DECEMBER 2017 ROUND-UP (FUKREY RETURNS, FIRANGI, TERA INTEZAAR & MONSOON SHOOTOUT – Mini Music Reviews)

It is time for my Round-Up for December 2017, which is slightly delayed due to me being so busy, but better late than never, right?

December 2017 Round-Up

This Round-Up includes the following music reviews:

1) Fukrey Returns – Prem-Hardeep, Jasleen Kaur Royal, Sumeet Bellary, Shaarib-Toshi, Gulraj Singh, IshQ Bector, Shree D & Laxmikant-Pyarelal

2) Firangi – Jatinder Shah

3) Tera Intezaar – Raaj Aashoo

4) Monsoon Shootout – Rochak Kohli, Viveick-Mayur, Chinmay Harshe, Chetan Rao & Vikram Shastry

The music review for “Tiger Zinda Hai” will be posted separately.


♦ Fukrey Returns, But Ram Sampath Doesn’t! – FUKREY RETURNS Music Review

♪ Music by: Prem-Hardeep, Jasleen Kaur Royal, Sumeet Bellary, Shaarib-Toshi, IshQ Bector, Shree D, Gulraj Singh & Laxmikant-Pyarelal
♪ Lyrics by: Kumaar, Late Anand Bakshi, Aditya Sharma, Satya Khare, Raftaar, Rohit Sharma, Arsalaan Akhoon, Shree D, Mrighdeep Singh Lamba & Vipul Vig
♪ Music Label: Zee Music Company
♪ Music Released On: 16th November 2017
♪ Movie Released On: 8th December 2017

 

Listen to the songs: Saavn


So Fukrey has returned. Sadly, the man behind “Fukrey”s enjoyable music, Ram Sampath has not returned, and after his underwhelming stint in ‘Raees’, he doesn’t get a chance to bounce back with a franchise that was initially his. Anywho, let’s judge on what we have been given.
Prem-Hardeep, the original composers of ‘Kala Chashma’ before Badshah remade it in ‘Baar Baar Dekho’, get a chance now, to ruin somebody else’s song. Laxmikant-Pyarelal’s ‘O Meri Mehbooba’ (Dharam Veer) gets ‘remade’ into Mehbooba, a banal club song which starts and ends with the Fukras being rejected by a random girl in the club, who happens to be singing in Neha Kakkar’s voice. Yasser Desai gets one line that repeats over and over again, and it is frankly the best line of the song. Raftaar’s rap is too stereotypical. Jasleen Kaur Royal’s Peh Gaya Khalara, though fitting into her now-overused Punjabi dance number template, is quite enjoyable, with the sweet vocals by herself and Divya Kumar, Akasa Singh & Akanksha Bhandari accompanying them. The arrangements are what make the track more enjoyable, and also the quirky lyrics.
Familiar territory is entered in Ishq Bector & Shree D’s semiclassical Raina, which, though quite soothing, gets tedious due to its length (it is the only song on the album over three minutes long, and goes up to over four minutes long!) The arrangements help propel it forward though, and also Shree’s vocals. Shaarib-Toshi enter the Bollywood scene after a long time with a delightful Punjabi melody, Ishq De Fanniyar. The male version by Shaarib is great, but the Female Version has all the feels, hence scores higher. The beautiful melody seems like a wonderful sequel to the first movie’s ‘Ambarsariya’. The lyrics are sweet as well, not to mention amazing accordions in the arrangements.
The techno sounds come along with the last three songs, bunched up together, out of which two are by Sumeet Bellary (composed for ‘Fuddu’ last year), and one is by (another person who re-enters Bollywood as a composer after a loooooong time, longer than Shaarib-Toshi), Gulraj Singh.
Sumeet’s two songs rely on weird techno gimmicks, which fail to propel the songs forward. Tu Mera Bhai Nahi Hai is a quirky friendship anthem, but is pulled down by lack of catchiness in both music and composition. Bura Na Maano Bholi Hai is like a title song, but gets all over the place in no time. The arrangements are slightly better here. Both songs are sung by Gandharv Sachdev, wit Shahid Mallya joining him in the latter song, and aren’t all that well sung.
Gulraj does well in his title song, Fukrey Returns, with a nice catchy musical loop, and heavy use of brass and techno sounds which makes his song sound even better. Siddharth Mahadevan on the vocals is a bonus.


Not as great as the first movie’s album, but still a commendable album considering the amount of new talent on there. But nevertheless, I wish Ram Sampath had returned!

 

Total Points Scored by This Album: 2.5 + 3.5 + 3.5 + 4 + 4 + 3.5 + 3 + 3.5 = 27.5

Album Percentage: 68.75%

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: Ishq De Fanniyar = Ishq De Fanniyar (Female) > Peh Gaya Khalara = Tu Mera Bhai Nahi Hai = Raina = Fukrey Returns > Bura Na Maano Bholi Hai > Mehbooba

Remake Counter:
No. Of Remakes: 43 (from previous albums) + 01 (from Fukrey Returns) = 44


♦ Quite A Desi Album! : FIRANGI Music Review

♪ Music by: Jatinder Shah
♪ Lyrics by: Dr. Devendra Kafir, Ashraf Ali & Krishna Bhardwaj
♪ Music Label: Zee Music Company
♪ Music Released On: 21st November 2017
♪ Movie Released On: 1st December 2017

 

Listen to the songs: Saavn


The song with almost the least amount of Punjabi words (second only to ‘Gulbadan’, which comes later on in the album) in its lyrics, Oye Firangi, starts the album off, and Jatinder Shah steals your heart right away. The charming melody immediately gets you grooving — thanks to a little EDM twist in the hookline — and though it is very simple, it is amazing thanks to the programming, and Sunidhi’s marvellous voice. There comes a British-era ballroom style orchestral portion at the end, but I wish the composer had extended that into another antara instead of ending the song with it! Another charming but heard-before melody, Sahiba Russ Gayiya, starts from where ‘Channa Mereya’ ended, with a similar structure and arrangement. Rahat’s voice is a boon to the song, and it’s the first song of his in a long time that doesn’t get on my nerves.(Ahem, ‘Mere Rashke Qamar’!) I love the way he pronounces the hookline. The Unplugged Version sung by Shafqat Amanat Ali, is funnily named ‘Sahiba (Male)’, as if Rahat’s version wasn’t by a male singer. The song itself is an improvement on the original, in that we get to hear Shafqat’s impeccable aalaaps, and though the choice of Shafqat doesn’t make it sound less like a Pritam song in general [Shafqat is just as much of a Pritam camp singer as Rahat is!] it surely does sound less like ‘Channa Mereya’, because the electric guitars have been toned down. Acoustic guitars play the larger role here. However some factors make both versions balance out at the end.
If ‘Sahiba’ had ‘Channa Mereya’ written all over it, Tu Jit Jawna has ‘Bhaag Milkha Bhaag’s title song all, and I mean ALL over it! Daler Mehndi, who I wish had sung the BMB number too, sings this one, and so it is quite bearable, but otherwise, it falls flat and sounds hollow in its emotion. It is also lyrically a counterpart to ‘Oye Firangi’, except Daler paaji doesn’t call him a ‘Firangi’ (foreigner), while Sunidhi did.
Gulbadan is a Qawwali-esque number, sung by Mamta Sharma. Good to hear her sing a different kind of song, though I’m sure the video will be the same kind of Bollywood ‘item number’. The hookline is greatly composed, with amazing arrangements by Shah, but again, falling into the too much tried-and-tested category of arrangements. I guess the best that comes out of this song is hearing Mamta Sharma’s gentle voice, because she thankfully hasn’t been made to sing in the annoying loud voice of hers.
But the album’s best is the wonderful folksy number, Sajna Sohne Jiha, which transports you back to the Punjab of the olden days. Wadali Bros’ Qawwali ‘Ve Sone Diya Kangna’ has been given a nice reinterpretation by Shah, and it works so well. The rhythms at the beginning really bring out the song’s folksiness, and Jyoti Nooran’s strong voice helps propel it to the finish line, where it emerges the winner compared to the other songs of the album!


A very desi album to the film ‘Firangi!’

 

Total Points Scored by This Album: 3.5 + 3.5 + 4 + 3.5 + 3.5 + 5 = 23

Album Percentage: 76.67%

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: Sajna Sohne Jiha > Sahiba Russ Gayiya (Shafqat) > Oye Firangi = Tu Jit Jawna = Gulbadan = Sahiba Russ Gayiya



♦ No Intezaar for This Album! : TERA INTEZAAR Music Review

♪ Music By: Raaj Aashoo
♪ Lyrics by: Shabbir Ahmed
♪ Music Label: T-Series
♪ Music Released On: 11th November 2017
♪ Movie Released On: 1st December 2017

 

Listen to the songs: Saavn


After a long time (or is it the first time?), one single composer gets a chance to compose an album for a film starring Sunny Leone. Somehow, she debuted smack in the middle of the multicomposer craze and so, got mainly multiple composers to compose for all her films! Raaj Aashoo handles the album.
The title track, titled Intezaar Title, instead of a more apt ‘Tera Intezaar’ (Obviously, because that’s the film’s name), is a dreary 2000s melody, sung by Shreya Ghoshal too, as if she is still in her debut year. Adding to the ennui, is the Qawwali-ish chorus. Raaj’s composition is good, but dated. The arrangement is the best thing about the song, especially the flute. Another very typically 90s melody, Khali Khali Dil, sees Payal Dev and Armaan Malik at their clichéd best. The digital sounds do not help make it more ‘modern’ or anything, and even the harmonica fails to create any impact. Quite a similar sound follows in the dreary Mehfooz, another song straight out of Nadeem-Shravan’s music-bank. The guitar work makes it sound like a version of Mithoon’s ‘Sanam Re’ title track, sans the tablas. Yasser gets a version, and, sounding like Arijit as always, manages to make it sound genuinely interesting. The arrangements here too make this song much more interesting than ‘Khali Khali Dil’. The song appears in two more versions, one by Palak Muchhal and the other by a new singer named Hrishikesh Chury. Palak’s 2½ minute long version fares better than Hrishikesh’s normal length one, because of the pleasant arrangements. Also, Hrishikesh tries to sound like Kumar Sanu.
The best song on the album, Abhagi Piya Ki, becomes the best only because the others don’t deserve it. It appears in two versions, a banal one sung jarringly by Kanika Kapoor and Raja Hasan, and a slightly better version sung much better by Payal Dev and Javed Ali. The tablas that went missing from ‘Mehfooz’ seem to have come to this song, and they play in surplus. The semiclassical touch to the song is good, but the 90s melancholia seems to have followed the composer like a thundercloud whenever he sat to compose for this film.
The only song that does not sound anything like a 90s song is Sexy Baby Girl, and it doesn’t work because it tries to sound uber-cool with its lead singer Swati Sharrma, like always, trying to add unnecessary style to her words, resulting in a disaster. Also, the lyrics are cringeworthy.


This is not an album anyone would have waited for. 

 

Total Points Scored by This Album: 3 + 2 + 2.5 + 2.5 + 2 + 3 + 3.5 + 3 = 21.5

Album Percentage: 53.75%

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

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

Recommended Listening Order: Abhagi Piya Ki (Javed/Payal) > Abhagi Piya Ki = Intezaar Title = Sexy Baby Girl > Mehfooz = Mehfooz (Palak) > Mehfooz (Hrishikesh) = Khali Khali Dil



♦ Surprising Monsoon in Winter!!: MONSOON SHOOTOUT Music Review

♪ Music by: Rochak Kohli, Viveick Rajagopalan, Mayur Narvekar, Chinmay Harshe, Chetan Rao & Vikram Shastry
♪ Lyrics by: Sumant Vadhera, Kartik Krishnan, Deepak Ramona, Chinmay Harshe, Rohit Bhasy, Neeraj Sharma, Vinit Gulati, Nidhi Gulati
♪ Music Label: Saregama
♪ Music Released On: 19th December 2017
♪ Movie Released On: 15th December 2017

 

Listen to the songs: Saavn


Rochak gets two songs, and reminds us why he’s one composer that keeps popping up in numerous albums scattered over the year’s span. It is because of his strong melodies. Pal is a cherishable melody which, though predictable, does give you goosebumps, and makes you want it to rain. Arijit’s heart-touching rendition is enough to make anyone fall for the song. On the other hand Miliyo Re is a very Sachin-Jigar-ish romantic song, with Monali and Rochak behind the mic, with vocals that aren’t amazing, but are functional. The composition is good but very commonplace; not as distinct as Rochak’s other songs this year.
Viveick-Mayur present their only song Andheri Raat next, a haunting song with weird Marathi rap, and awesome Punjabi-flavoured male vocals. Neha Bhasin kills it behind the mic, as does her co-singer, Rajiv Sundaresan, doing the aforementioned Punjabi-flavoured portions. The Marathi rap by Aklesh Sutar is funny, and quite weird too.
The other three songs are quite situational, all by newcomers, with neither one exactly standing above the others. Chinmay Harshe’s Miss You Balma, by Akriti Kakar, is experimental but has you questioning “Why??” because the jazzy composition and the rock arrangements don’t really gel well with each other. Akriti aces the vocals though, singing in an unusually (for her) low pitch. The other duo, Chetan Rao & Vikram Shastry, present two songs, one being a folksy item song Maachis Ki Teeli, in which the very unconventional choice of singer, Bhavya Pandit, whi hasn’t ever sung such a song, proves to be great, as she adjusts to the song’s folksiness very well. Her co-vocalists provide good company as the loafers interjecting occasionally. The last song Faislay has a quite dated tune, and a very mismatching digital loop that starts it off, but Mandar Deshpande’s singing brings it up.


An album that is good, but still will be a wipeout.

 

Total Points Scored by This Album: 4 + 4 + 3.5 + 3 + 3.5 + 3 = 21

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: Pal = Miliyo Re > Andheri Raat = Maachis Ki Teeli > Miss You Balma = Faislay



Hope you liked this section of reviews! The review for ‘Tiger Zinda Hai’ will be out soon!

PASSIONATE ROMANCE, AND FANATICAL DANCE!! (JUNOONIYAT – Music Review)

Music Album Details
♪ Music by: Meet Bros. Anjjan, Stereo Nation, Jeet Gannguli & Ankit Tiwari
♪ Lyrics by: Kumaar, Stereo Nation, Manoj Muntashir & Rashmi-Virag
♪ Music Label: T-Series
♪ Music Released On: 30th May 2016
♪ Movie Releases On: 24th June 2016

Junooniyat Album Cover

Junooniyat Album Cover

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

To buy this album on iTunes CLICK HERE


Junooniyat (meaning: passion) is an upcoming Bollywood romatic comedy starring Pulkit Samrat and Yami Gautam in the lead roles. The film is directed by Vivek Agnihotri and produced by T-Series. Looking at the star cast instantly reminds me of the disaster called ‘Sanam Re’, which had pretty decent music, barring two to three tracks. Here, one of the composers from ‘Sanam Re’ is retained — Jeet Gannguli, with two tracks out of the six in the album. Meet Bros. Anjjan (the music was composed before the split) lead the soundtrack with three tracks, while Ankit Tiwari takes up the rear with one song. Hoping for some good music as this is a T-Series album, is natural. Also, the romantic genre is like an assurance for at least three to four super hit songs. So expecting that, as well. 😀 Let’s see what ‘Junooniyat’ has to offer!


1. Nachange Saari Raat
Singers ~ Neeraj Shridhar, Tulsi Kumar & Meet Bros, Rap by ~ Meet Bros., Music by ~ Meet Bros. Anjjan, Original Composition by ~ Stereo Nation, Lyrics by ~ Kumaar, Original Lyrics by ~ Stereo Nation

Meet Bros. Anjjan get to open up the album with a dance party number, that is sure to climb the charts. Techno sounds are the quintessential start to these songs, and the brass instruments carry it forward. Meet Bros. sing an English intro to the song, until Tulsi kicks in with a totally different avatar. Meet Bros. Anjjan have taken StereoNation’s pop song ‘Nachange Saari Raat’ and remade it in a completely Bollywood manner. When they had remade ‘High Heels’ (Ki & Ka) I was really impressed, as they had completely transformed the whole song. However, this time, they have done a very typical remake — with the hookline being the same as the original and then composing some lines trying to match that line. And that is what makes the composition faulty here. It lacks the spunk that must be infused into such party numbers and turns put sounding pretty ordinary, just like the trio almost always did! (I personally liked most of Meet Bros’ work when they became a duo). The mukhda and antaras sound very outdated, something like ‘been there heard that’. The hookline is the only thing that sounds good, and that too, only in Neeraj’s voice. Tulsi seems to have tried too hard to sound different. It sounds good for the first few listens, but sounds irritating later on. Aditi Singh Sharma or Neha Kakkar would’ve been a better choice, in my opinion. Neeraj infuses the energy into the song. Arrangements too play as a savior, with the groovy club beats and brass instruments. Meet Bros. join in for a daaru-centred rap in the second interlude, which is a regular in club songs these days. Kumaar’s lyrics, too, are ordinary party song lyrics, stuff we got bored of in 2010, but Bollywood won’t until 2847. A decent attempt to make us dance all night, but just a temporary obsession. In the long run, it will be tough for this song to survive. A weak start to the album!

 

2. Mujhko Barsaat Bana Lo
Singer ~ Armaan Malik, Music by ~ Jeet Gannguli, Lyrics by ~ Rashmi-Virag

The next song brings in Jeet Gannguli, who has roped in T-Series’ latest obsession, Armaan Malik, to sing it. The song is your everyday romantic song with powerful rock guitars, trying to wail out all the romance in five minutes, just to have the lead couple break up after some time in the movie. Jeet’s composition is not exactly boring, but it isn’t anything great, either. First of all, the hookline is very flat, and doesn’t really appeal like a hookline should. When they say “jaana” at the end of the hookline, it seems like a very abrupt end, and sounds odd. The mukhda is the hookline itself, so you can see where that’s heading. The antara, starting off softly, and ending with the loud hookline, is not so impressive either. All in all, the composition is what too bland and tasteless. After ‘Milne Hai Mujhse Aayi’ (Aashiqui 2), Jeet tries another rock-styled romantic ballad, but doesn’t actually get where he had in that song. He has also tried to make Armaan sing as dynamically as Arijit had in that song, but it sounds like he is merely copying Arijit with a bit of K.K. occasionally. Armaan does do quite a good job though, considering how ordinary the song is. In the arrangements, too, nothing appeals except an awesome saxophone by Raj Sodha which plays many times in the song. Everything else is the normal electric guitars, drums and whatnot. Rashmi-Virag, too, can’t save the song, probably giving one of their most ordinary songs of all. A song which is so ordinary, that you sit through it with a straight face. Disappointing work from Jeet, Armaan and Rashmi-Virag! The second consecutive typical song of the album…

 

3. Ishqe Di Lat
Singers ~ Ankit Tiwari & Tulsi Kumar, Music by ~ Ankit Tiwari, Lyrics by ~ Manoj Muntashir

The third and last composer, Ankit Tiwari steps in with the third song on the soundtrack. This time, I have huge hopes from him, what with him recently showing some great versatility in ‘Sehra’ (Do Lafzon Ki Kahani) and his single song ‘Badtameez’ which was out and out metal! And boy, he impresses and how!! Something I was waiting for from Ankit for a long, long time — a romantic song which doesn’t use all the same notes as all his other songs, something that doesn’t fall right into the category of ‘nighttime songs’. Something that will force me to play it over and over again. The last time he gave such a romantic song before ‘Sehra’, was all the way back in January 2015 — ‘Katra Katra’ (Alone). This time, he goes way ahead of anything he has done before. The song starts off with an acoustic guitar and harmonica combination, and then Ankit starts off with something that won’t really disclose anything about the magic that’s about to follow. At the first glance, it seems like any other Ankit song, a slow and dreamy melody. But it is when the Qawwali sets in, that I get swept away. Ankit has experimented a lot, using a fusion of Qawwali and Spanish arrangements. The hookline is arranged completely on Qawwali instruments. The tablas have been played tooooooo impressively, and it sounds even better than ‘Sanam Re’ title song or ‘Jeena Marna’ (Do Lafzon Ki Kahani), because the rhythm is way more catchy and innovative. Spanish guitars help in making the arrangements sound more dreamy and lilting. Strings and rock guitars also impress highly. I felt that these were one of Ankit’s best ever arrangements. The composition too, is way more than just an ordinary Ankit Tiwari composition. It is very matured and livelier than those others too. Also, the good, long length is like a bonus for us listeners. With two antaras having the same soulful and melodious tune, and the mukhda playing again once at te end, the song is nice and long, and cherishable. It isn’t like all those other good songs that end before they start. 😀 On the vocals front, Ankit seems to be very less autotuned, which I’m happy about. At the same time, Tulsi sounds like herself and sounds very beautiful. In the mukhda, her low pitch voice could’ve been avoided, though. Manoj Muntashir’s lyrics are beautiful as always, and Ankit brought them to life very effectively with such a great composition. A Spanish-Qawwali-rock fusion that works really effectively in engaging the listener right away. A strong hook really works, doesn’t it? Though it’s pretty deep into the soundtrack, here is ‘Junooniyat’s first #5StarHotelSong!!

 

4. Junooniyat
Singer ~ Falak Shabir, Backing Vocals by ~ Thomson Andrews, Keshia Braganza, Gwen Dias & Ryan Dias, Music by ~ Meet Bros. Anjjan, Lyrics by ~ Kumaar

Meet Bros. Anjjan come back into the album with their second song, which happens to be the title song. The song starts off on a grand note, with a very magnificent strings orchestra, and a wonderful backing chorus. The composition is not actually a typical Bhatt-ish one, either. However, it does sound like something that would sound good in one of those films. The trio has done a very good job trying to infuse as much grandeur in the song as possible, so as to make it sound more enchanting. And it works. The composition, for one, is very imposing; I wasn’t expecting such a heavy composition for the title song of this movie. However, it turns out to be quite heavy, and also takes quite a few listens to completely grow on you. The hookline may seem overdramatic at first, but later on, you get accustomed to it, and it sounds mesmerizing. So mesmerizing, that it won’t leave your head. The mukhda isn’t instantly likable, but sounds great after a few listens. Same goes with the antara. It sounds very typical at first, but after repeated listening, you get the beauty hidden in it. It has been composed on very high notes, and Falak beautifully renders the composition, with its numerous variations. The arrangements are as grand as grand can be. The backing vocalists do their best to make the song sound enchanting, and they succeed. The strings play an important role in infusing magic into the song. Electric guitars and some great percussion lead the song into the category of ‘heavily instrumentated, but sweet sounding songs’. The orchestration is something we have never heard from Meet Bros. Anjjan. The cello and violins have been played so very beautifully. The haunting composition also helps in making the song sound appealing. Flute in the first interlude soothes you down, while electric guitars in the second interlude make you feel more energetic. The whole arrangements somehow reminded me of the music of movies set in Kashmir — ‘Fanaa’, ‘Haider’, ‘Fitoor’ and the like; it was so grand. Falak’s vocals are par excellence. I’ve never heard Falak sing in such a dynamic manner, and I must say, he sings mighty well!! Kumaar has written typical romantic Bhatt-ish lyrics, but the grand composition makes them sound great. They suit the theme of the song. Meet Bros. Anjjan at their best! A Mithoon-styled composition, that is heavy and haunting, but appealing at the same time. The imposing orchestration makes it seems all the more grand, and Falak renders it beautifully. Special mention for the beautiful backing vocalists! #5StarHotelSong!!

 

5. Pagalon Sa Naach
Singers ~ Meet Bros. & Khushboo Grewal, Backing Vocals by ~ Ruchir, Ambresh & Ashish, Music by ~ Meet Bros. Anjjan, Lyrics by ~ Kumaar

The lead trio, MBA, end their part of the album with a crazy, wacky, insane holi song. Again, this song doesn’t appeal right away, but after a few times of hearing it, it appeals to you and you sstart praising it. The song starts with a crazy flute, in a South-flavoured rhythm, followed by a weird techno sound that is so catchy. The same tune is later played on a shehnaai, and you know that nothing but craziness follows. The trio has composed a zany but immensely catchy song, something that I normally would expect from Pritam or Rahman or Vishal-Shekhar or Sachin-Jigar or Amaal Mallik, too. The trio succeeds in making a composition with numerous twists and turns, tempo changes and weird variations. The craziness doesn’t go overboard, like it does sometimes (‘Housefull 3’), nor does it fall short. It is just right and that is why it sounds good. The dappankuthu rhythm sounds great for the song, and it follows the footsteps of ‘Balam Pichkari’ (Yeh Jawaani Hai Deewani) in being a Holi song which is silly and catchy at the same time. The way the trio has creatively joined the mukhda and antaras to the hookline with the smooth tempo change, is really fun to hear. The line “subah Ke baje chaahe paanch, chaahe paanch, saade paanch” serves as a tempo changer as well as a seamless bridge to the hookline. Arrangements excel, with techno sounds, dholaks (Sanjeev Sen), the aforementioned shehnaai (Omkar Dhumal) and the percussion conducted by Nikhil Korpade, all sound cool together. The brass band, which is kind of essential in most modern-day Holi songs, has been nicely placed too. Meet Bros’ vocals sound great, as always. I like how both their voices sound like one, every single time. 😀 Khushboo, who impressed in ‘Girl I Need You’ (Baaghi) earlier this year, impresses here too, but in a totally different manner. She sings in so many different voices, sometimes high pitched, and sometimes low. It is really remarkable how she does those variations, because she never showed her versatility before ‘Baaghi’! Last but not the least, Kumaar’s lyrics are fun to hear. They are not too nonsensical, but they at least appeal and don’t come across as disgusting. After all, this is Kumaar’s forte! An insane Holi track, that will get India grooving next spring!! Meet Bros. Anjjan have showed immense versatility in this one album! You must hear this one and you have to pagalon sa naach (dance like idiots :p ) after that!! #5StarHotelSong!!

 

6. Tu Junooniyat (Climax)
Singers ~ Shrey Singhal & Akriti Kakar, Music by ~ Jeet Gannguli, Lyrics by ~ Manoj Muntashir

Jeet Gannguli takes over to wrap up the album, with a song that is supposed to be the climax song of the movie, another title song. The first title song by Meet Bros. Anshan was a soulful, haunting number. However, here, Jeet takes us back to 2006-2007 and composes a wonderfully nostalgic number. The song has been composed like a club number, full of pain and sorrow, but nevertheless making you groove to the beats. It falls into the category of songs like ‘Ya Ali’ (Gangster), with numerous techno beats accompanying a purely soulful, yet upbeat composition. Jeet has tried his hand at this, I think for the first time after ‘Blood Money’s ‘Jo Tere Sang’. In fact, the song sounds a lot like ‘Jo Tere Sang’. However, I loved it. Jeet’s composition being so nostalgic, turned out to be an advantage for it. It takes you back to those days when Pritam and Himesh would rule the music industry with these songs. The little couplet sung by Shrey in the beginning, is wonderfully composed, but who would know that it would make way for an electrifying composition! The mukhda is instantly likable, as is the hookline. The main reason is the dynamic arrangements. They are just too groovy. Jeet has composed the first antara as a replica of the mukhda, while the second has Akriti singing a beautiful and soulful tune, that you are surely going to love. While Shrey’s parts have been heavily accentuated by techno club sounds, Akriti’s are minimally decorated, just by soft strings and a loop of electric guitar riffs. Jeet tries dubstep successfully in the first interlude, accompanied by marvelous strings. Ankur Mukherjee’s guitars are beautifully placed in the song, and sound beautiful. To write about the vocals, Shrey sounds very, very much like Atif Aslam, so much so that I wouldn’t be able to tell the difference if Atif himself sings another version of the song later on. Akriti seems to have sung in an uncomfortably high pitch, but nevertheless, she sounds beautiful. Manoj Muntashir, yet again, writes wonderfully romantic lyrics which do have a bit of a climactic tint in them. A song PERFECT for the climax of the movie. Jeet takes us back to 2006/2007 with a wonderful clubbish intense romantic number, which he does beautifully. Both singers are awesome in their rendition, while Jeet’s arrangements just take the song higher! #5StarHotelSong!!


Junooniyat was an album I was expecting not more than three-four great songs. And what a surprise when I get exactly four good songs, the remaining two failing to offer much. Meet Bros. Anshan show immense talent in versatility by composing a party number, an intense romantic track that might even put stalwarts to shame and a Holi number, all in one single album! Time for them to come and compose solo for an album now after their debut ‘Isi Life Mein’ (also their only Solo album, I think!!). Jeet goes diplomatic with one mediocre song and one brilliant song. Loved the way he chose the 2000s path to give a mind blowing climax song. However, the winner of the album, hands-down, is Ankit Tiwari, the chap who has troubled us a lot previously, and decided to come and impress again this year. After great songs, one each in ‘Airlift’ and ‘Do Lafzon Ki Kahani’, he highly impressed with his single song in ‘Junooniyat’. But that single song is what stands tall in front of all the other songs! With that, I must say, this junooniyat (passion) was worth hearing! It is full of passionate romance, and fanatically passionate dance!!

 

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

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

Recommended Listening Order: Ishqe Di Lat > Tu Junooniyat (Climax) > Junooniyat > Pagalon Sa Naach > Nachange Saari Raat > Mujhko Barsaat Bana Lo

 

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

 

Next “dish”: Te3n, Chef: Clinton Cerejo

NOT A TYPICAL DHARMA DULHANIA! (HUMPTY SHARMA KI DULHANIA – Music Review)

Album Details:-

♪ Music by:- Sharib-Toshi, Sachin-Jigar, Badshah, The Titans & Jawad Ahmed
♪ Lyrics by:- Irshad Kamil, Kumaar, Shashank Khaitan, Badshah & Ahmad Anees
♪ Music Label:- Sony Music
♪ Music Released On:- 16th June 2014
♪ Movie Releases On:- 11th June 2014

Humpty Sharma Ki Dulhania Album Cover

Humpty Sharma Ki Dulhania Album Cover

 

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

To buy this album on iTunes CLICK HERE


Humpty Sharma Ki Dulhania is Karan Johar’s next production under his production house Dharma Productions. Again they are introducing a new director Shashank Khaitan for this film. The film stars the ‘Student of The Year’ Jodi Alia Bhatt and Varun Dhawan. The movie is a romantic comedy set in Punjab. Siddharth Shukla is playing an important role in the film too. The music of the film has been given by Sharib and Toshi Sabri, and Sachin-Jigar. Both of the duos are working with Dharma for the first time, and I was eager to know what they come up with for a film with such a quirky name. All the composers have always given their best while working for Dharma. I was hoping for the same with these two duos as well. Turns out that two of Sharib-Toshi’s songs have been recreated by them, with only one original. Sachin-Jigar have composed three songs. So let’s see how the songs of this album are!


1. Saturday Saturday:- Singers ~ Indeep Bakshi, Badshah & Akriti Kakkar ; Original Lyrics by ~ Badshah, New Lyrics by ~ Kumaar ; Original Music by ~ Badshah & The Titans, Recreated by ~ Sharib-Toshi

This song is a club song which was released two years ago. Well, Sharib-Toshi say they have “recreated” it. We should believe them, shouldn’t we? Even though the song sounds exactly the same in terms of musical arrangements, we should call it a recreation! I mean come on! They’ve worked SO HARD to “compose” the Akriti part, right! Well turns out the song has no changes whatsoever in arrangements and tune, but Sharib-Toshi have just told Kumaar to write some lyrics to the same tune for a single paragraph and gotten Akriti to sing that. Kumaar has written the lyrics of the new paragraph suiting the mood of the song — Punjabi club — and Akriti sings it well, but seriously, Karan Johar didn’t need to call them just for that. :/ Badshah and The Titans have composed an efficient club song and if the makers of the film needed a female part in it, they could have just asked Badshah, why trouble the “oh so busy” Sharib-Toshi? 😛 Okay, sorry, now I will review the song actually, but all the credit will go to Badshah and the Titans. They have as I said composed an efficient club song with awesome techno and electronic beats, and In deep Bakshi has sung it well. The rap by Badshah is also good and catchy. The only problem I had with it was that they seem to be saying “Sachurday” and emphasizing on the “t” in Saturday a bit too much, with an American accent, that doesn’t sound so good in a Punjabi song frankly. 😛 The song is nevertheless a hit, so it doesn’t matter that much whether I liked it, and you should definitely listen to it!

 

2. Samjhawan:- Singers ~ Arijit Singh & Shreya Ghoshal ; Original Lyrics by ~ Ahmad Anees, New Lyrics by ~ Kumaar ; Original Music by ~ Jawad Ahmed, Recreated by ~ Sharib-Toshi

Sharib-Toshi return with another “recreated” track, this time of a famous Punjabi song from the Punjabi movie ‘Virsa’ and the song was sung by Rahat Fateh Ali Khan originally, and composed by Jawad Ahmed. Of course, this time Sharib-Toshi have decided to actually make the song a bit different from the original. Though they have not changed the tune, they have made it more suitable for the Bollywood audiences, by replacing Rahat sahab with Arijit, the nation’s current musical heartthrob, and adding the female singer as Shreya Ghoshal. Again, some lyrics have also been altered to cater to the Bollywood audiences, by changing some Punjabi words to Hindi. The song has been recreated very beautifully, and unlike ‘Saturday Saturday’, it actually sounds great, whatever they have done to recreate the track. Arijit has sung the song very soulfully, but of course he couldn’t match up to the sukoon level which Rahat sahab’s voice has. Shreya was supposed to sing just an interlude as per the old song, but she gets a whole extra paragraph to sing. And that paragraph which Shreya sings, is like a treat to all music lovers. She will amaze you with her voice, like she might have already done ‘n’ number of times till now, but she will amaze you yet again! The music has also been recreated very effectively. The harmonium part which plays many times in the song is just awesome, and after the song ends with that harmonium piece, it will leave you wanting more. A must-listen recreation! Almost flawless recreation of a superhit Punjabi track! #5StarHotelSong!! 

 

3. Daingad Daingad:- Singers ~ Divya Kumar, Pratibha Baghel, Deepali Sathe, Akriti Kakkar, Udit Narayan & Niharika Sinha, Lyrics by ~ Irshad Kamil, Music by ~ Sachin-Jigar

With this song, Sachin-Jigar enter into the soundtrack with the first original song of the soundtrack. Looking at the never ending list of singers, I was expecting a great dhinchak type track, but what I got missed my expectations terribly. A wannabe ‘London Thumakda’ or ‘Kikli Kalerdi’ (Luv Shuv Tey Chicken Khurana) track, which just sounds like a mishmash of sentences and lines of different songs put together, this track fails terribly in whatever it wanted to achieve. Unless it wanted to annoy you. 😛 Sachin-Jigar have tried to make a wedding song and note that I have used the term “tried to” as in they haven’t succeeded in doing so. The two prime reasons to attempt this track are:- a) because you want to hear Udit Narayan’s voice after a long time since he only sings in Dharma films nowadays or b) because you’re hearing it for the first time, whicisare probably the only two reasons to hear it, because frankly speaking, after you hear it once, you might not play it again unless you are compelled to do so, for some reason! The lyrics by Irshad Kamil aren’t that impressive either, and out of the seven singers, only the known ones that is Divya, Akriti and Udit Narayan do well, others annoy. They sound like old aunties, which is probably the situation in the movie. The arrangements are very less, and not attractive at all. A mediocre song, with weak lyrics and average vocals. Listen at your own risk.

 

4. Lucky Tu Lucky Me:- Singers ~ Benny Dayal, Anushka Manchanda, Lyrics by ~ Shashank Khaitan, Music by ~ Sachin-Jigar

Here is the second song by Sachin-Jigar, and along with being the second song by them, it is also the second club song in the same film. This one is also very catchy, but totally dependent on the video. The part from ‘banda main bachelor..’ till the title of the song comes has a very nice tune. Sachin-Jigar, who are the best nowadays at electronic music, have composed a good tune and the arrangements are also awesome. Benny Dayal must be so accustomed to singing such songs till now and he must have been the first choice for this song, too. If any composers are making club songs, by default they should call Benny first, because he is an expert at these now. Anushka, who has a small part, also sounds good, but I don’t know why her voice never reaches to us in its original form, and is always altered. The song is a good club song, but it won’t attract many listeners as an individual song, and will work mostly with the picturization. Lyrics by the director himself are perfect for the song, and Varun’s rap is also commendable. Give it an attempt, there’s nothing to regret!

 

5. Emotional Fool:- Singer ~ Toshi Sabri, Backing Vocals ~ Geet Sagar, Lyrics by ~ Kumaar, Music by ~ Sharib-Toshi

Sharib-Toshi re-enter the album with their first original track of the album, which strikes the right chord. They have composed a fun, romantic/peppy track, with interesting lyrics by Kumaar, and great arrangements. That is just for the mukhda. The song loses its charm in the antaras which follow. Toshi’s voice sounds great singing this composition, and the techno beats are catchy, but the catchiness and good stuff fall apart in the antaras, and aa great start gets wiped away by the subsequent antaras and disappoint. Nevertheless, the song provides entertainment and I guess that is what matters. Entertaining and disappointing at the same time!

 

6. D Se Dance:- Singers ~ Vishal Dadlani, Shalmali Kholgade, Backing Vocals ~ Anushka Manchanda, Lyrics by ~ Irshad Kamil, Music by ~ Sachin-Jigar

Right from the moment it starts, you will get reminded of the superhit ‘Balam Pichkari’ from ‘Yeh Jawaani Hai Deewani’ because of the harmonium arrangements along with the dholaks. When the singers kick in, the small feeling of resemblance to ‘Balam Pichkari’ becomes a certainty. The use of the same arrangements with the same singers, is something never to be done if the first song isn’t composed by you. Sachin-Jigar have done exactly what I have stated not to do. Irshad Kamil’s lyrics are also okay. Though the song will surely make you dance along, it doesn’t have that special ingredient which other Dharma dance songs have. The vocals are great, but again bear a big resemblance to ‘Balam Pichkari’, and though that isn’t a huge problem, but pretty unsafe to be so close to such a big hit song. Of course, Sachin-Jigar’s electronic touches are present throughout the song. Another average song, which is catchy but not up to the Dharma standards.


Humpty Sharma Ki Dulhania is an album from which everyone had a lot of expectations. With each film, Dharma was giving superhit music up till now, and from this film, everyone was expecting even more. On top of that, it was Sachin-Jigar and Sharib-Toshi’s first time working with the big production house. Last year Pritam showed us his ability to compose for Dharma. Amit Trivedi succeeded in composing his first full album for Dharma in 2012 with ‘Ek Main Aur Ekk Tu’. Ajay-Atul had showed us their versatility when working with Dharma for the first time. Vishal and Shekhar time and time again show us their comfort in composing for Dharma, it is like their second home. However, I have to say that these two duos have not taken advantage of this opportunity. They have produced very ordinary songs, which could as well have been for any film, and not a Dharma film. Considering the standard of music which Dharma was known for, this album is simply a disgrace. Otherwise, it is an okay album. Both duos have delivered good songs but of course these good songs did have the scope to have been way better. It is definitely not a typical Dharma album, because Dharma albums are known for their repeat value, and in this album, very few so gs have that quality! So I conclude by saying that Sachin-Jigar and Sharib-Toshi did not make well use of the great opportunity which they had got and they have given to the world, the worst album ever in the history of Dharma films!

 

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

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

 

Which is your favourite song from Humpty Sharma Ki Dulhania? Vote for your favourite! 🙂

 

Next “dish”:- Bobby Jasoos, Chef:- Shantanu Moitra