THODI DER AUR THEHER JAAUN??? (HALF GIRLFRIEND – Music Review)

Music Album Details
♪ Music by: Mithoon, Tanishk Bagchi, Rishi Rich, Farhan Saeed, Rahul Mishra & Ami Mishra
♪ Lyrics by: Manoj Muntashir, Arafat Mehmood, Tanishk Bagchi, R. Rekhi, Veronica Mehta, Yash Anand, Yash Narvekar, Ishita Moitra Udhwani, Kumaar, Anushka Shahaney, Laado Suwalka & Kunaal Vermaa
♪ Music Label: Zee Music Company
♪ Music Released On: 27th April 2017
♪ Movie Releases On: 19th May 2017

Half Girlfriend Album Cover

 

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

To buy this album on iTunes CLICK HERE


Half Girlfriend is an upcoming Bollywood romantic drama film, starring Shraddha Kapoor and Arjun Kapoor. The film is directed by Mohit Suri, and produced by Shobha Kapoor, Ekta Kapoor, Mohit Suri and Chetan Bhagat. The film is an adaptation of Chetan Bhagat’s 2014 super-hit novel {In that everyone started hitting it after reading it, so it became super hit} of the same name. I have read that book and didn’t think much of it. And I’m not going to waste time on the plot. So let’s see who is behind the music this time. Now Mohit Suri is always up for new musical talent, and he brought Arijit Singh, Ankit Tiwari and Ami Mishra into the limelight with his previous film albums. I must say, ‘Ek Villain’ and ‘Hamari Adhuri Kahani’ were better off than ‘Aashiqui 2’, which was full of clichés. And now this movie seems like it will be a complete detour from the usual type of music we hear in his other films. Maybe, just maybe, the songs with the lead characters staring at each other for infinite amounts of time, and shots of Shraddha Kapoor crying her eyes out, will not be removed and maybe we will be spared the melodrama that exists in all other Suri movies. But then again, maybe not. Maybe Mohit Suri will make Chetan’s rom-com into a romantic drama just like his other films. And of course, maybe the music will follow suit. That is confirmed as soon as I read the name of the first music director, Mithoon. He has collaborated with Mohit Suri in almost all of his movies, and the only collaboration I didn’t like of theirs, was ‘Tum Hi Ho’ (‘Aashiqui 2), after which I loved the sings from the next two movies. He gets three tracks here, but all are based on the same song. Tanishk Bagchi, the latest composer going tons of places this year, gets a single song here, and hopefully he opens his account with Mohit Suri fabulously so that we get to hear him in more Mohit Suri albums. Rishi Rich, after a long hiatus after the ‘Hum Tum’ song, returns {he has two more albums upcoming this year!} and he gets two tracks. Next up is Ami Mishra, who debuted with ‘Hasi’ from ‘Hamari Adhuri Kahani’ in 2015, and vanished after that. He gets one song too. Then we have the debutants. Rahul Mishra with one song (I have never heard of him so can’t say what I’m expecting), and Farhan Saeed, who is debuting only as a composer; he has sung a couple of songs previously, and in this album, he gets to compose two tracks, out if which one is a version of the other. So with an astounding ten tracks to review, I must start right away.


1. Baarish

Singers ~ Ash King & Shashaa Tirupati, Music by ~ Tanishk Bagchi, Lyrics by ~ Tanishk Bagchi & Arafat Mehmood

Tanishk gets to open the album with his only song in the film. The song is a romantic song, with a tune that will have any Bollywood music lover hooked right away — because it adheres to all Bollywood sensibilities so obediently. The composition is like a trademark Bollywood romantic composition, and sweet too, at that. The mukhda makes the song start in a very sweet way, but that bridge from the mukhda to the hookline, which goes “Aankhon Ke Darmiyaan…” comes so abruptly, you are baffled for a moment. But afterwards, it is nothing but an uphill journey for the composition. The antara is how antaras in romantic songs traditionally are — calm and soothing. Again, an abrupt pause has been added at the end of the antara, which could’ve been avoided since the two lines fit together perfectly even without a pause! The tune for the mandolin loop that plays throughout the song is just so lovely! The hookline itself is yet again, something that will appease all Bollywood lovers, especially 90s music lovers. The arrangements which Tanishk has used in the song work in favour of the song, and as I said, that mandolin loop is sooooo catchy and hummable. The santoor starts off the song wonderfully, and it suits the ‘rainy’ theme of the song. The flute and strings too, add to the beauty of the song. As for the vocals, Ash King does well, but we have heard more outstanding renditions from him, in front of which this seems so ordinary. Shashaa just has to hum a line in an interlude. Tanishk & Arafat Mehmood wield the pen and produce utterly nonsensical words, defying all the laws of grammar. And however serious they might be trying to sound, it just sounds ridiculous. A song that sticks to those criteria that would make it a hit in Bollywood, but doesn’t dare to go experimental.

Rating: 3.5/5

 

2. Thodi Der

Singers ~ Shreya Ghoshal & Farhan Saeed, Music by Farhan Saeed, Lyrics by ~ Kumaar

The next song in the album is another romantic song; the only difference is that this time, both of them love each other — in the first song it was like one-sided. Like tape. This song marks Farhan Saeed’s Bollywood debut as a composer, and it is actually a re-work of his own pop single of the same name. Thank goodness, he brings in a female singer to sing this one with him, and it is none other than Shreya Ghoshal. She handles the nuances very well, and her saccharine voice suits the composition very well. Farhan too, sings his parts well, but it doesn’t have the same impact. The composition itself, sounds very nice to the ears, but clearly has something missing and like the last song, only caters to people who like traditional, typical, same-old-kind of music. The hookline has a great tune though. The arrangements are better off here, with a wonderful sarangi taking care of the people who want variation in the song, and that sarangi solo in the interlude is not to be missed. The guitars are evidence of the fact that the song would’ve sounded so bland without the sarangi — they’ve been played that boringly. It would’ve been quite nice to hear a Sufi treatment given to the song, like tablas/dholaks and the like. A harmonium can be heard, but in very miserly quantities. Occasionally the sarangi reminds you of ‘Roke Na Ruke Naina’ (Badrinath Ki Dulhania), and I even started humming its antara, after the mukhda of this was over. Kumaar’s lyrics are not great, and there are places where they’re about the day not being able to live, and the night not breathing when the two characters aren’t together. Good for a couple of listens, but not something to repeat over and over again.

Rating: 4/5

 

3. Tu Hi Hai

Singer ~ Rahul Mishra, Music by Rahul Mishra, Lyrics by ~ Laado Suwalka

The piano notes of the next song start and instantly you think ‘Bhatt’. Even though they aren’t in any way associated with this film, the piano notes just scream ‘Bhatt’ at you — “BHATT! BHATT! BHATT!” And when you continue listening to the song, you realize that the piano notes were right and you should have listened to their warning cries. Rahul Mishra, a debutant helms this track, and tries to make it as bland and dead as ever. The composition is a trademark Bhatt-ish one, and even though those songs sometimes do impress me, this one falls into category of them which I utterly despise right from the first time I hear them. The hookline is something decent, and that’s pretty much it, because it has been composed so drearily. Dreadfully slow, the song seems to get nowhere and leaves no impression on you after it ends. And the duration doesn’t help, because five and a half minutes is pretty long, for a staid composition. The only part of the song that seems impressive (only to an extent, because it is nothing new) is when the chorus singers try to make the song a Sufi song, and they succeed, but then Rahul starts with the Pakistani pop stuff again. Rahul Mishra’s vocals are quite good; he should carry forth his singing in the industry. The arrangements sound like a terribly-slowed-down version of the arrangements of the ‘Sanam Re’ title track. That tablas and electric guitars arrangement got old after just one song — ‘Sanam Re’. The lyrics by Laado Suwalka are even more typical than the composition. Not a very impressive debut, but hopefully somebody likes it and gives Rahul Mishra another chance.

Rating: 1.5/5

 

4. Phir Bhi Tumko Chaahunga / Pal Bhar (Chaahunga Reprise)

Singers ~ Arijit Singh & Shashaa Tirupati / Arijit Singh, Music by ~ Mithoon, Lyrics by ~ Manoj Muntashir

Mithoon steps in with the next track, and that’s something I was looking forward to, because he has been giving somewhat impressive songs in Mohit Suri’s film albums. However, when I played the song, the result was so anticlimactic I can’t express it in words. Mithoon’s composition sounds like a very desperate attempt to recreate the magic of ‘Tum Hi Ho’ (Aashiqui 2), a magic which I was immune to anyway, so this song too, didn’t affect me with its supposed magical composition. Of course, the song will become a rage nevertheless. Come on! It is Arijit and Mithoon after all! The song fares well for the mukhda, after which it seems to disassemble itself and both antaras sound like a different song altogether. Especially the female antara, seems like Mithoon strung together some completely unrelated notes to construct it. The first antara is slightly better, and it is a relief they’ve repeated it like thrice in the Reprise Version. But the drawback of the Reprise is that there’s no mukhda there. Also, the words and tune don’t match, creating that “Dubbed Music” effect, when you understand the song is dubbed because the words don’t fit well into the composition. Arijit gets into his dull mode here, and in some places you really feel that he drifted off to sleep. Shashaa in her antara does well, but not excellent. The arrangements are also boring. In the first version, they are fine, until those ‘Tum Hi Ho’ beats take over and you go like “Oh Goddddd! Not again!”. I loved the piano notes in the beginning though, and the santoor interlude. There’s a place before Shashaa’s antara where a wonderful flute mesmerizes you. But after that, there’s a staccato piano piece that sounds so random, haphazard and horrible. The Reprise gets the arrangements better. It starts with some weird harp-like sound, and a sound like water dripping from a leaking pipe, and Arijit’s voice is programmed such that you’ll actually believe he’s in some dingy underground basement where a pipe is leaking. But the better part of the arrangements is later, when strings are added in. Otherwise, everything is almost the same as the first version. So both versions have their own plus points. Manoj Muntashir’s lyrics are definitely the highlight of both the tracks. They surpass Mithoon’s arrangements, his dull composition and Arijit’s dreary rendition. One read through them and you’ll be stunned. Mithoon in his uncreative form.

Rating: 2.5/5 for the Original Version, 2.5/5 for the Reprise

 

5. Lost Without You

Singers ~ Ami Mishra & Anushka Shahaney, Music by ~ Ami Mishra, Lyrics by ~ Kunaal Vermaa & Anushka Shahaney

A bit of freshness seems to enter the album with the next song, Ami Mishra’s contribution to the album. It is a song with half-English, half-Hindi lyrics, and with a rock backdrop. The composition of the Hindi parts again, sticks to the normal Bhatt music criteria. The only way the song sounds fresher is due to the English parts, which are interspersed with the Hindi portions quite gratuitously. There’s a catch to that too, though. The “singer” behind those English parts, Anushka Shahaney, seems to be putting on a very artificial accent, something that will barely impress you once you hear it, and it sounds like nonsense because you can’t make out her English. Meanwhile, Ami continues droning on his Hindi portion, which isn’t quite different from his other song ‘Hasi’ (Hamari Adhuri Kahani). Especially the “aaaaa aaaaa” sounds very similar to ‘Hasi’. The arrangements consist of very typical rock elements, the guitars and drums playing throughout the song. There is an interlude where Ami has added some oriental sounding guitar-like sound. The Hindi lyrics by Kunaal Vermaa, are again, nothing innovative, and you barely pay attention to them as the song continues to play. Anushka Shahaney, who has written whatever she rambles herself, should’ve sung in such a way that we could’ve understood what she had written. Ami Mishra disappoints this time, but at least something is fresh here — the addition of English parts, even though they’re unintelligible. The album is just going more and more downhill.

Rating: 3/5

 

6. Stay A Little Longer

Singer ~ Anushka Shahaney, Music by ~ Farhan Saeed, Lyrics by ~ Anushka Shahaney, Additional Lyrics ~ Ishita Moitra Udhwani

Farhan Saeed returns, this time with Anushka Shahaney. And they spoil ‘Thodi Der’ for us. This song is basically an English version of that song, as is evident from its name.. a direct translation from Hindi to English. The composition, I already liked before, but here, even the little nuances that featured in the Hindi version have been gotten rid of, because it’s English right? And English songs can’t have nuances in them right? The song just sounds mediocre, even more so because of the way Anushka sings them in that accent. Her lyrics this time can at least be made out — but they sound very ridiculous. And of course, they don’t fit into the tune, so she has to sing “come” as “cu-uhm”, “love” and “lu-uhv”, “new” as “nyu-oo”, and she has to add “Oh”s and “Ah”s anywhere randomly. Ishita Moitra Udhwani helps her with “additional lyrics”, a term which I don’t understand because can’t two people write a song together? Or did she just replace one word by another so she deserves less credit? 😏 The only thing better here, is the arrangement, which has not only sarangi, but a very opulent symphonic orchestra towards the end, something that wouldn’t have suited in the Hindi song, but something which this English version didn’t deserve, frankly. Supposed to be soothing, but the singer makes sure it is anything but that. At least the arrangements respect us.

Rating: 2/5

 

7. Mere Dil Mein / Mere Dil Mein (Dialogue Version)

Singers ~ Yash Narvekar & Veronica Mehta / Yash Narvekar & Veronica Mehta, Music by ~ Rishi Rich, Hindi Lyrics by ~ Yash Anand & Yash Narvekar, English Lyrics ~ R. Rekhi & Veronica Mehta, Additional Lyrics ~ Ishita Moitra Udhwani

Rishi Rich comes into the album very, very late, with a song you can call the title song of the film. And it is the only so-called upbeat number in the entire album. As such, we are bound to love it, especially people like me who were bored to death by the previous songs. The song is essentially a hip-hop number, with a groovy beat, and Rishi Rich informs us right at the beginning, “This is the Rishi Rich beat”. The song starts with some dialogue by someone sounding like Kangana Ranaut… Don’t miss it! The hookline is insanely catchy, and that “I gotta let you know…” line too, is very catchy. The composition is very repetitive though, and these two things are repeated over and over again so many times, you get annoyed after some time. There are not many more things constituting the arrangements, except that trippy beats and various weird sound effects. Veronica Mehta, who also featured in Rishi Rich’s “Hum Tum” song, at least sings in a more believable accent, but again, many of the words are not decipherable. Yash Narvekar, on the other hand, sings the male portions well, and I think Bollywood has a new Benny Dayal now. In charge of the lyrics are two people each for English and Hindi lyrics. 😂😂 And again, that additional lyricist, Ishita Udhwani, helps them, but they seem to not want to place her in the main lyricist’s list. Poor girl. There’s another version called the Dialogue Version, which has some of the most cringe-inducing dialogues from the film. That ‘Sentiyaa Gaye Hum Toh‘ dialogue is so cheesy! The dialogues come across as very annoying, and it is so evident that Arjun Kapoor wasn’t the right choice for playing this village boy. 😑 At least this song breaks the seemingly neverending spree of depressing songs!

Rating: 2.5/5 for the Original Version, 1.5/5 for the Dialogue Version

 

8. Half Girlfriend (Love Theme)

(Instrumental, Music by Mithoon)

An instrumental track by Mithoon arrives to finish the album off. Mithoon provides us with a love theme, similar to the love theme he gave in ‘Aashiqui 2’, which was, I admit, a soul-stirring track. Here, he gives us an instrumental with selected lines from “Phir Bhi Tumko Chaahunga” played on the piano. Since I loved the piano notes in the song, I loved the first part of this track, where everything is just on plain piano. Later on, the orchestra pitches in, and brings a haunting and grand feel to the track. A choir can be heard as well, trying to make it sound even more haunting. After that comes a flute part which is beautiful. The orchestra returns to support the flute, and the song ends on a very grand note, like every instrumental should. Though I didn’t like the actual song which this track is based on, I thoroughly enjoyed the instrumental, and four and a half minutes just flew by.

Rating: 3.5/5


Half Girlfriend is a half-baked album. You know, when you fry something and it remains raw inside? That’s what this album is like. The makers have gone into such trouble making ten tracks for this movie, and sadly, not even one is memorable. All of them stick to typical clichéd song-making styles, and even a simple would be memorable, only if the composition were better. Tanishk and Farhan’s songs stand out by far, the rest seem to lag behind. I’ve heard a lot of good things going around about this album, and I waited. I heard it thrice like I do for any album before writing its review. And then I heard it while reviewing and that’s when I really understood how good (read bad) it is. Now I can’t wait any longer for my brain to like this album, can I? Thodi Der Aur Theher Jaaun? No way!

 

Total Points Scored by This Album:  3.5 + 4 + 1.5 + 2.5 + 2.5+ 3 + 2 + 2.5 + 1.5 + 3.5 = 26.5

Album Percentage: 53%

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: Thodi Der > Baarish = Half Girlfriend (Love Theme) > Lost Without You > Phir Bhi Tumko Chaahunga = Pal Bhar = Mere Dil Mein > Stay A Little Longer > Tu Hi Hai = Mere Dil Mein (Dialogue Version)

 

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

COMPLETING THE BHATTS’ INCOMPLETENESS!! (HAMARI ADHURI KAHANI – Music Review)

Music Album Details
♪ Music by: Jeet Gannguli, Mithoon & Ami Mishra
♪ Lyrics by: Rashmi Singh, Virag Mishra, Sayeed Quadri & Kunaal Vermaa
♪ Music Label: Sony Music
♪ Music Released On: 20th May, 2015
♪ Movie Releases On: 12th June, 2015

Hamari Adhuri Kahani Album Cover

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

To buy this album on iTunes CLICK HERE


Hamari Adhuri Kahani is an upcoming Bollywood romantic drama, directed by the “master” of these intense love films, Mohit Suri. The film stars Emraan Hashmi, Vidya Balan and Rajkummar Rao in leading roles, and is produced by Mahesh Bhatt, Mukesh Bhatt and Vishesh Bhatt. The movie is about a married woman who develops a budding romance with a hotel magnate until her past comes back to haunt her. We all know that Vishesh Films have been letting us down for quite some time (their last fully satisfying album was ‘Citylights’) and both their films this year, ‘Khamoshiyan’ & ‘Mr. X’ have tanked at the box office as well as not had a very satisfying album! However, this time, Mohit Suri is heading the project. With that, the film can be guaranteed to be a success! Also, the music album to the film has to be great if it’s him as the director, and Bhatts as producers! Like a double dhamaka! This time, the favourite, Ankit Tiwari hasn’t been approached (or maybe his song hasn’t been retained? That sounds more believable), and the three composers working on the soundtrack are Jeet Gannguli with two songs and one version of one of them, Mithoon with one song, and as it is Mohit Suri’s tradition to launch a new face in each album, here he launches debutant Ami Mishra, who has composed one song in two versions. So what are we waiting for? Let’s drown into the music of ‘Hamari Adhuri Kahani’, and decode whether it, itself, is incomplete (adhoora) or not! 🙂


1. Hamari Adhuri Kahani / Hamari Adhuri Kahani (Encore)
Singers ~ Arijit Singh / Jeet Gannguli, Music by ~ Jeet Gannguli, Lyrics by ~ Rashmi – Virag (Rashmi Singh & Virag Mishra)

Jeet Gannguli gets to compose the opening piece for the album. Whenever Jeet composes for the Bhatts, you can almost always expect him to compose the title track. He did it for ‘Citylights’, ‘Khamoshiyan’, and even ‘Mr. X’. Now he starts off the album with the title track here, too! I wonder…should I start calling him the Bhatt Title Track Man now? 😀 Anyways, about the song. Ever since ‘Citylights’ album had mesmerized us in terms of both music and lyrics, the duo of Jeet Gannguli and Rashmi Singh has remained intact, appearing together in almost all the songs they did afterwards for the Bhatts (‘Baatein Yeh Kabhi Na’ from ‘Khamoshiyan’ was an exception) Now, for the title song of this much-hyped film, another man joins the duo to make it a trio, none other than Rashmi’s husband, Virag Mishra. The regular singer, Arijit, comes aboard, and tada! here we have for us a scintillating combination, all set to entice us with their song. The song kicks off with very soft and sublime piano notes, such that grab your attention instantly, and would make you emotional right away. A beautiful violin is played after that, which just makes you ready for the even more touching melody to follow. Yes, the song is extremely heart-touching, and sure to melt even the baddest of bad person’s heart. Arijit’s coarse and grainy textured voice helps to increase the emotional factor of the song, at the same time not making it sound too sappy and indigestible either. His delivery of each word is full of emotion, and on top of that, the tune of what he sings, and the words that he sings, all of it has the unmistakable to-fall-for type of quality. Jeet has composed something not really identifiable as something from him. Usually, he sticks to simplicity, and excels in simplicity. However, this time, he chooses the path which Mithoon usually treads, and that is, to try and deliver the best in complexity. The composition has many different twists and turns — starting off quietly, getting more intense as it goes, reaching a climax before the hookline and suddenly becoming soft again in the hookline. The antaras are quiet too, and that is why, they may not sound appealing to everyone. Mostly, the whole song is enticing in its composition. Arrangements are also not regular Jeet Gannguli – Vishesh Films arrangements, which have always been guitars mainly. Here, the guitars take the backseat, allowing wonderful goosebumps-provoking violins and flute to work their magic on the listeners. The rattles and shakers and water drips in the first interlude sound magical and so does the wonderful santoor in the second interlude, which also has a heavenly church-like violin part after that. Rashmi-Virag come together for the best and really weave out the best they could. As complex as other things in the song may be, they, however, have stuck to simplicity and excelled. The pain in the song really stands out thanks to their lyrics. There is an ‘encore’ version to this song, sung by the composer himself, in a rather folksy way, with a very noticeable nasal twang to his voice. For those who want a break from Arijit, this version is recommendable, but I think it doesn’t hold as much magic as Arijit’s version. Instead of that, an ‘unplugged’ version by Arijit or Jeet, anyone, would have sufficed! However Jeet has sung in the ‘Encore’, let’s not pay attention, because he deserves a standing ovation and a very very big round of applause for his extraordinary work in composing and arranging this song to the meaningful lyrics of Rashmi-Virag!! #5StarHotelSong!!

2. Humnava
Singer ~ Papon, Music by ~ Mithoon, Lyrics by ~ Sayeed Quadri

Mithoon enters the soundtrack next, and as always, leaves us awestruck with his mesmerizing sound. For this album, he decides to do something special. All his regulars — Arijit, Mohammed Irfan, Mustafa Zahid — he puts them aside, and who does he choose to do the honours on this track? The one and only, Papon! This year Papon has been on a roll, with his songs from ‘Baby’, ‘Hawaizaada’, ‘Dum Laga Ke Haisha’ and the most recent ‘Bombay Velvet’ all being exceptional, and now he bags his first song with Mithoon, for a Bhatt film! 🙂 Great job! He makes excellent use of his opportunity, and renders Mithoon’s soulful composition with the touch of excellence that only he could have done! With his silk-smooth voice, he works wonders and sheds all his inhibitions, easily giving one of his career’s best performances. Mithoon’s composition, too, has to be praised here. A soft, soulful, romantic number, not too heavy on the ears, but with Mithoon’s characteristic complexity definitely evident. It goes right to your heart and, stubborn as it is, sits right in there. 😀 And you, too wish not to let it go for a long time. The tune is instantly lovable, unlike Mithoon’s other gradually growing tunes. This one immediately comes across as sweet and lovely. Shades of 90s Rahman are audible in the antara, and that might tick some people off, while it may make others, like me, love the track even more! Mithoon has provided apt arrangements, with his regular beats, the ones that we heard in ‘Banjaara’ (Ek Villain) and ‘Baarish’ (Yaariyan) leading the song, and other beautiful sounds like the Mithoon-ish guitars, violin impressing. Papon’s wonderful aalaps sound divine, and after ‘Moh Moh Ke Dhaage’ and this, I want to see him in an out-and-out classical song. 😀 Surprisingly enough, Mithoon doesn’t write his own lyrics this time, but composes on none other than Sayeed Quadri’s words, and as usual, Quadri writes perfect lyrics, that touch the heart. Altogether, it makes an outstanding outing by Mithoon and Sayeed Quadri, made even more mystical by Papon’s silky voice! #5StarHotelSong!!

3. Hasi (Male Version) / Hasi (Female Version)
Singers ~ Ami Mishra / Shreya Ghoshal, Music by ~ Ami Mishra, Lyrics by ~ Kunaal Vermaa

Time for the newcomer to step into the soundtrack. Ami Mishra makes his dream debut, in a Mohit Suri film, that is being produced by Vishesh Films. What more could he have asked for!? He follows the typical Bhattish template but the result is something that would really make you happy. A soft rock song, with the normal touch of romance in it that all Mohit Suri film songs have, and also a catchy flavour to it. Unlike other typical Bhatt songs, this one grew on me quickly, and I found myself liking it, after which I found myself criticizing myself for liking it, but then deciding I like it a lot. 😛 In other, plain and simple words, I liked the typicality of it! 😅😅 Ami has created a rock song, full of romance, having a quite simple but really entertaining tune, quite like Ankit Tiwari and got immensely successful with ‘Sunn Raha Hai’ (Aashiqui 2). Rock guitars, drums are the core of arrangements, with other techno beats occasionally coming in. Kunaal’s lyrics are also simple, and nothing extraordinary, but appealing and going with the flow of the composition, or it might be the other way around also. Ami sings well, and has complete control over his own composition. The actual vocals part of the song gets over quite soon, after which there’s a whole rock solo, which acts as the conclusion. Nothing extraordinary, but not bad either! Things get more interesting in the Female Version. Shreya Ghoshal, the nightingale, takes over with a spellbinding hum for starters, and after that, everything seems like a fantasy. Only because of her voice, which anyone would find, makes a huge, huge difference. The arrangements are not necessarily traditionally Indian classical arrangements, but are definitely softer than the male version. They are a mix of everything. The Indian flavour is added by enchanting flute, and some beats on which the whole track plays. Guitars feature here too, but stay in the background. A soothing interlude joins the two parts of the song. And that interlude contains magic. Flute, piano and a sudden jazz flavour with the trumpet, that disappears as soon as it comes, makes your heart happy. Kunaal alters lyrics for this version, making it sound more suitable for a girl to be singing. Both versions are equally good, but the female version will get many more takers, simply because of Shreya Ghoshal, and also because of the soothing arrangements there. #5StarHotelSong!!

4. Yeh Kaisi Jagah
Singer ~ Deepali Sathe, Music by ~ Jeet Gannguli, Lyrics by ~ Rashmi-Virag (Rashmi Singh & Virag Mishra)

Jeet returns to conclude the album. He started off the album with an impressive melody, which makes us hope that he ends it with just the same impressiveness. This time he composes a completely female song, and doesn’t choose Palak Muchhal this time, but chooses one of the singers he’s worked with in Bengali music industry, Deepali Sathe. It is not her debut song, but definitely her biggest song. She’s sung previously for movies like ‘Ankur Arora Murder Case’, ‘War… Chhod Na Yaar’, ‘Gang of Ghosts’ and is one of the many singers of ‘Daingad Daingad’ from ‘Humpty Sharma Ki Dulhania’. So we can just imagine how big this song is for her! Plus, it’s her first solo song. So it’s all up to Jeet Gannguli, to launch her with the best possible composition. The song is essentially about the feelings of the character of Vidya Balan, a woman who is married but falls in love with someone else. The turmoil in her mind is aptly presented in front of us by Rashmi & Virag who have done a splendid job with the lyrics. They have used the situation of Meerabai — a devotee of Lord Krishna, to bring out the feelings of the woman in the song. I found this quite commendable! Deepali sings beautifully, and showcases her talent for the first time in such a complete and fulfilling way, making both the listener and herself happy. There is a male voice that keeps singing wonderful aalaaps in the interludes and at the end of the song, which sounds a lot like Zubeen Garg, but whoever it is, hasn’t been credited! :/ Jeet’s arrangements are spectacular, as well, again with flute and guitars leading. The other beats that accompany these instruments are just brilliant! Thanks to them, the composition, which does actually let you divert your attention from the track, can be heard again and again and also be forgiven. Some parts in the composition sound a bit too typical and outdated, too. Therefore, the track doesn’t keep you busy for a long time. You gradually lose interest as the number of times you hear it increase, and after that, you might just hear it only for the wonderful singing, lyrics and arrangements! Not a perfect song, as far as composition goes, but more than perfect when it comes to lyrics, arrangements and the vocals! Special mention for the uncredited male vocals!


Hamari Adhuri Kahani is an album that finally gives us what we’ve been expecting for a long year from Vishesh Films — a complete, fulfilling album, that gives you the typical Bhatt stuff, but without the staleness and with the addictiveness. Jeet Gannguli and Mithoon, who always impress, do it once more with the intervention of Mohit Suri’s musical ear and taste, and Mohit Suri brings forward a star in the making, Ami Mishra, from whom I’m expecting a lot and something very different, as soon as he comes out of the Vishesh Films banner. He must not continue doing the same stuff, so that it becomes so repetitive that people get fed up of it, as is the case with Ankit Tiwari now. Also, Mohit Suri has returned with an album better than his last, and Bhatts have returned with an album better than both of their last two combined! 😜 Overall, an album that completes the incompleteness of Bhatt music that we had been witnessing so far this year!

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

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

Recommended Listening Order: Humnava > Hasi (Both Versions) > Hamari Adhuri Kahani > Yeh Kaisi Jagah > Hamari Adhuri Kahani (Encore)

Which is your favorite song from Hamari Adhuri Kahani? Please vote for it below! 🙂

Next “dish”: ABCD 2, Chefs: Sachin-Jigar