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
Music Album Details ♪ Music by: Sachin-Jigar ♪ Lyrics by: Priya Saraiya, Anvita Dutt, Vayu Srivastava & Utkarsh Naithani ♪ Music Label: T-Series ♪ Music Released On: 28th August 2017 ♪ Movie Releases On: 22nd September 2017
Bhoomi Album Cover
To hear the full songs of this album on Saavn CLICK HERE
Bhoomi is an upcoming Bollywood action thriller starring Sanjay Dutt, Aditi Rao Hydari and Sidhant Gupta in lead roles. The film has been directed by ‘Mary Kom’ and ‘Sarbjit’ fame Omung Kumar, and produced by Bhushan Kumar, Krishan Kumar and Sandeep Singh. The film is a revenge saga revolving around a father trying to avenge his daughter, who is a rape victim. Now, this filmmaker Omung Kumar, has been known for making loud and sobby dramatic films, but also, both of his previous films have had amazing music albums as well, featuring in the Music Mastani’s Top 20 Albums of the respective years they released in. While ‘Mary Kom’ featured music by newcomers Shashi-Shivamm, and ‘Sarbjit’ featured a nice mix of T-Series-affiliated artists (Amaal Mallik, Tanishk Bagchi, Jeet Gannguli), and newcomers Shail-Pritesh, this time Omung raises the bar by roping in highly busy composers Sachin-Jigar. Now this is probably the first time I remember seeing the duo compose for a drama like this, so it’ll be something new for them and for us. But expectations are still sky high because of Omung! So let’s see how far above the bhoomi (ground) Sachin-Jigar’s music flies!
Sachin-Jigar’s fifth album of the year starts off with a song I can’t believe they have made!! The song is a club song with a composition that I would expect from someone like Badshah or Yo Yo Honey Singh, and not Sachin-Jigar! The composition is very weird, and not in the good way. It is basically just a typical item song composition, and coming from Sachin-Jigar, that is quite shocking. The male portions especially, are very disappointing. Those are actually the parts that could’ve been the best. Also, the antara is quite similar to their own “Teri Mahima Aprampaar” (Entertainment). The hookline is just Badshah belching out the words in an expressionless tone. Here, it is evident the composers were trying to experiment, just to make the song sound a bit better, but sadly, they couldn’t make those experiments work. For example, the flute and dhols arrangement was clearly done to increase the quirkiness of the song, but it backfires, sadly. The beats too, aren’t addictive or anything — it is just a straightforward song to listen to and forget. The vocals by Neha Kakkar are very disappointing after that amazing rendition of hers in ‘Ghungta’ (Babumoshai Bandookbaaz)! Here she doesn’t even sound half as energetic as she did there! Benny Dayal and Brijesh Shandilya (and of course Badshah) are used very less, and their portions are just repeated over and over. Good, because those parts are very irritating. Also, the ‘Hicky hicky’ sung by Neha is kind of irritating too! The lyrics by Priya Saraiya are the usual fare we get to hear in such songs, and nothing really makes sense. A song that must be a mistake!!
2. Lag Ja Gale
Singer ~ Rahat Fateh Ali Khan, Lyrics by ~ Priya Saraiya
Next up, the composers present a romantic song, very saccharine-sweet, and following a Sufi template to the tee. Again, it is shocking that Sachin-Jigar’s music gets so predictable, but let’s not complain just yet. The composition here is very beautiful, and doesn’t take time to like. The mukhda and antara are especially very beautiful. It is the hook line “tere mere pyaar nu“, that is very predictable and sounds out of place, in an otherwise beautiful song. I can’t remember which, but it sounds an awful lot like a very famous 90s song too. The presence of Rahat almost impeded me from liking the song a lot. His voice has been making songs heavy and inaccessible these days (Like it did for ‘Mere Rashke Qamar’ from ‘Baadshaho’), but thankfully, Sachin-Jigar have employed his voice prudently, and not overdone the high pitch or the aalaaps, and it comes out very beautiful. The “Rab Varga” loop gives the song a very unconventionally abrupt start, and it’s one of the best effects of the song. The arrangements by the duo are the trademark Sufi dholaks and tablas, but because of the composition, you bear with it. Also, a wonderful sarangi keeps you engaged throughout the song! The major part of the song also has acoustic guitars, making it a kind of fusion between Sufi and acoustic guitars. Priya Saraiya’s lyrics are very cute, and very simple-sweet. A rare song by Rahat Fateh Ali Khan that will be known for simplicity! I wish there was some innovation though, as it has turned out very predictable!
After two slightly disappointing songs, Sachin-Jigar get to make a wedding song for the film. Now, this song seems to be one of those disappointing songs which grow with time, because that’s what happened with me. I found it a bit weird at first, but in the successive listens, I started to like it bit by bit. Now this is purely subjective, but I still think Sachin-Jigar didn’t try to make this song (or any song from this film) complicated and layered, and that’s why this is happening. The songs are straightforward, something we hardly get from Sachin-Jigar, and that’s why we might be disappointed at first. Anyway, the composition is a peppy wedding number, complete with Punjabi phrases and effective Indian wedding arrangements. The hookline seems very cheesy at first, but becomes catchy later on. The beginning is quite entertaining, with those dialogues, and after that, Jonita’s weird programmed voice singing something gibberish, I believe. That is one of the best parts of the song. The female chorus too, is very entertaining, and the word “ponga pandit” specifically caught my interest. Lyricist Anvita Dutt has utilised it so nicely. As the hookline gets closer though, the song increases its heard-before-ness, and it becomes an ordinary wedding song by the time the hookline arrives, though it is catchy. The antara is no better. Vocals are entertaining, especially Jonita’s, and the female backing vocalists. Divya gets the same part to sing twice, and he sounds good too, but it is the composition of his parts that sounds too flat. Arrangements consist of digital beats accompanied by Indian wedding instruments like the shehnaai (wonderful interlude on that!), dhols etc. Anvita Dutt’s lyrics are very innovative at parts and very ordinary at parts. A confusing song! You don’t know whether you like it or not!
4. Kho Diya
Singer ~ Sachin Sanghvi, Lyrics by ~ Priya Saraiya
Now comes what I’ve been expecting from Sachin-Jigar ever since ‘Meri Pyaari Bindu’ released and I loved all the songs. After that, frankly, I didn’t love any Sachin-Jigar song as much as I loved the song ‘Maana Ke Hum Yaar Nahin’, in any of their albums that released. But now, in ‘Bhoomi’, they come up with a deserving opponent for ‘Maana Ke Hum…’ with this song, another ghazal, and in my opinion, even better than ‘Maana Ke Hum…’ itself. I’ll explain why. The composition is genuinely ghazal-like, as in an actual, authentic ghazal! Though that song was also a ghazal, it did have minor Bollywood-ish touches. But in this song, Sachin-Jigar do not bow down to peer pressure in order to make a Bollywood-friendly song. The song still does carry many nuances of Sanjay Leela Bhansali’s style of composition though. I sincerely hope SLB catches this song and ropes Sachin-Jigar in for his next project! The antara is one of the most beautiful compositions I’ve heard in a while. The arrangements too, are amazing, with soothing tablas, divine manjeeras, beautiful Guitars, and scintillating strings that provide an atmosphere of love and divinity. The water drop sounds, so characteristic of SLB, sound beautiful. Sachin Sanghvi says this is his first solo song in Bollywood (He also sang a duet with Shreya Ghoshal in ‘Jayantabhai Ki Luv Story’ before this), and he does his solo debut in a smashing manner! His voice has that amazing metallic touch, which people might mistake for programming, but it is his raw voice! Priya Saraiya’s lyrics are yet again, one of the most brilliant she’s written this year. A lovely number that is surely going to stay with me for a long time!!
Singer ~ Sukhwinder Singh, Lyrics by ~ Priya Saraiya
The pathos enters now, as it always does. Of course, because this is an Omung Kumar film after all. There has to be an overtly dramatic sad song. And that happens to be this song. Now, the composition is really good, if I have to judge as per it’s genre. But as an individual song, this doesn’t take me anywhere. After the magic that the former song had me possessed with, this song falls flat! The duo try to lift it up with an intriguing and mysterious arrangement (this guitar riffs do the trick), but how much can a song be able to be saved by good arrangements if the composition isn’t appealing? Sukhwinder adds to the tedium, with his heavy voice, and it sounds very uncomfortable. Even though the composition is so poignant, it all sounds fake due to the overcooked nature of the music and vocals. The hookline itself too, is very tedious. It sounds like something that should have released around 2008. Sadly, this one isn’t memorable at all!
To wrap up the album, Sachin-Jigar present a devotional song. Now Ganeshotsav has ended, and Navratri is about to start, and with the film opening just one day after Navratri starts, it seems an apt decision to include a song entitled ‘Jai Mata Di’ in the album. Now, the song is primarily a very dramatic devotional song again, to make it fit with Omung Kumar standards of drama. However, it fares a bit better than that one, thanks to the divine touch. The composition is amazing, and Sachin-Jigar mould themselves into a very trademark Ajay-Atul mode to compose this one. Actually, if Ajay-Atul had composed for the ‘Sarkar’ series, and the chants would’ve been ‘Jai Mata Di’ instead of ‘Govinda’, then this would have been the perfect background score for the ‘Sarkar’ franchise. To add to the Ajay-Atul feel, Sachin-Jigar even rope in Ajay as the lead vocalist. As always, he aces the song. Sanjay Dutt starts the song with a mantra, bt his interventions throughout the actual song when he sings “Jai Maa Jai Maa’, sound better. The arrangements are good, and Especially the strings are amazing. Other sounds like the tabla, and the pathos-filled composition make it sound like yet another SLB song, a la ‘Gajanana’ (Bajirao Mastani), and ‘Dola Re Dola’ (Devdas). This song isn’t something to enjoy with your earphones, but something to experience in theatres!
Bhoomi is a great example of an album composed by talented composers, but which suffers due to their inexperience in the genre of drama. Sachin-Jigar have composed for drama films very less; they usually go for rom-coms or musicals, but in this one, their discomfort is visible while composing for such a film. They still do try to add their own elements into the album, like the quirkiness of ‘Will You Marry Me’, which diffuses into thin air later on in the song. The best song in definitely ‘Kho Diya’, which I’m sure you will agree with, and so might they themselves. Anyway, it is one of those rare occasions where Sachin-Jigar disappoint, and it will surely pass!
Total Points Scored by This Album: 2.5 + 4 + 3.5 + 5 + 3 + 3.5 = 21.5
Album Percentage: 71.67%
Final Rating for This Album: सा < रे < ग < म < प < ध< नी < सां
Note: The letter which is underlined is the final rating.
Recommended Listening Order: Kho Diya > Lag Ja Gale > Will You Marry Me = Jai Mata Di > Daag > Trippy Trippy
Which is your favourite song from Bhoomi? Please vote for it below! Thanks!! 🙂
Banjo is an upcoming Bollywood comedy/drama film starring Riteish Deshmukh, Nargis Fakhri and Dharmesh Yelande in prominent roles. The film has been directed by renowned Marathi director Ravi Jadhav, and produced by Krishika Lulla. The movie revolves around a street band living in the Mumbai slums, which plays the banjo (here, the banjo means the Indian banjo or the bulbultarang). The band is glowered upon and their talent is not appreciated due to their societial status. As they are on their quest for respect and success, a musician (Nargis) from abroad discovers them and offers them to be a part of two of her songs for an international music competition, and their fate changes. What follows is what ‘Banjo’ is all about. The story seems interesting, and more interesting is the fact that the movie is completely music-centred. Therefore, it goes without saying, that the songs are going to play a key role in the progression of the story. And that leads us to wonder who the music directors of the movie are. And the answer is, none other than the rocking duo who just gave us a superb theme-based album for the action thriller ‘Akira’, Vishal-Shekhar. Having huge expectations that their music for the film will be outstanding, I jump into this album, which, if it is to be judged by its cover, looks like a mélange of experimentation and roadside Mumbai-style music!
1. Bappa Singer ~ Vishal Dadlani
The electrifying sound of the bulbultarang (henceforth referred to as banjo — don’t mistake it for the countryside wala banjo!) starts off the ‘Banjo’ album, in a very rock way. The drums kick in soon, just to show that they haven’t disappeared, though the rock guitars have been replaced by the banjo. 😀 And the dynamic start to the album gets you tapping your feet. The song is an apt one to start the album with, what with Ganpati Bappa being the one with whose name all auspicious occasions begin in the Hindu faith. Also, with the song having released just before the Ganpati festival, it has been a foot-tapping song to dance to in these ten days. Keeping all these things aside, and proceeding to review the song technically, I would start by saying how fitting a choice it was to have Vishal sing this one. His energy (world-renowned by now, I’m sure) is something that takes such songs to whole new levels. His voice is a perfect blend of softness and power. Vishal-Shekhar’s composition is nothing new; we’ve all heard similar things in various other Ganpati songs that have released over the years. The mukhda starts the song off on quite a faltery note, being dicey because of the not-so-gripping tune, but it soons recovers and pulls you in. The “Ayyyy re Bappa tu!” hook is enticing. The antara is the peak point of the composition, something that makes you feel happy and surging with energy to dance at the same time. The duo take the liberty of repeating the mukhda after the antara, and at this time, it suddenly sounds perfectly fine! 😀 The song has established itself by that time. The arrangements are fascinating, with the street band touch perfectly infused into the song. The banjo is indeed the main attraction in the song, while drums and the occasional rock guitars (they don’t wanna miss any chance they get, do they?) pop in, and the dhols are amazing. The first interlude is an awesome banjo melody played on an invigorating dhol-taasha rhythm. (No wonder Nargis Fakhri wants this band to perform with her! 😂😂😂) Amitabh’s lyrics are perfectly suitable for a Ganpati song, and are amazingly well-written, what with nothing left to write in Ganpati songs nowadays. And he takes full liberty to use pure Hindi words at places, making the song sound ever so rich. A good start to the album, and an energetic Ganpati song to dance to, but could’ve done with a better composition!
2. Udan Choo Singer ~ Hriday Gattani
The next song is a very innovative romantic song, with a pulsating rhythm backing it up. The duo composes a sweet melody, with a strong Spanish feel to it. The hookline is something that I doubt anyone other than Vishal-Shekhar could’ve thought of. It is just so catchy, even in all its serenity. The mukhda sucks the listener in, and perfectly starts off the song with a seductive tone. The way the composition elevates from the mukhda to the hookline, is worth hearing on loop. The antara on the other hand, is graceful and serene, and highly impressive work from Vishal-Shekhar. The way it glides over the high notes is highly impressive, and the line “De, Milan ka mauka Dena, yun, sajna ko dhokha Dena” is just too beautifully composed. The arrangements are, as I said earlier, pulsating. Who ever thinks of composing a romantic song on a kuthu rhythm, slowed down?? Well, Vishal-Shekhar just did, and it sounds amazing! The strings in this song are stupefying, playing wonderful European-sounding pieces, and oh-so-gracefully. But then, there’s the accordion too, stealing the entire show and sitting there hogging the spotlight. The accordion is something that infuses a sense of sophistication to any song it features in, and with a European composition as this, and a tapori beat, the accordion was an unexpectedly awesome addition. Towards the end of the song, the banjo kicks in, and takes the song to a fast-paced tempo, with the dhol-taashe also kicking in with whistles, giving it that strong Marathi flavour. So much fusion of musical styles in one song, left me stupefied. It is really a very commendable job that the duo has done on arranging this song. The innovative idea behind it has to be applauded. The vocals are beautiful; they have Hriday Gattani featuring in some song two years after his debut, with two songs in A.R. Rahman’s ‘Lekar Hum Deewana Dil’, and he proves yet again what a wonderful singer he is. His voice has the right amount of sweetness that is required to pull off this song, and the antara sounds breathtaking in his mellifluous voice, which is so smooth! Amitabh writes good tapori lyrics here, and makes us imagine how a roadside Romeo professes his love. 😂 Mt. Innovation gets taller with the fusion of so many different musical flavors, as Vishal-Shekhar deliver a beautiful, enjoyable and memorable romantic song!#5StarHotelSong!!
3. Rada Singers ~ Vishal Dadlani, Nakash Aziz & Shalmali Kholgade
And next up we have an electrifying, thrilling rock song, and after Vishal-Shekhar’s great Indie rock in ‘Sultan’s title track, it is time for yet another stupendous rock show from Vishal-Shekhar, now with more roadside attractions. The composition instantly hooks onto you, but will not really be liked by everyone. For me though, it is enjoyable to the core. It is one of those songs that forms the grand finale at a rock concert, and which leaves the crowd chanting “Once more! Once more!”, even though the performers are dead tired and want to go home and watch the latest episode of ‘Game of Thrones’ before going to sleep. The duo’s hook composition is something that will definitely get everyone from newborns to corpses grooving to its tune. It is full of energy and is so infectious, that you can’t escape it. The duo composes everything else fantastically too, and I personally loved the mukhda a lot! It is a perfect start to a rock song, and in a female voice, sounds even more amazing! More about that later! The line “bajaake ye dhamaal kamaal dhamaal kamaal dhamaal gaana!” is enough to get you on your feet and tapping them so that you look more professional than Aamir Khan does at tap-dancing. (Haven’t seen him tap-dance? Watch ‘Dhoom Tap’ from ‘Dhoom 3’!) Of course, the antara just keeps up the energy, and the continuity is maintained so wonderfully, that it is surprising for a rock song. The mukhda repeats at the end, on a different scale of notes, and it sounds good in that scale as well. The arrangements go to show you how much fun Vishal-Shekhar had while composing this one. The rock guitars, drums and the necessary banjo wonderfully mix together and get you foot-tapping music to dance to. The banjo interludes and the wonderful dhol-taashe put the tapori-ness into the song while the guitars and drums make it sound more like an international rock song. It is the vocals that work the best. Shalmali, in an amazingly high pitch, carries out her parts very well, with all that energy inside her waiting to burst out. On the other hand, Nakash sounds less tapori as usual as he sings the male portion of the mukhda at both the beginning and start of the song, but he still sounds amazing. Vishal very energetically carries out the hookline and the antara, and at the end of the song, you are satisfied that the singers have done justice to the song, and their parts have been well-assigned and distributed amongst them. Amitabh’s lyrics are enjoyable as well, with the carefree touch to them, and that awesome Marathi hookline “Khulla karaycha rada, rada!” A song that will really make you cause a rada (commotion) wherever it plays! A perfect rock song from Vishal-Shekhar!#5StarHotelSong!!
4. Pee Paa Ke Singers ~ Vishal Dadlani & Nakash Aziz
A very quirky brass band sound starts off the next song, and let’s you know tat you’re up for something zany and insane. As if to confirm your doubts, Vishal-Shekhar add some catchy, but definitely unconventional noises like that bird noise in the prelude. 😀 The song happens to be a celebratory song of some sort, with the Banjo gang drinking away to glory. The duo’s composition is very upbeat and catchy, and really gets you hooked. The mukhda is something that instantly makes you wonder what is going to follow, and having it repeated completely right at the beginning of the song, is a good move by the duo. However, it is the hookline that really spoils the fun. The hookline doesn’t actually hook you, though it is meant to — Vishal-Shekhar seem to have been confident it would hook the listeners, but all it does is irritate after a couple of times it plays. It is the antara that saves the duo, with a very happy-go-lucky, signature Vishal-Shekhar tune all over it. But then, the hookline comes back, and the latter part of the mukhda plays all over AGAIN! (It is part of some extra-long hookline, and not a mukhda at all, I guess!) Vishal-Shekhar seem to have relied solely upon this tune to make their song work, but it gets tedious to hear it after some times, and that extra-jumpy hookline gets on your nerves after some time, what with the ‘pee pee pee pee pee’ repeating way too many times. The most annoying thing being that after you hear the song, it gets stuck in your head, and you don’t want it there!!! The arrangements, thankfully, are enjoyable, and the dhols help you to forget the hookline, for some time. There is a cool rap in the interlude, where Vishal Dadlani raps in both English and Marathi+Mumbaiya tapori; the Marathi+Mumbaiya one sounding way more interesting. The whole song’s arrangements are not thing but dhols, the brass band and those weird bird whistles. At the end, the brass band sheds all inhibitions and plays more openly. It is Vishal’s zealous singing that helps you to concentrate on the positive parts of the song. Nakash does well with the backing vocals, and I could hear him clearly in only one word, that is “Humkoooo…” in the mukhda. Amitabh’s lyrics are good here too, and he brings out the taporipana well, here too. Enjoyable, but would’ve been better if Vishal-Shekhar hadn’t relied so much on that irritating hookline, and added some more attractions!
5. Rehmo Karam Singer ~ Ajay Gogavale
The mandatory emotional pathos song that every Bollywood album must have, comes up next, and as it starts, with a lovely flute and piano melody, you are sure that the brief that the makers gave to Vishal-Shekhar must’ve been something like “Make something like ‘Abhi Mujh Mein Kahin’ (Agneepath)”. And the duo try to do just that, and succeeding brilliantly. The composition is something that instantly works its magic on you, and is extremely touching. The mukhda does its important job of making the listener attracted to the song, and the purpose is served by a beautiful tune. The hookline is quite heard-before, but it is still wonderful and peaceful to the ears. The antara is soulful and towards its end, there’s a good high-pitched portion, that is wonderfully sung by Ajay. The way the duo has connected the antara to the hookline again, is so sweet, and touching as well. After the antara, there is an invigorating street band portion, which cranks up the tempo wonderfully. It serves as a perfect emotional ending to the song, grand in all respects. Vishal-Shekhar’s arrangements are fantastic. The aforementioned flute impresses throughout the song, while the very clichéd dafli rhythm plays out the roopak-taal, a very common rhythm for such songs. (‘Abhi Mujh Mein Kahin’ from ‘Agneepath’ and ‘Bhagwan Hai Kahan Re Tu’ from ‘PK’, both were arranged on the same rhythm!) However clichéd it is though, it manages to touch your heart. The first interlude has a wonderful strings orchestra followed by a flute solo, while the musical piece after the antara is made of an energetic band, with the banjo and dhols returning, but not exactly to make you dance here. Here, they manage to touch your heart even better than they made you dance in the previous songs. Also, a shehnaai plays a very intense tune towards the end, which is quite easy to miss unless you strain your ears. Vishal-Shekhar aptly use the voice of Ajay Gogavale (though I somewhere feel that it was an order from Ravi Jadhav — not that he’s sung bad!), whose voice is rarely used by other composers in Bollywood, in spite of it being so, so magnificent. He wonderfully brings the rustic feeling into a song that could otherwise have been very well sung by Sonu Nigam. He touches the high notes with such ease, and in the fast-paced conclusion of the song, he sings some very intense lines that end the song on a very grand note! He sings the hookline with a perfect blend of softness and harshness. Amitabh writes lyrics that are perfect to the type of song that it is, and perfectly describes the condition of someone who has nothing left but to felt on God to guide him through the tough phases of his life. A gem from the studio of Vishal-Shekhar, and though the composition treads on familiar territory, it still manages to gain your attention and love!#5StarHotelSong!!
6. Om Ganapataye Namaha Deva Singers ~ Nakash Aziz & Vishal Dadlani
The grand finale to the album, too, very smartly, is a Ganapati song. This time however, things are far different from the first song. This song has been composed with more care and intensity and arranged on a lighter beat. For this song, the duo composes a thought-provoking melody, not the usual loud types. The result, is a very slow-paced and entrancing Ganapati song, that might not be perfect for dancing to, but is definitely a delight to listen to when you feel low! The hooklineperfectly opens up the song, instantly telling the listener that what he’s gonna listen to isn’t his everyday Ganapati song. The hookline is chanted so effectively by an uncredited backing chorus (whose lead singer might be Vishal Dadlani, I guess by the sound) that it just makes a home for itself in your mind. The mukhda arrives, and your thoughts that this is a different Ganapati song, are just further consolidated. The tune, being so slow-paced, sets you into some kind of a trance, and then a very unexpected rap by Vishal Dadlani starts, which is so cool, and actually forms the real hookline of the song, along with the line which is the name of the song. The antara too, is composed on the same notes as the mukhda, and keeps on entertaining you. The whole entrancement sounds much like it is a song set for the Ganapati immersion situation in the movie. Towards the end, there is an increase in tempo here, too! And it is awesome!! It is so well-executed, and gels in with the rest of the song so well, that it seems as though we should’ve expected that twist right from the beginning of the song! The arrangements by the duo are captivating as well as scintillating, in a different sort of way. The usual banjo doesn’t really open up till the final conclusion of the song (the one with the fast tempo), until then it is a very beguiling rhythm of lezims and dhol-taashe, playing in a very slow pace, signifying the farewell of Ganapati, that is, his immersion. A very bewitching touch of a rock guitar, very subtle, has been used in places, and that is amazing. Towards the end, everything breaks free, and the banjo kicks in, and it turns into a traditional Ganapati song. Nakash sings the song with a different, smooth voice texture, while Vishal sings the English portions with an unmatchable style. Nakash is definitely at his best here; something we rarely get to hear him do is singing an emotional but devotional farewell song for Ganapati, so cherish it until he comes up with his next ‘Jaaneman Aah’ (Dishoom) 😀 Amitabh’s lyrics perfectly describe the feelings of the people during Ganapati immersion, while smartly infusing a motivational and inspirational message in the song, which helps the song appeal more to the listeners. A perfect end to the album; something that all music lovers would appreciate, just because of the wonderful idea that Vishal-Shekhar have put behind it! A Ganapati song that might not be noticed by masses, but will definitely be cherished by those who like experimentation in music!!#5StarHotelSong!!
Banjo sure does live up to expectations. Though there are a few minor faults in some songs due to which they lack appeal, but as a whole, the album is something that will be remembered for the hard work Vishal-Shekhar have actually put into it. The way they’ve tried to maintain the banjo-centred tapori flavour in the album, is highly commendable. And the result is mind-blowing, what with songs of so many variety, that all have one thing in common, and that is, an enjoyable banjo band section! 😀 At the end of this album, I can say nothing but Om Vishal-Shekharaay Namah for Vishal-Shekhar’s excellence in arrangements as well as composition!
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: Udan Choo > Rada > Rehmo Karam > On Ganapataye Namaha Deva > Bappa > Pee Paa Ke
Which is your favourite song from Banjo? Please vote for it below! Thanks!! 🙂
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
To hear the full songs of this album on Saavn 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!!
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!!
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! 🙂
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
To hear the full songs of this album on Saavn 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 < ध< 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