as per the film’s theme!


In the mostly situational album, with its lyrics propelling it more than halfway, the only song with any semblance of universality happens to be Jugraafiya, a delightful and cheerful romantic duet, delivered to the point by Udit Narayan and Shreya Ghoshal, a duo we haven’t heard together in a proper duet song (obviously ‘Radha’ from ‘Student of the Year’ doesn’t count) in a long time! The song starts with a signature Ajay-Atul mandolin piece, followed by the melody which kicks in at a low pitch, only for the next line to go higher, until the cross-line and hookline lead to the musical peak, in typical Ajay-Atul style. From that peak, the notes are dropped into a signature Ajay-Atul strings section coupled with a woodwind. The antara is interesting in that it is a string of notes that seems neverending, but I found Udit’s antara better than Shreya’s, because Shreya sounds a bit uncomfortable to the ears with the unbelievably high pitch of her portion. But, as mentioned before, the tune and complexity of the antara is enough to keep you hooked. The second interlude too, follows the standard strings-and-brass template of Ajay-Atul’s. The hookline is quite similar to the “Aga jhannanala” portion from the ‘Sairat’ title track, another case of structural similarity in Ajay-Atul’s songs, the same way the hook of the ‘Dhadak’ title track was similar to the ‘Mere dil mein jagah khuda ki khaali thi..‘ refrain of ‘Sapna Jahan’ (Brothers). The singing by Udit and Shreya is great; it is refreshing to hear Udit after so long, with the same vivacious quality in his voice that made him the top singer in the 90s. Amitabh Bhattacharya provides funny, conversational lyrics, and the use of the Urdu word for ‘Geography’ — ‘Jugraafiya’ — is interesting.

Another track with fun lyrics is Basanti No Dance, a situational song that is used in the film as the backdrop of a street play the students are performing on Holi. Here, the composers had to take in the street play aspect, and the Holi aspect, while composing the song. And it has turned out quite well, but the song just didn’t fit together for me as a whole. The composition is catchy in parts, but the situational dialogue parts make it digress in intervals, making the catchiness intermittent and sporadic. The phrases I really enjoyed were the “No No No…” and “They throwing eenta, we throwing rocks..” Otherwise, the other portions of the song did not really work for me. Also, the lack of anything in the background throughout the first half of the song makes it sound bare and naked. The second half has Ajay-Atul add bass and the song ends with an arousing patriotic-sounding string+brass section, which is all good. The four singers, Divya Kumar, Prem Areni, Janardan Dhatrak and Chaitally Parmar, out of which only Divya Kumar is a known name, carry the song’s comic lines well, but it is Divya Kumar who stands out nevertheless, and none of the others. Amitabh Bhattacharya’s lyrics try to tackle the language barrier that exists in the country, but that dissolves somewhere in the middle, and the song becomes a story about dacoits chasing Basanti, the character from ‘Sholay’, while you are left scratching your head trying to find the connection. The dholaks work in favour of the song as it is a Holi song, but again, I wish the first half wasn’t so bare.

In the same league is Question Mark, a jazzy and groovy song with quirky lyrics. The song is the most suitable for the film which is about a mathematician tutoring a group of underprivileged students. The drums, guitar and piano, coupled with the mandatory brass instruments make the song sound really creatively done, and Hrithik Roshan sounds really good; I never knew he sung so well. There are some places I almost thought the song was tailor-made for Sonu Nigam. Towards the end of the song, it turns into a retro chase sequence for some reason, with the bass guitars really cranking up the tempo, and a cool percussion beat being added to the proceedings. It provides the composers with a nice way to end the song on an intriguing level; ending it on the soft jazz note would’ve been less intriguing.

Paisa also rides on the 70s Bollywood template, but this time, it is the full song and not just the end of the song. You are instantly reminded of Kalyanji-Anandji’s music when the song is kicked off with that warped sound that dominated 70s Bollywood music, coupled with trumpets and drums, and those signature retro disco beats. With such an interesting prelude, the song follows a very staid template as it progresses. The duo’s composition is catchy, and so are the trumpets and beats and trademark retro strings, but the programming seems to be done lazily or it is just deliberately dated. The interlude is really intriguing; the retro touch helps it, but the song just gets lost in its antara — I found myself waiting for the hookline to come back, because that is, in short, the only catchy part of the song as far as the song’s melody goes. Vishal Dadlani sings the song with ease; it is not difficult for him to sing such songs — ‘Zaraa Dil Ko Thaam Lo’ (Don 2) bears testament to the fact. He is the go-to for composers to sing such songs, and thankfully, he doesn’t let Ajay-Atul down here and brings the song up a notch with his rendition. Bhattacharya writes lyrics as if the sole aim of the protagonist was to earn money and spend it overindulgently. The retro ‘Don’-like music also makes it sound like that and don’t even ask me about the song’s picturization. Of course though, I will not be judging the musical creation based on how wrongly it is used in the film — not my job.

A whole chorus of singers — Arohi Mhatre, Aditi Prabhudesai, Pragati Joshi, Maithili Panse, Sonal Naik, Rucha Soman, Deepti Rege, Deepanshi Nagar, Ann Fernandes, Dr.Pallavi Shyam Sundar, Shivika Rajesh, Riddhi Sampat, Kinjal Shah, Umesh Joshi, Vijay Dhuri, Mandar Pilvalkar, Vivek Naik, Rahul Chitnis, Saurabh Wakhare, Janardan Dhatrak, Gaurav Medatwal, Chaitanya Shinde, Abhishek Jhawar, Nimish Shah, Yash Kapoor and Mayukh Pareek —  leads the last song Niyam Ho, a melancholic orchestral piece that starts off like ‘Sapna Jahan’ (Brothers) and then progresses like ‘Vaara Re’ (Dhadak). The composition is really strong, probably the best composed song on the entire album. The music is beautiful — the orchestra gives you goosebumps, especially in the hookline, where things get really opulent. The brass and strings, yet again, work together to prop the song to a higher level. And the chorus gets the song’s intricacies beautifully. Amitabh Bhattacharya’s lyrics are really beautiful too, and rely on inspirational lines to make the already moving composition sound even more emotional. Towards the end, a nice beat on the drums kicks in, giving it a more millennial sound. All in all, the song ends the situational album on a very grand note!


Super 30 is one of Ajay-Atul’s less musically brilliant albums; the duo focuses on the film’s theme and that is appreciable. Once again, the orchestra in their arrangements does half the work for them, and all in all it turns out to be a lyrics-led situational album with a few memorable musical moments and no song memorable as a whole.

 

Total Points Scored by This Album: 7.5 + 6.5 + 7 + 6 + 8 = 35

Album Percentage: 70%

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

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

Recommended Listening Order: Niyam Ho > Jugraafiya > Question Mark > Basanti No Dance > Paisa

 

Which is your favourite song from Super 30? Please vote for it below! Thanks! 🙂

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

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

Listen to the songs: Saavn | Gaana


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

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


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

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

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

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


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

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

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

Album Percentage: 83.75%

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

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

Recommended Listening Order: Dhadak Title Track > Zingaat > Vaara Re = Pehli Baar

 

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

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

SAIRAT (MUSIC REVIEW): Kolhapuri Tadka (Marathi Special) 🎉🎆

I know, I know! It’s taken me just less than two years after ‘Lai Bhaari’ to come back to review a Marathi album, but the album that has inclined me to do so, is really worth it! 😀 I just couldn’t skip this one! A musical by Ajay-Atul… Nagraj Manjule’s ‘Sairat’!


Music Album Details
♪ Music by: Ajay-Atul
♪ Lyrics by: Ajay-Atul
♪ Music Label: Zee Music Company (Marathi)
♪ Music Released On: 5th April 2016
♪ Movie Releases On: 29th April 2016

Sairat Album Cover

Sairat Album Cover

 

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

To buy this album on iTunes CLICK HERE


Sairat is an upcoming Marathi romantic movie starring newcomers Rinku Rajguru and Akash Thosar in the lead roles. The movie is directed by Nagraj Manjule, director of the National Award-Winning Marathi film ‘Fandry’. The movie is produced by Nagraj Manjule, Nikhil Sane and Nitin Keni. The film has been showcased at the prestigious 66th Berlin International Film Festival (Berlinale). The music is by the talented Marathi music director duo, Ajay-Atul, with their last in Marathi being ‘Nilkanth Master’ last year, which was also an awesome album. Also, the fact that the music was recorded in Hollywood (Los Angeles) makes me even more excited to hear it — it is the first Indian film to have done so!! So, I wouldn’t want to explain much about the film, other than the fact that it has four beautiful songs composed by Ajay-Atul… So here goes!


1. Yad Lagla
Singer ~ Ajay Gogavale

The album starts off with a romantic song, one that is highly different from the usual romantic songs we hear every day in Bollywood or even Marathi movies. An orchestra of strings welcomes us into the song with grandeur of the same level as that of Broadway, or any other Western classical music like those composed by Beethoven, Bach, Mozart etc. Ajay-Atul are experts at creating romantic songs, and I feel they haven’t been put to their fullest use in Bollywood yet, because they can compose way better than they have given for Bollywood movies in the past, even though that itself is so good, so imagine how great they can compose! 😀 (Sorry if that was too confusing… Read it again, you might get it.) Here, too, they have put their expertise on display, having created a song that touches the soul with its majestic tune and arrangements. The lyrics are Marathi folk lyrics, not the Marathi you would hear nowadays in cities like Mumbai, but that which you would hear in the smallest of small villages. The wonderful thing about it is that, even though the lyrics are so rustic and folksy, as is the composition, the arrangements don’t make it seem so at all, being grand and regal like some Western classical piece. It is all the magic of the orchestra (conducted by renowned orchestra conductor Mark Graham — who has conducted for some films in film franchises like ‘Star Wars’, ‘Rio’, ‘Harry Potter’, ‘Percy Jackson & The Olympians’, ‘Spider-Man’, and even ‘Ice Age’, to name just a few!) The wonderful violins play almost throughout the whole song, and sounds just plain scintillating. Flutes and horns also stand high with their parts! Especially when the hookline is played on flute, that part would make your heart skip a beat. In the mukhda, there is a really feel-good peppy portion, in which the flutes play a wonderful game of hide-and-seek, peeping out from behing Ajay’s bold voice after each word. Piano is the prominent instument in the antara, where there are really very minimal instruments, until the peppy part from the mukhda repeats, after which the arrangements pick up pace again. A wonderful backing chorus supports Ajay, but at the end, there is Shreya Ghoshal humming the hookline which lasts for a very short time period, so enjoy it while it lasts, which you will definitely! 🙂 A wonderful, grand second interlude consists of horns and strings in a stupendous symphonic manner. Ajay’s rustic vocals are too good in this song and perfect too! Nobody could’ve done it better than him!! Matkas and daflis are some of the nest attractions of the song, but they can easily be missed because of the grandeur of the western symphony! Under any circumstances, do NOT miss them! 😀 Ajay-Atul write perfect lyrics for the song as well, which have a nice ring to them and with the beautiful composition, they go well! BLISS! A nothing-could-have-been-better opening to this album! #5StarHotelSong!!

 

2. Aatach Baya Ka Baavarla
Singer ~ Shreya Ghoshal

A ‘tick-tock-tick-tock’ sound opens the next song, with a female chorus starting to sing a halad (Marathi for haldi) song. At that moment, you might make the assumption that this is another one of those Marathi halad songs, with a traditional touch, traditional instrumentation and even a traditional style of singing it. However, there is a twist in the story! The song which at first glance seems like a traditional wedding song, has been given a dynamic rock flavour, that doesn’t interfere too much with the traditional flavor, but instead, works in favour of the song. Once Shreya kicks in, we are once again reminded how great Ajay-Atul’s singer choices are. She literally rocks the song! Even in Marathi, she pronounces each and every letter perfectly. There are parts where she has to sing calmly and smoothly, and others where she has to make the most of her energy by putting it wholely into the song, and she manages this very well. There is never a single moment in the song when you will think that tere is too less or too much of energy and enthusiasm. There are mellow parts in the song, which, after hearing, we can understand why Ajay-Atul chose her, but other parts which sound more upbeat and peppy than most songs she’s sung before, we are bowled over by her spot-on rendition of them! This song relies less on instrumentation than the first song, but nevertheless, one can’t imagine what the song would be like without the spectacular 90s rock template — it would be plain boring. Electric guitars and drums along with horns, make the song really catchy. In the antaras, the song gets calm and soothing (I think this is Ajay-Atul’s favourite structure for a song — to make it soft in the beginning, give it a solid impactful hookline with wonderful interludes and then simmer things down in the antaras, only to crank it up again with the advent of the hookline). Shreya does a wonderful little harkat towards the end of the antara, and makes you fall in love with her voice again. The hookline has been designed to be very cool, what with Shreya’s voice tripled singing the word that builds up to the climax of the hookline, the most catchy part of the song. Awesome! Where the first interlude is a beautiful sitar combo with electric guitars, drums and horns, the second goes back to traditional halad sung by the chorus of women. Ajay-Atul’s lyrics, again work their magic. A composition that would have sounded bland without Shreya, or the rock template. Ajay-Atul teach the world how to make a romantic song upbeat, and how! #5StarHotelSong!!

 

3. Sairat Zaala Ji
Singers ~ Chinmayi Sripada & Ajay Gogavale

For the next song, Ajay-Atul rope in their latest favourite, who crooned their last popular mass hit, ‘Mera Naam Mary Hai’ (Brothers) for them, Chinmayi Sripada. This time it’s a wonderful originally Marathi romantic song she gets to sing and not a remake of a Marathi dance number. 😛 All I say about this song, will be too, too, too, too less. A heavenly harp starts it off, with a sweet and playful flute kicking in just afterwards, soon joined by the grand string orchestra. Chinmayi, with her smooth and calming voice, starts off with a haunting melodious piece, until Ajay takes over and completely floors us with his beautifully rustic rendition! The hookline will make those goosebumps show themselves, and I bet they will never go away until the song ends. (I know that’s kind of impossible, but just read it since I’ve written it! 😛 ) Arguably the best song of the album, this one has both the singers touching new highs with their respective renditions. I would never have thought that Chinmayi’s most impressive work for me, would be for a Marathi film! And as for Ajay, any praise for his vocals will be too less, it will end up becoming an insult. So I won’t say anything else, because I take it that you’ve got the idea. Orchestration led by the duo has such a wonderful impact on the listener, and it is clear that it has been done with a lot of caution and care. Again, the strings own the music, with earthy percussion by the folk drums (sounding more South-flavoured than Maharashtrian to me) with the flutes following close behind. The interludes are experiences par excellence. The first one has a wonderful flute piece with two flutes seemingly talking to each other! It sounds so sweet! The violins follow after that, classically leading us to the first antara. The second interlude has flutes playing a tune that sounds so Irish-flavoured, I would’ve liked it on bagpipes more! 😀 Until the orchestra with strings and brass horns joins to spice it up! The composition has no competition, and I can only thank Ajay-Atul for giving it to us so majestically. All parts of the song sound so beautiful, having that wonderful Marathi folk flavour. Ajay-Atul, yet again, write rustic lyrics which appeal so much, and sound way cuter than the urbanized Marathi. 😁 Ajay-Atul decide to end it off with a grand orchestral piece consisting of strings and brass instruments, which has been designed regally. Waiting for something like this in Bollywood, but of course, that will only happen when the producers stop trusting massy songs to do their work. :\ As for this, it is a #5StarHotelSong!!

 

4. Zingaat
Singers ~ Ajay Gogavale & Atul Gogavale

This seems to be the only song in the album, which hasn’t been recorded in the U.S.A. Hear it and you’ll get why I think so. 😀 Don’t get me wrong! I’m not criticizing… 😀 The last song of the album, which carries hopes of a great great grand finale with it, is a song that is no doubt gonna make it big in small villages all over Maharashtra. It has that massy flavour that has to attract the masses no matter what. In fact, it is so infectiously catchy, that I am having trouble thinking about what to write because of it’s unmatchable energy! 😀 It starts off with club beats and an English female chorus. But then the dhols kick in, never to stop again until the song ends. The song is so weirdly awesome, you never know when it stops, which is what just happened to me. It has played thricealready and I’ve only written this much. :p The composition is something that is clearly aimed at the masses, but will definitely leave the others in awe (you know, the type of awe when you just stare at whatever is in front of you, and keep your mouth open and then a fly goes in and by the time you close your mouth, the fly has gone up and down your oesophagus a thousand times or so. 😛 ) Ajay-Atul sing with so much energy, enthusiasm, joy and oomph, that one simply cannot ignore it. The hookline is something you can find only in a Marathi song. 😂 The lyrics by the duo, this time, are funny. 😀 This song was so distracting (I mean it positively) that I was struggling to write the review for it… Read it again, and I’m sure you won’t find anything substantial! 😛 #5StarHotelSong!!


Sairat turns out to be just as expected — beautiful melodies from the masters at melody-making, Ajay-Atul. And of course, one compulsory high-energy dance number from the duo. I’m not gonna lie and say stuff like “I never expected this from this film” and blah blah. 😛 Just as expected, a mind-blowing, short and sweet little album!

 

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: 😒 

 

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

THE GOGAVALE BROTHERS HIT THE RIGHT CHORDS!! (BROTHERS – Music Review)

Music Album Details
♪ Music by: Ajay-Atul
♪ Lyrics by: Amitabh Bhattacharya
♪ Music Label: Sony Music
♪ Music Released On: 24th July 2015
♪ Movie Released On: 14th August 2015

Brothers Album Cover

Brothers Album Cover

 

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

To buy this album on iTunes CLICK HERE


Brothers is a Bollywood action drama film that released on 14th August, 2015. The film is directed by ‘Agneepath’ fame Karan Malhotra, and produced by Karan Johar, Hiroo Yash Johar and Endemol India. The film stars Akshay Kumar, Sidharth Malhotra, and Jacqueline Fernandez in lead roles, and Jackie Shroff and Shefali Shah in supporting roles. The story revolves around two brothers, who hate each other, and how situations arise that make them fight against each other in an MMA (Mixed Martial Arts) competition. David, the elder brother played by Akshay Kumar, is married to Jenny (Jacqueline) and their daughter suffers from a kidney ailment. How the two brothers eventually come together forms the plot of the story. Yes, I didn’t hear many excellent reviews for this film, nor am I eager to watch it anytime soon, but one thing I was really excited about, was the music. I know I’m late for the review, but I had heard the album the day it released and … Well, read the review to know! 😉 The music has been composed by the same duo that rarely is heard in Bollywood, by whenever they compose, they take the industry by storm. It happened about eight months ago when their song from ‘PK’ became a rage in the nation, perhaps even the world! Before that, their single in ‘Bol Bachchan’ and their album for ‘Agneepath’ was loved by the masses and classes alike. Now they’re back with the ‘Agneepath’ team, to provide the score for yet another movie. Yup, you guessed it! I’m talking about Ajay & Atul Gogavale!! After a long time, they’re coming to compose the full album of a Hindi movie, and expectation are pretty high. After all, they’ve set a very high bar to cross with ‘Agneepath’! So, do they cross the bar, or just miss it, or come nowhere near it?? Read on to find out! 🙂


1. Brothers Anthem
Singer ~ Vishal Dadlani

Enchanting, haunting piano notes start off the album to this drama film. And what follows just blew my mind away! The first one minute holds such wonderful magical stuff, that you are sure to fall in love with this song in the first one minute itself. And get this — it’s all just instrumental for that one minute!!! How wonderfully Ajay-Atul have arranged the instruments in different layers, each instrument kicking off after some eight beats, giving the prelude to the song an enormous depth. The piano notes, joined by the impactful percussions, which in turn are joined by awesome strings, and then an inspirational brass portion, followed by some majestic female humming. Once Vishal Dadlani starts, Ajay-Atul have already managed to create an anthemic atmosphere, one that gives you the energy and makes you enthusiastic enough to complete any task. And we know Vishal, he’s an expert in passing on his immense energy to the listener, just like a vibrating body passes on its energy to the air around it. And he does just that! The mukhda is less of a typical Bollywood mukhda and is more like a short introduction to what’s going to come next. After singing a few lines, the orchestra takes over again, and we are treated to a grand exhibition of various instruments, ranging from the motivational percussions, to a very energizing vocal chorus, some goosebump-invoking strings, and the regal trumpets! It altogether makes for a really interesting interlude before the so-called antara. And I’m calling it ‘so-called’, because its tune is more like that of a mukhda!! Some unusual composition Ajay-Atul have placed in front of us, yet making sure it has us captivated right from the beginning to the end. The backing vocals do a great job in keeping up the motivational aspect, not letting it die for even one second. Vishal has a wonderful portion to sing after the backing vocalists do their job; the tune of which is really motivational and anthemic in the true sense of the term. The second interlude brings forth an impressive drums solo piece, which would keep the listeners glued to the song! Other percussion in this interlude is also commendable. That hook tune, the haunting one, is really beautiful, and using it in this song was a great decision, because it sounds really motivational! Before the song ends, the tune can also be heard played on piano and sung by the choir. And the grand finale to the song is done by a haunting choir part, which increases the suspense and ends the song at the climax of the suspense! It leaves a huge impact on the listener! Amitabh has left no stone unturned in giving the song lyrics that would appeal to the youth, and also such that it would be suitable for an anthem! The words, when put to Ajay-Atul’s very fine and mature melody, really spring to life! An anthem indeed!! Something motivational, inspirational after a long time, and something which is perfectly PERFECT!! #5StarHotelSong!!

 

2. Gaaye Jaa (Female Version) / Gaaye Jaa (Male Version)
Singers ~ Shreya Ghoshal / Mohammed Irfan

Next up, we have a haunting, pensive melody, that is sure to make your eyes well up with tears. The strength of the melody is such that you can’t help but get emotional, no matter how rock-hard you and how much of a macho-man (or macho-woman, for that matter) you may be from the inside. First, we are introduced to the female version, sung mellifluously by Shreya, the modern nightingale of Bollywood music, and a regular in Ajay-Atul’s albums. The moment the song starts, with a showcase of her great command over vocals, humming a haunting tune, the suspense in you keeps on growing as to what for the song has been presented in such a dramatic way. Yes, the song does come across as overdramatic in places, but the absence of a trademark Bhatt stamp, helps listeners to swat that thought away, instantly. Ajay-Atul have woven a touching melody, that touches your emotional strings and makes sure it leaves you in a thoughtful state. The various attractions they have added throughout the song, like the church-templated chorus, and the beautiful instrumentation in the interludes, ensure that the listener does not go anywhere in the six-odd minute song. The female opera-like voice in places increases the haunting effect manifold and leaves an impact on the listener. Mohd. Irfan, though, in the male version, does not create even half the impact which Shreya creates in hers, maybe because of the expression he has unknowingly left out of his rendition. In all aspects other than the vocals, the song is unaltered, yet the choice of Irfan doesn’t seem perfect as that of Shreya had seemed for the former version. Where Shreya sounds like a mother singing for her son in her version, Mohd tries to bring in the aspect of a son singing for his mother in his version, succeeding only to some extent. Amitabh’s lyrics are just as touching as the composition, and if you miss them, the emotional impact of the song will be considerably less than it is when you do pay attention to them! Instruments like flute, strings beautifully grace the composition, and make it perfect as an emotional breakdown song. The antaras have been composed in a slightly lighter-to-the-ears manner, unlike the mukhda which initially scares you with its straightforwardness. Heart-touching stuff from Ajay-Atul, perfectly showcasing the mother-son relationship. A great combination of Indian Classical and Western music styles! Shreya’s version is more recommended than Irfan’s! #5StarHotelSong!!

 

3. Sapna Jahan
Singers ~ Sonu Nigam & Neeti Mohan

After the emotional melody that I’m sure brought your eyes to tears, it’s time for an enchanting romantic track. First of all, I don’t think Bollywood listeners are familiar with the magic Ajay-Atul can infuse into their romantic songs. The romantic songs they’ve given previously for Bollywood movies, fit perfectly into the “romantic song” category, and so naturally Bollywood music listeners have underestimated them in this genre. ‘Saathiya’ (Singham) and ‘O Saiyaan’ (Agneepath) were some of the remarkable compositions from them under this category, out of their previous albums; besides that, I don’t think they’ve given any memorable ones. But hold that thought just for a second… And listen to this song. Because I’m sure, when you’re done hearing this song, you’ll be shocked as to why they haven’t come up with romantic songs like this before in Bollywood — or did the makers of the films not need any? Anyways, this song will wash away all your previous misconceptions that Ajay-Atul can compose only typical romantic songs, and this idea will be immediately replaced by the idea that they can compose anything! Haunting, charming, melodious, lilting, call it whatever you want, but you will never find a single flaw in the song as far as the composition goes. Above that, when you’ve got someone as prestigious as Sonu Nigam lending his voice for your song, what’s the reason to worry? Sonu, another one of Ajay-Atul’s favourites (I really like the way in which they don’t steer clear of some of the seasoned singers even with the inflow of the newer ones) brings the touch of simplicity as well as complexity in each note, and the soft texture of his voice makes it sound all the more heavenly. As for Neeti, I can’t seem to fond anything perfect to say about her in this song!! She too imparts the soft, yet divine and supreme quality in her rendition, leaving the listeners spellbound. Arrangements are just as majestic, with the incredibly enticing piano notes, strings and those oh-so-lovely brass parts. The real magic lies in the awesome orchestration in the hookline “Mere Dil mein jagah khuda Ki khaali thi…”. The tune of that line is also enough to stifle a waah! from your lips, not to mention that wonderful exotic percussion. Neeti’s parts in the antara, are some of the best-composed lines in recent times of Bollywood music. I fell in love with them instantly, maybe because of that recognizable A.R. Rahman feel they carry, either knowingly or unknowingly done. Amitabh too leaves not a single stone unturned in making sure that his lyrics touch the soul. The concept of the lyrics itself is genius! When it’s Sonu with Ajay-Atul, you cannot expect anything less than this!!! But you can definitely expect more in the future!! Extraordinary! #5StarHotelSong!!

 

4. Mera Naam Mary
Singer ~ Chinmayi Sripada

After hearing those first three impressive songs and then finally coming to the end of the album, you feel as if you’ve reached the end of this album a bit too soon! But imagine your surprise when you find out that it is an item song that has been kept at the end of the album which has had very occasional dull moments till now! This very fact kills all the excitement. However, considering what Ajay-Atul had made in ‘Chikni Chameli’ (Agneepath), which I believe was quite tolerable unlike all the other songs of this genre, there was still some hope left in me that they could do the same thing with this song too. Much to my disappointment, I did not find anything all that interesting in the song. ‘Chikni Chameli’ was a recreated tune from one of the duo’s Marathi songs ‘Kombdi Palali’ (Jatra), but they had altered it in many places. Unfortunately, this one too is a remake of the other song ‘Ye Go Ye Ye Maina, also from ‘Jatra’ (it had only two songs :P) And Ajay-Atul have not seemed to make any effort in changing anything from the Marathi song while remaking it. Everything from the tune to arrangements are pretty much the same, except that the arrangements have been a bit more revived and infused with life (they were pretty dull in the original). Here too, they don’t sound that magnificent either! Another drawback is the very wrong choice of singer here. Chinmayi for a romantic song, and I’m fine with it, but for an item song?? Not okay!! With her soft voice, she contradicts the whole energetic aspect that an item song should ideally carry, and this kills the song. Definitely, Shreya or Shalmali could’ve done way better! As for the lyrics, Amitabh seems to have been in a hurry to write something, just so that it fits into the tune and rhymes. It doesn’t appear that he was interested at all whether whatever he wrote made sense. And lastly, how many times does it take to tell someone your name before it gets carved in their brain? Even a mathematics formula gets stuck in our head instantly. But Mary seems to think that she has to remind us every one minute what her name is and how sure she is of her love for us! Pathetic! If there’s anything that might make you groove to the song, it’s the traditional Marathi folk beats that just manage to get you dancing a bit, after which they lose their impact as well. By the time the song ends, you probably would’ve made up your mind never to hear it again! But you’ll have to hear it sometime or the other, because this is the country where such songs are the only ones that are noticed!! Not an ideal ending to an album that impressed so much with its other songs!


Brothers can rightly be called Ajay-Atul’s comeback to full albums. After leaving us craving for more after ‘Agneepath’, they finally decide to show up with their next full album after more than three years! And they do not leave without leaving us happy and enchanted. All four songs are of different varieties, out of which the item song is sure to fail because of less attention given. But barring that, the other songs have not much in them to complain about! Especially ‘Sapna Jahan’! So the Gogavale brothers show their immense talent in a short album, which will, unfortunately, also have a short playlist life too, because of the failure of the film. However, for true music lovers, it will always remain there as a source of calmness gifted to us by the wonderful Ajay-Atul! 

 

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: Sapna Jahan > Brothers Anthem > Gaaye Jaa (Female Version) > Gaaye Jaa (Male Version) > Mera Naam Mary

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

Finally, Thanks for bearing with my late, yet long review!! 🙂 And also, sorry for the delays!

 

Next “dish”: All Is Well, Chefs: Amaal Mallik, Himesh Reshammiya, Meet Bros., Mithoon & Anand-Milind

GHAJAB MYUJHEEK ALBUM-VAA!! (PK – Music Review)

Music Album Details
♪ Music by:- Shantanu Moitra, Ajay-Atul & Ankit Tiwari
♪ Lyrics by:- Swanand Kirkire, Amitabh Verma & Manoj Muntashir
♪ Music Label:- T-Series
♪ Music Released On:- 17th November 2014
♪ Movie Releases On:- 19th December 2014

PK Album Cover

PK Album Cover

 

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

To buy this album on iTunes CLICK HERE


PK is an upcoming comedy drama film, directed by Rajkumar Hirani, and produced by Rajkumar Hirani, Vidhu Vinod Chopra and Siddharth Roy Kapur. The film stars Aamir Khan in the lead role, while Anushka Sharma, Sanjay Dutt, Sushant Singh Rajput and Hirani’s regular, Boman Irani appear in supporting roles. Ever since the first look of the film was released, many rumours have been making rounds and there have been many speculations as to what exactly PK is. While some believe Aamir’s character is an alien, others claim otherwise. So, there has been a lot of buzz about this film. The music has the job to increase that buzz and keep it steady till the film releases, and for that, we need a strong music album, for which seasoned and expert music directors are required. Now, Hirani has continued his partnership with Shantanu Moitra, with Ajay-Atul composing one song as guest composers. Till the last moment, only these two music directors (three if you count Ajay and Atul separately) were involved with the movie, but you know T-Series. It can’t stand the sight of a just two composers in its album! So for the sake of T-Series, along comes Ankit Tiwari to compose one more song for the film! Anyways, something great is expected from the album, so let’s see, whether Shantanu, Ajay-Atul and Ankit have performed as per expectations! 😊


1. Tharki Chokro
Singer ~ Swaroop Khan, Music by ~ Ajay-Atul, Lyrics by ~ Swanand Kirkire

Ajay-Atul get to do the honours of opening the soundtrack with their track. They have composed a quite humorous, but cute and fun dance number in totally Rajasthani style. Well, I would understand if they had been called and made to compose a Lavani or Maharashtrian folk song, but the fact that Hirani called them specially for a Rajasthani folk track, is quite surprising, and so is their excellence at composing it! Right from the dholaks, to the catchy tune and awesome rhythmic beats, they have got everything PERFECT!! And oh, how dynamically lively and energetic it sounds! Swaroop Khan, a contestant of Indian Idol 5, who we heard earlier this year in albums like ‘Hawaa Hawaai’ (Hitesh Sonik) and ‘Filmistaan’ (Arijit Dutta) — both very underrated, unfortunately — finally gets the recognition he deserves and a huge song for Aamir Khan in Bollywood! His Sukhwinder-like voice is perfect for the song. The way he sings ‘Ararararaa…’ sections of the song is just mindblowing! That is so difficult to sing! The brass band touch which Ajay-Atul have given to the very folk-sy Rajasthani composition just enhances that folksiness of it and works in favor of the song! 😃 The soft, flowy section which takes the form of the second antara of the song has been decorated by a beautiful dafli rhythm, which really stands out, so listen to that part very closely! The backing chorus provides a nice comic effect at times. Towards the ending, there is a sweet shehnai-like portion (maybe nadaswaram?), which just blows you away! Swanand’s lyrics, which I have deliberately saved for the end to talk about, are funny, and also cute at the same time! They are situational, but very enjoyable! A PERFECT start to this album! Energetic, lively and just mindblowing! Double thumbs-up for the arrangements and vocals! #5StarHotelSong!!

 

2. Nanga Punga Dost
Singer ~ Shreya Ghoshal, Music by ~ Shantanu Moitra, Lyrics by ~ Swanand Kirkire

Shantanu enters the soundtrack with the next song, which he has mostly to himself hereafter, save that one song by Ankit. With him comes his regular upbeat, peppy, happy-go-lucky music and the enjoyable feel that characterizes his music. Shreya Ghoshal, a regular in Shantanu’s albums, gets to sing this song, and she does so with great ease and finesse. The bright guitar riffs start off the song, but gradually as the song progresses, the violin can be heard in many parts, and it sounds so wonderful! Especially when it has been played rapidly in the interludes. The tune of the song is nothing different from what we have heard from Shantanu time and time again, however, the brilliant arrangements and awesome vocals of Shreya take it to an altogether different level. The percussion beats in the background behind the violin interludes are great too. The lyrics by Swanand are sweet as well. He is an expert at writing such introduction songs, and this song, quite like ‘Ala Barfi’ from ‘Barfi!’, is the introduction song of the character ‘PK’. The lyrics are just as sweet as those of that song. They are like a tribute and remembrance to PK. The otherwise ordinary tune is enhanced by the vivid arrangements and beautiful vocals! Lyrics deserve a thumbsup! Nevertheless, for me it is a #5StarHotelSong!

 

3. Chaar Kadam
Singers ~ Shaan & Shreya Ghoshal, Music by ~ Shantanu Moitra, Lyrics by ~ Swanand Kirkire

The next song takes the form of a cute, light-hearted waltz-y romantic duet between the two superb singers, Shaan and Shreya. Shantanu’s composition is instantly likeable, and very very catchy! The vocal rhythm rum-paay-ra-ray… just increases the catchiness, and gives it a distinct European feel. Shaan, who was practically absent from singing this whole year (except some songs in small films like ‘Balwinder Singh Famous Ho Gaya’ and his beautiful song from ‘Jai Ho’) returns with a bang! He sings so well, that it surprises me how he has been getting so less songs to sing of late. Shreya, as usual, impresses, and does full justice to the melody. The harmony between the two singers in the vocal rhythmic part which I mentioned, is worth hearing again and again. The arrangements on this song are a beautiful blend of guitar and sublime piano notes, which just steal your heart! Of course, the violin can be heard here as well! The lyrics by Swanand again, impress a lot, being simple but impactful! Shantanu has used a nice waltz beat and awesome European-style arrangements and hook tunes to enhance his composition. A feel-good romantic song, bringing Shaan back into limelight, and also relaunching waltz in Bollywood! And extra points for that entrancing vocal hook “Rum-paay-ra-ray!” #5StarHotelSong!!

 

4. Love Is A Waste Of Time
Singers ~ Sonu Nigam & Shreya Ghoshal, Music by ~ Shantanu Moitra, Lyrics by ~ Amitabh Verma

The soft notes of the jaltarang open up this song, followed by sharp and catchy violin notes. Sonu Nigam opens with cute lines, which he has sung beautifully. It shocked me to see Sonu Nigam back on a T-Series album! I wonder what lengths Rajkumar Hirani had to go to, to retain sonu’s voice in the film. Shantanu has composed an extremely sweet and light (basically, all his tunes are light 😜) tune, which gives a jolly feeling. The singers Sonu and Shreya are in top form, where Sonu gets to sing major portions. Shreya gets a very minimal portion, and so she doesn’t really shine as much in this song as she did in the other two songs of hers in this album. The violin has been used nicely here, too, and guitars decorate the sweet composition. Though the composition seems ordinary and nothing unique at first, with subsequent listens it gets better and better. Moving on to Amitabh Verma’s lyrics, they are entertaining to the core! The UP touch has been awesomely given to some of the words, providing the comic effect as well as giving a cute feel to it. The oh-oh-oh-oh sounds by the two singers is very nicely carried out. Ultimately, it turns out to be a sweet and likeable tune, even though it might not seem so instantly! #5StarHotelSong!!

 

5. Bhagwan Hai Kahan Re Tu
Singer ~ Sonu Nigam, Music by ~ Shantanu Moitra, Lyrics by ~ Swanand Kirkire

Sonu returns to sing yet another song in the album, this time all to himself. Shantanu has created a touching melody, resembling his own ‘Jaane Nahin Denge Tujhe’ from ‘3 Idiots’ not a little, but a lot! Nevertheless, this one still has the same amount of emotion and feel in it (some may argue that it has a bit less, to which I don’t object, either) as the first song. Sonu has sung beautifully, as always, and his singing suits the calm and touching melody. The mukhda, as I said, connects a lot with the song from ‘3 Idiots’, but the real magical moments of this song are experienced in the antaras where the composition is more intense, and at its climax. The arrangements are awesome as well. Violin, of course, do not leave us here either, and along with that Shantanu has added many more attractive elements to increase the likability of the song. The occasional dafli beats, rock guitar, and the brass portions which can be heard at places, are some of the most attractive instruments of the song. That interlude, which is the same between all the stanzas, is just goosebump-provoking! With the vocal choir singing and the intense, thrilling music behind, it just awes you! Swanand’s lyrics are some of the most touching ones in Bollywood recently. About a depressed soul, looking for God. Beautiful!!! A very emotional, touching composition, rendered soulfully by Sonu! #5StarHotelSong!!

 

6. PK Dance Theme
Instrumental by Shantanu Moitra

This being an instrumental track, I didn’t really have much expectations from it. According to me, it would probably be some portion of the background music, which would appeal only while watching the film. But was I mistaken! It turned out to be another sweet number, that suited the lightheartedness of the film. The peppy tune is enough to get you swaying and nodding your head along to the beats. The basic tune is a faster version of the oh-oh-oh bit from ‘Love Is A Waste Of Time’. Well, it grabs your attention immediately and actually does make you dance! Whatever arrangements Shantanu has done for the song, all work in the song’s favour. It is not only for making PK dance, but also to make us dance along with him!

 

7. Dil Darbadar
Singer ~ Ankit Tiwari, Music by ~ Ankit Tiwari, Lyrics by ~ Manoj Muntashir

After all that sugary-sweetness of Shantanu, now it’s Ankit’s turn to come into action. Of course, right when he starts the first note of the song, things seem odd, out of place and mismatched. Ankit with his autotuned voice, disturbs the whole feel and ambience created by Ajay-Atul and Shantanu, and provides us with a sequel to his own “Galliyan” (Ek Villain). The song is not a romantic song, mind you, but has the feel of the typical Ankit Tiwari romance. Bhushan Kumar at T-Series must have felt that the inclusion of this song in the album would increase its takers (and surely it did!) but didn’t he, just for a second, stop to think whether the song would fit in with the rest of the album? Nope. That’s why we have got a whole different-sounding song in the album, which doesn’t know itself, what it’s doing there. Anyways, the arrangements of this song are slightly better and improved from “Galliyan”. The use of oud really enhanced things there, and so did the Daflis. The vocals are the typical Ankit affair, with his voice being autotuned. Now people will start calling him Ankit “Autotune” Tiwari! 😂 The composition, thoigh bearing many, many resemblances to “Galliyan”, still steals your heart. The lyrics by Manoj are also good. I have no problem with this song, and it certainly would have got the prestigious tag, had it been in any way RELEVANT to any of the other songs! A pretty different and misfit ending to this album!


 

PK is an album that relieves from the Arijit fever that Bollywood has been suffering from nowadays. Ajay-Atul and Shantanu both have provided memorable songs, while Ankit too has provided a memorable, but irrelevant song. A mismatch song, in simpler words. All the songs have that repeat value in them, that makes you play them over and over again without getting bored. Also, they have a sweet innocence in them, just like the character ‘PK’ seems to have! 😃 Rajkumar Hirani, yet again, has stunned us with a really great soundtrack, which works for the film. As for T-Series, it would be better off if they stop advertising their new finds and ghusao-fying their songs into each and every album they can lay their hands on! An album which is perfect for the perfectionist! And also a nice break from the other typicality in Bollywood nowadays!

 

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 PK? Please vtoe for your favourite below! 😊

 

Next “dish”:- Lingaa (Hindi Version), Chef:- A.R. Rahman

LAI BHAARI (MUSIC REVIEW): Kolhapuri Tadka (Marathi Special) 🎉🎆

Lai Bhaari is the latest Marathi movie to release, and it is running very successfully in Maharashtra ever since it released. I was going to review it anyways, because I loved the music, and because the music was by the Kings of The Marathi Music Industry, Ajay-Atul! So here we go!


Album Details:-
♪ Music by:- Ajay-Atul
♪ Lyrics by:- Guru Thakur & Ajay-Atul
♪ Music Label:- Video Palace
♪ Music Released On:- 9th June 2014
♪ Movie Released On:- 11th July 2014

Lai Bhari Album Cover

Lai Bhari Album Cover

 

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

To buy this album on iTunes CLICK HERE

 


 

Riteish Deshmukh is on a roll nowadays! After two back-to-back movies in Hindi, ‘Humshakals’ and ‘Ek Villain’, his latest movie is a Marathi one, and that too, his Marathi debut movie, called Lai Bhaari. Starring alongside him is Radhika Apte (of ‘Shor In The City’ fame). The movie is directed by Nishikant Kamat and produced jointly by Jeetendra Thackeray, Ameya Khopkar and of course Riteish Deshmukh’s wife herself, Genelia D’Souza Deshmukh. Ever since I got to know that the music has been composed by Ajay-Atul, my excitement knew no bounds and I was looking forward to the music! And believe me, they didn’t disappoint! Let’s see how great they have scored for this Marathi movie!


 

1. Mauli Mauli:- Singer ~ Ajay Gogavale, Lyrics by ~ Guru Thakur

The album opens with Ajay-Atul’s specialty, what they’re known for not only in the Marathi film industry, but also in Bollywood as well, a devotional song, full of energetic beats and the likes. Time and again, they have impressed us with their efficiency in composing devotional songs, be it a not-so-loud one like ‘Shree Ganeshay Dheemahi’ from ‘Viruddh’ or a out-and-out loud dhamakedaar number like ‘Deva Shree Ganesha’ from ‘Agneepath’. They have not failed to impress here, either! The ambience which they have created is so energetic and it will make you sway to the beats. The dhols and manjeeras sound awesome, along with traditional Maharashtrian folk instruments like lezim and dholaki. The lead vocals by Ajay himself are flawless as usual, and the chorus has supported him awesomely! The lyrics by Guru Thakur are purely devotional and a prayer to the famous Lord Vithoba of Pandharpur. We Maharashtrians go crazy when such a devotional and energetic song releases, for obvious reasons! 😀 There is no reason for getting bored of the song at all! An awesome and upbeat devotional song, by the experts of devotional music, in my opinion, Ajay-Atul! And the album opens with a #5StarHotelSong!

 

2. New Nava Tarana:- Singer ~ Kunal Ganjawala, Lyrics by ~ Ajay-Atul

The next song is a very interesting song, composed in a western style, with a mixture of Marathi, English and even Hindi lyrics. Kunal Ganjawala, who is nowadays not seen much in Bollywood music, has rendered it just beautifully. Each and every line has been sung with such great ease and he just showcases his immense talent once more. The lyrics are also quite interesting, and quite quirky as well. Such Western-influenced are not at all few nowadays in Marathi music, and it is great to hear a song of this kind in what seems like a fully Desi movie. The arrangements are also neat. The jazz style will just make you want to keep listening on and the beats are also very catchy, along with the overall composition. The drums and brass instruments have been managed very efficiently. The harmonium has been put to a very, very interesting use! The chorus supports Kunal very well. The song didn’t impress me as much in the first listen, but in successive listens, I found it more catchy than earlier. A bit situational, but who cares?! A real treat for Western music lovers! #5StarHotelSong! 

 

3. Jeev Bhulala:- Singers ~ Sonu Nigam, Shreya Ghoshal, Lyrics by ~ Guru Thakur

Starting with a beeeeaauuuutifull flute tune, this track immediately attracted me by its soothingness and serenity, and started radiating positive vibes right from the beginning. Ajay-Atul have roped in their favourite (in both Hindi and Marathi soundtracks, it seems) Shreya Ghoshal for the female vocals, and she sounds sweet as ever. To support her is none other than Sonu Nigam. Speaking of which, I just realized I’m reviewing a song sung by him for the first time, and as luck would have it, it happens to be a Marathi song. Sad how T-Series is slowly getting their way and neglecting real talents like Sonu. :/ Anyways, back to the song. As I said, it will attract you from the first note, and afterwards it will keep on mesmerizing you. The arrangements are fab, with flute playing the most important role, supported by tablas, which sound too good! Guru Thakur has written just as beautiful lyrics, and they are absolutely no nonsense, unlike Bollywood, where just a few romantic songs actually sound genuinely genuine, thanks to “great” lyrics. The composers have given their very best to keep up the beauty of the track throughout, and I must say, they have aced it. It would be awesome to see this track remade in one of Ajay-Atul’s Hindi projects later on! A must-listen, soothing, calming and very, very cute song! #5StarHotelSong!!

 

4. Aala Holicha Sann Lai Bhari:- Singers ~ Swapnil Bandodkar, Yogita Godbole-Pathak, Lyrics by ~ Guru Thakur

This song starts with typical Desi beats, and it being a Holi song, the required ambience gets created just like that! The beats are very catchy, and arrangements are awesome too. The song starts a bit weak, but afterwards, it becomes such a dhinchak number, you won’t be able to stop yourself from dancing to it! The vocalists have done a wondrous job as well. Swapnil Bandodkar, a well-known name in the Marathi music industry, carries practically the whole song on his shoulders. The female vocalist has a very small portion which she carries out pretty well. The composition is very catchy as well. Daflis and dholakis support the singers very well. The part when the male singer says the word nasha is fascinating! Lyrics are also as per the requirements. 🙂 Well-composed, well-sung, well-written and so, deserves to be heard!

 

5. Ye Na Saajna:- Singer ~ Shreya Ghoshal, Lyrics by ~ Guru Thakur

Ajay-Atul rope in Shreya for yet another song, and this time it is a dark romantic song. The composers have done their job excellently, and Shreya has brought their composition to life perfectly. A bit of a soft jazzy touch has been given to the song, with brass instruments brilliantly supporting Shreya wherever needed. The orchestration is also very beautiful. The violins interlude is worth listening to over and over again! Shreya’s Marathi diction is flawless, and I wonder how she managed to say the alphabet ‘ळ’ which came so many times in the song. The song will definitely not attract you immediately, but will slowly grow on you. The pace has been kept low on purpose, and that works in favour of such songs. The only problem was that in the hook line, over usage of instruments has been done, making it sound too loud, only to calm down after the hook line is over. Definitely one you should not miss and a great one to end the soundtrack with! Special mention for Shreya’s flawless singing and Marathi diction!


Lai Bhaari is a great soundtrack, with a variety of songs, all excelling in their respective genres. Ajay-Atul have delivered a very promising soundtrack, which is sure to rule the Marathi music charts for at least a month or two. The songs are such that they had the capacity to attract all kinds of listeners, and maybe would have even done so if the soundtrack were for a Hindi film. In fact, the tracklist itself might attract non-Marathi listeners as well because of the non-Marathi singers in it! With none of the songs disappointing hugely, and all of them living up to the standards of Marathi music, there is pretty much no flaw in the album as far as the music is concerned, but then again, it is not one of the duos best works either. An efficient soundtrack which has worked in favourite of the movie already, and will continue to do so in coming weeks! 

 

Final Rating for This Album:- सा < रे < ग < म < प <  < नी 

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

 

Next “dish”:- Amit Sahni Ki List, Chefs:- Raghu Dixit, Palash Muchhal, Warren Mendonsa, Side Coutto, Shivi R. Kashyap & Karthick Iyer