A SUPER-BRIGHT, LED TUBELIGHT!! (TUBELIGHT – Music Review)

CONGRATULATIONS!!! 👏👏👏👏👏👏👏👏🎉🎉🎉🎉 Guys, this calls for celebrations!!! After releasing the first song ‘Radio’ on May 17th, Sony Music stretches the music promotions till the eve of the film’s release! As I’m writing this, the time is 10:35 PM on Thursday, 22nd June, the night before the film releases. So Sony Music overtook Zee Music with this one. Zee Music had released the music of ‘Raees’ on the Thursday morning before the film, so now Sony goes one step further and rekeases this one roughly twelve hours before the film! Claps! A round of applause! Hats off! And the best part, the album has TEN songs. *Slow claps*. Before the album released Sony released five singles at tortoise speed and then left us hanging till 9:30 PM or so on 22nd June 2017. Wooosh! Phew! Geez.


Music Album Details
♪  Music by: Pritam Chakraborty
♪ Lyrics by: Amitabh Bhattacharya & Kausar Munir
♪ Music Label: Sony Music
♪ Music Released On: 22nd June 2017, 9:30 PM or so
♪ Movie Releases On: 23rd June 2017, 9:00 AM or so

Tubelight Album Cover

 

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

To buy this album on iTunes CLICK HERE


Tubelight is an upcoming Bollywood war drama film, starring Salman Khan, Sohail Khan, Mohammad Zeeshan Ayyub, Zhu Zhu and Om Puri, directed by Kabir Khan, and produced by Salma Khan, Salman Khan and Amar Butala. The film is set against the backdrop of the 1962 Indo-China War, which was fought over a disputed Himalayan border. The film is the official adaptation (no, not the “copy”, SRK fans!) of 2015’s “Little Boy”, an American film directed by Alejandro Gomez Monteverde. Of course, Salman Khan is looking very innocent in the promos, and the film seems to be another feather in the cap of the Kabir Khan-Salman Khan combo. Not just that, but even the music director of the film brings with him, many hopes and expectations from the audience. Pritam has been a constant collaborator with Kabir Khan, and right from their first album together, ‘New York’, he has been giving great music for Kabir’s films, and he has done three of Kabir’s films, making this the fourth film. The maestro gave an iffy soundtrack to ‘Raabta’ earlier this year, but then chose not to be associated with it for reasons we know. So for all practical purposes, this becomes his first album of the year. So, let’s see what Pritam has to offer in this long soundtrack that released twelve hours before the film!


1. Radio / Radio (Film Version)

Singers ~ Amit Mishra / Amit Mishra, Additional Vocals ~ Akashdeep Sengupta, Backing Vocals by ~ Tushar Joshi, Lyrics by ~ Amitabh Bhattacharya

“Aankhon mein aaye, aansoon khushi ke,
Phoola samaaun na main,
Haaye marr hi jaaun na main, haaye marr hi jaaun na main, ho ho,
Harkat ajoobe, Karne se khud ko, rok paaun na main,
Haaye marr hi jaaun na main, haaye marr hi jaaun na main!
Gaaunga Sur mein oonche, gaana yeh mera goonje,
Jammu se Jhumri-Talaiya,
Sajan Radio-oh-oh-oh-ohhhh, bajaiyo, bajaiyo, bajaiyo zara,
Sajan Radio-oh-oh-oh-ohhhh, bajaike sabhi ko nachaiyo zara!”

– Amitabh Bhattacharya

{NOTE: Sony had initially released a version of this song that actually had Kamaal Khan’s vocals in it, but later on it was replaced by a solo version by Amit. The Kamaal Khan Version was the film version, but now Amit has redubbed Kamaal’s parts. Even in the Film Version. Maybe Sony has credited him so that he doesn’t sue them or anything.}

So Pritam starts the album off with the quintessential, focus-the-cameras-on-Salman-Khan-dancing, sure-to-be-popular kind of song. This time, thankfully, it focuses less on Salman’s character, and stupid gimmicks like Bass and Selfies, but it apparently plays a role in the narrative. The protagonist gets a very good news, via the radio, the only source to get news of the war in those times, and hence, the whole village celebrates by singing this quite festive song, ‘Radio’. Pritam leaves no stone unturned in trying to compose this song in a catchy way, and still keeping the superhero’s image intact. 2015’s ‘Selfie Le Le Re’ (Bajrangi Bhaijaan) was low on the composition front, and Pritam fixes those problems and adds a more rich tune, here. The mukhda is the only odd thing; it might take time to get used to, but from the hookline to the end of the song, it takes you on a fun ride, showcasing Pritam’s trademark fun and desi side. The hook is something that will surely never leave my mind and heart, it has touched me with its cuteness. The way the word ‘Radio’ has been elongated with those intricate nuances, is just mind blowing. And extra marks to Amit Mishra, who rendered them just as perfectly. The antara, which is what Kamaal had sung in the initial version, which was taken down, has been composed just as charmingly, and I actually felt a nice old-world-charm in it. And the bridge from the antara back to the hookline, the part that goes “Jammu se Jhumri-talaiyya“, for some reason appealed to me a lot! The latter part of the song is just everything we had heard earlier in the song, played again, but I assure you, it doesn’t seem tedious or boring to listen to. Pritam has employed some wonderful arrangements to make this song sound as innovative as it can, in a Salman Khan movie. The accordion (Jeff Taylor) that starts off the song itself, draws you in so strongly, it is hard to stop listening right away. And then the composer brings in his usual upbeat Indian beats, the dholaks (Rhythms by Nitin Shankar & Dipesh Verma) standing out brilliantly especially in the hookline. The trumpets (Samuel Ewens) too, have a wonderful effect on the song. There’s a wonderful accordion (Jeff Taylor) solo in the second interlude which is something that can’t be missed at any cost! Sadly, people who will just be watching the badly-edited video song on TV, will miss it! The fiddle (Eli Bishop) is just lovely, standing out most prominently in the beginning of the antara, and as the antara progresses, we can hear one odd Banjo (Matt Menefee) note, which stands out like a sore thumb, but a good one, I guess!! Amit Mishra, Pritam’s latest blue-eyed boy, renders this one with amazing vocal prowess. It wasn’t always in his previous songs, that Amit hit the notes perfectly, but somehow, he manages to do so in an upbeat song where the melody plays the main game. Kudos to him for improving his vocals! Especially the low notes in the antara, he performs magnificently. The Film Version is basically the same song, but with Amit taking up different lyrics in the antara (this is what Kamaal had sung earlier, quite terribly too, at that, and I’m glad Pritam removed his voice. But then why have Sony credited him? May I say “LOL”?!). But that one gets a little less marks as the corresponding part in the antara of this song isn’t as hooking as the “Jhumri-talaiya” portion that I had loved! The situational lyrics by Amitabh are quite easy to decode, and we can easily understand what’s going to go on in the film when this song plays. It isn’t just a roadside attraction like ‘Selfie Le Le Re’ was in ‘Bajrangi Bhaijaan’. A solid start to the album; this song might not be the favourite of Salman Khan’s or Pritam’s fans, but it left me awestruck with its innocent and charming nature! 

Rating: 4/5 for Original Version, 4/5 for the Film Version

 

2. Naach Meri Jaan

Singers ~ Nakash Aziz, Dev Negi, Kamaal Khan & Tushar Joshi, Kumaow Backing Vocals by ~ Dev Negi, Anurag Saikia, Akashdeep Sengupta & Tushar Joshi, Lyrics by ~ Amitabh Bhattacharya

“Rishta humaara, jaise ki dori, se judi ho patang, patang, patang, patang!
Tujhse bichhadke chal na sakoonga, ek bhi main, kadam kadam kadam kadam!
Palkon pe mujhko bas toone bithaya,
Jeene ka nuskha yehi, toone bataya,
Chhed ghata ko, banke pavan tu, chhodke saare, kintu parantu,
Naach meri jaan, hoke magan tu, chhodke saare, kintu parantu!”

– Amitabh Bhattacharya

The second song comes across more as the commercial, show-off-Salman’s-stardom kind of song, than the first song. But this time, along with Salman, his real-life and reel-life brother, Sohail Khan, also gets the spotlight. The song is being touted as a ‘Brotherhood Anthem’, and that, it is. It is heartwarming to hear Pritam’s composition for this one. A very innocent composition at heart, it really suits the ambience of the film, and will set the base for the two brothers’ love in the film, perfectly. The prelude is a wonderful folksy instrumental on a folk instrument of the Northeast India. After the prelude ends, I found myself very tempted to sing “Jashnbaazi Ki Shaam Hai..“, the opening lines of Pritam’s ‘Tukur Tukur’ (Dilwale), because the feel of both songs is just so similar. Even after the mukhda plays, though, that song cannot be forgotten, and yet another Pritam song, ‘Chicken Kuk-Do-Koo’ (Bajrangi Bhaijaan), comes to mind. Pritam always does those slightly Goanese flavoured songs with utmost care and fun, in the process, making us get a very fun song to listen to. The composition of the mukhda starts off the song very beautifully though, despite all the throwbacks to his previous songs. And the hookline too, is amazingly charming. The antaras, both having the same tune, witness Pritam doing his (yet again) trademark repetition of one word many times, and that effect sounds really cute and catchy here. The composition overall gives out a very beautiful old-fashioned feel, and I mean it in a good way. Pritam does the Laxmikant-Pyarelal thing again, and scores. The arrangements in this song are much more richer, than the Pritam songs that it sounds like. The entire song is based on a folksy rhythm, with a strong whiff of the Northeastern flavour. The percussion stands out very prominently, as a quirky and catchy one. The folksy instrument keeps playing throughout the song, and you can’t help but keep humming the flute portions in the second interlude. That interlude is hands-down, the best part of the song for me. Close behind comes the folksy chorus part, sung in Kumaow, the dialect spoken in the hilly areas where the film is set. Dev Negi, Tushar Joshi, Anurag Saikia & Akashdeep Sengupta, do an amazing job singing those lines. As for the lead vocals, Nakash Aziz is his usual energetic self, whose best is always brought out by Pritam. Dev Negi sings the other brother’s portions in the audio song, or so I believe, because I can hear Kamaal Khan’s soft-and-unimpactful voice in the video, and that’s not the same voice in the audio song. 😂 So again, Kamaal gets replaced for the album version of the song, just as he was in the first song. Whoever has sung those parts in the audio then (though I’m guessing it is Dev Negi) has done an impressive job compared to what Kamaal sounds like in the video. Amitabh Bhattacharya’s lyrics are a very cute take on the dynamics (in the song, very smooth and easy-going, which I don’t think it is like in real life… Right?? 😂😂😂) between two brothers. To sum it up, this song is something that touches your heart, as well as makes you tap your feet, at the same time!

Rating: 4.5/5

 

3. Tinka Tinka Dil Mera / Tinka Tinka Dil Mera (Film Version)

Singers ~ Rahat Fateh Ali Khan / Jubin Nautiyal, Chorus ~ Vivienne Pocha, Shazneen Arethna, Marienne D’Souza & V. Chandana Bala, Traditional Shepherd Calls by ~ Jubin Nautiyal, Vivienne Pocha & DJ Phukan, Lyrics by ~ Kausar Munir

“Tinka tinka dil mera, teri lau mein, jalta hai,
Jaaye tu chaahe kahin, mere dil mein dhalta hai,
Qatra qatra, dil mera, teri raah mein behta hai,
Jaaye tu chaahe kahin, mere dil mein rehta hai!”

– Kausar Munir

After two upbeat and foot tapping numbers, the pathos and poignance that eventually gets to all Pritam-Kabir Khan soundtracks, sets in. What is presented to us next, is a pensive melody that really brings tears to your eyes, and I’m not exaggerating! Pritam ropes in his long-time collaborator, Rahat Fateh Ali Khan from across the border, to sing this song, and I must say, he was the perfect choice for this song. Of course there is a “Film Version” by Jubin Nautiyal as well, but more on that later. The composition is essentially a heart touching one, complete with little nuances throughout its length. The mukhda, which is in its entirety, the hookline itself, hits you right where it should. The folksy bits in the interludes, (rendered powerfully by Jubin Nautiyal, Vivienne Pocha & DJ Phukan), are really impactful and provide a raw and earthy feel to the song. Even the basic composition by Pritam is very raw and rustic, not like Pritam’s usual alternative rock-styled sad songs a la ‘Saware’ (Phantom), ‘Daayre’ (Dilwale), etc. The antara does something inside you that not even the mukhda could do. The high notes it touches are just so heart-rending, it leaves a lasting impression, at least it left one on my heart. The slow pace really works in the song’s favour, and evokes memories of another such song by Pritam, “Ashq Na Ho” (Holiday), which was also, coincidentally, about the sentiments of family members of a soldier when he goes off to war. There is yet another “roadside attraction” as I call it, in the song, and that is the Chorus, singing like an English choir. Vivienne Pocha, Shazneen Arethna, Marienne D’Souza and V. Chandana Bala do that with a striking brilliance. It kind of resembles the similar chorus we had in ‘Bajrangi Bhaijaan’s ‘Zindagi Kuch Toh Bata’. Now, to talk about the leading man, Rahat. I think that if I say he has done extraordinarily in the song, it would be an understatement. His rustic voice produces a magic it has not produced of late, and reaches out to your heart. Jubin, on the other hand, not having the same vocal texture in other songs, tries impressively to produce it, and even succeeds to an extent. The way he has moulded himself to fit into the rustic standards of the song, is very impressive. But of course, some of the magic that Rahat could provide, is evidently missing in Jubin’s version. {Fun fact here: Even in ‘Bajrangi Bhaijaan’, Jubin had sung one version of ‘Zindagi Kuch Toh Bata’, and the other one was a duet between Rahat and Rekha Bhardwaj!} Pritam’s arrangements are some of the most beautiful arrangements I’ve heard for a sad song this year. Usually, composers while arranging the sad songs are of the (mis)conception that it would be fitting to arrange it very monotonously, with the same sounds repeating all throughout the song. They almost never try to experiment at it, but here, Pritam has experimented by adding touches of the folksy flavour (credited by Sony Music as “Traditional Shepherd Calls”) and a Western flavour through the Choir. Even in the instruments, he tries to bring variety, by gracing some parts of the song with nothing but a serene-sounding piano, making the song suitable for a lullaby, but other parts heavy with rich and lush instrumentation, especially the finale to the song, where the American choir starts to sound African (but I guess that’s how the Hill Regions’ folk music sounds). Interspersed throughout the song, is a string instrument that is very fascinating; that would be the Swedish Nyckel Harpa (played here by Emelia Amper). Regular orchestral strings too prevail in the song, and sound magnificent especially in the first interlude. The instrumentation doesn’t stop even at the percussion part of the song, where Pritam employs Dipesh Verma, Omkar Salunkhe & Backtracks to produce a very intriguing Afro kind of percussion section. The guitar, of course, is a nice and pleasant addition to everything else that sounds so heavy. Even though the song is very emotional though, it never sounds heavy to the ears, and that is definitely because the arrangements have been kept so soothing to the ears, especially the minimal piano/xylophone parts. Both version are the same in arrangements, only differing in the vocal department. Kausar Munir, guest lyricist, pens down this song as a very heart-moving depiction of one brother’s love for the other, who is obviously off at war. SPLENDID!!

Rating: 5/5 for the Rahat Version, 4.5/5 for the Jubin Version

 

4. Main Agar / Main Agar (Film Version)

Singer ~ Atif Aslam / K.K., Chorus in Atif’s Version ~ Vivienne Pocha, Shazneen Arethna, Nisha Mascarenhas & V. Chandana Bala, Lyrics by ~ Amitabh Bhattacharya

“Main agar, sitaaron se churaake laaun roshani,
Hawaaon se churake laaun raagini,
Na poori ho sakegi unse magar, teri kami,
Main agar, nazaaron se churake laaun rangatein,
Mazaaron se churake laaun barqatein,
Na poori ho sakegi unse magar, teri kami!
Yeh duniya paraayi hai, bas ek apna hai tu,
Jo sach ho mera woh savere ka sapna hai tu!
Dekhunga tera raasta, ho kuchh tujhe bas Khuda na Khaasta!” 💜

– Amitabh Bhattacharya

Finally, with the fourth song in the soundtrack, the TYPPPPPPICAL Pritam vibe enters, and by that I mean a very soft and dulcet melody, with rock arrangements that send you on a trip to dreamland. The song starts off very promisingly. Very, very promisingly. The mukhda starts off right away with the hookline, which is a haunting line, that you catch onto instantly! It takes these abrupt turns into that “Haunting Note” territory, and when a tune goes into that territory, you end up loving it right away! That part even reminded me of the same “Haunting Note” territory part in “Zindagi Kuch Toh Bata” (Bajrangi Bhaijaan). But after that nice and dulcet tune, in comes a very oddly placed high-octane rock portion that defies the era and time period in which the film is set; it sounds very much like the formulaic songs that Pritam sometimes composed for the Bhatts. But fortunately, the composition is so strong, you overlook the mismatch of the era and the musical style. The antara gets back into that Haunting territory, and in the high notes, it just sends chills along the length of your arms. But hands-down, the best part of the song is the part where the title comes into play. Again, towards the end, a wondrous chorus joins (Vivienne Pocha, Shazneen Arethna, Nisha Mascarenhas & V. Chandana Bala), giving a very goosebumps-inducing experience. The arrangements in this one, are quite different from the folksy feel that the album carried till now, as is clearly evident right when the first electric guitar riff plays. The guitars, nevertheless, are very engaging, and Pritam does that technique of his which we heard in ‘Kabira’ (Yeh Jawaani Hai Deewani) and ‘Saware’ (Phantom), where the guitar just seems to play in a never-ending circular loop. The song starts off, however, with a very serene and soothing piano-driven instrumentation, and those first sixty seconds of the song are something to savour, because then, after that, the drums (Backtracks) and guitars (Warren Mendonsa & Oscar Foreleg Storm) overshadow everything else. Once in the antara, between the lines “woh lamha hoon main“, and “Phaagun Ke Mahine“, you can hear a very Indian Qawwali-ish instrument, like the chimta, and I wonder what that is doing in this song. Whatever it’s doing, I loved that it is doing whatever it is doing. 😍 The basic rhythm of the song is very engaging. One grouse I had during the finale of the song is that the chorus + guitars + Atif yelling at the top of his voice, gets so loud at one point, that you have to decrease the volume from whatever volume you are listening it at, because it just doesn’t sound consistent with the rest of the song. That brings us to Atif. He pronounces his words quite better than he does usually, and leaves no doubt in out mind that this song was tailor-made for him and solely him. Whatever has irked me about the loudness in the original song, isn’t quite set right completely in the Film Version by K.K., but as a song, this one is a more glitzy version of the melancholic song. This one has modern club beats (reminding one of “Tum Mile” title song), which sound like even more of an oddity considering that the film is set in the 1960s. And to think that a club version is the Film Version, is well, awkward. Pritam tweaks the tune a bit, adding a part where K.K. repeats the word “bepanah“, and uses his trademark neverending guitar loop there too. K.K.’s vocals are enjoyable, and I must say, he grazes the high notes way better than Atif does, in a very effortless manner. Pritam also does away with the female choir here, and ends the song softly, instead of loudly like the original version. Amitabh Bhattacharya’s lyrics in this song, though, are what will make people to listen to it, even fifty years down the line. Such poetic lines, and so meaningful! Wow! He even writes different lyrics for two portions in the so-called “Film Version”. I still have a gut feeling that Atif’s version would be the Film Version, and Sony has just written it on the K.K. version by mistake. Both versions are slight misfits in the album, but a great song nevertheless. Despite a few grouses here and there, it is made up for by the SPECTACULAR lyrics!

Rating: 4/5 for Atif’s Version, 4/5 for K.K.’s Version

 

5. Kuch Nahi / Kuch Nahi (Reprised) / Kuch Nahi (Encore)

Singers ~ Javed Ali / Shafqat Amanat Ali / Papon, Lyrics by ~ Amitabh Bhattacharya

“Naa nabz, naa hi saansein, Kuch nahi, kuch nahi
Tere bina hai jeena, Kuch nahi, kuch nahi
Naa ashq naa hi aahein, Kuch nahi, kuch nahi
Tere bina hai marna, Kuch nahi, kuch nahi!
Tere bina main kyun, Tere bina main kya?
Har pehar darbadar, Kuch nahi, kuch nahi..
Naa aks naa hi saaya, Kuch nahi, kuch nahi
Tere bina hai mera, Kuch nahi, kuch nahi!”

– Amitabh Bhattacharya

The grand finale to this much-awaited and much-delayed album, appears in three versions. So it is as of Pritam is making up for all the time we spent waiting, by giving us a treat of two extra versions! Let’s remind ourselves that ‘Tu Jo Mila’ (Bajrangi Bhaijaan) also featured in three versions, one by K.K., one by Javed Ali and the last by Papon. Well here, Pritam follows a similar template, giving one version to Javed, one to Papon and the third to someone he has collaborated with many times, but has been absent from Bollywood for quite a long, long time, Shafqat Amanat Ali. So first version first. Javed Ali gets to sing the original version of the song, and what an apt choice that is, for, he renders it so beautifully with his voice that is the perfect blend of rustic and sweet. The composition immediately gives off fragrances of ‘Tu Jo Mila’, right from the first line, but Pritam takes detour from that similar tune quite soon in the proceedings of the song, only to make it sound like a different line of ‘Tu Jo Mila’. The bottom line was that, I couldn’t forget ‘Tu Jo Mila’ the whole time I was listening to this song. The guitar in the beginning is played very similar to that in ‘Tu Jo Mila’, and by very I mean very, very. Is that a complaint? No, not at all. The composition, despite all similarities, is very beautiful and has a soul of its own. The rest of the arrangements, too do not emulate ‘Tu Jo Mila’ either. While that song had more of an alternative rock setting, this one goes a more rooted way, with the use of traditional (by which I mean traditional Western) arrangements: the orchestra is phenomenal, you just have to keep your ears ready for phenomenal performances by the strings, especially in the antara. And can we take a moment to appreciate the impeccable beauty of the composition of the “tere bina main kyun, tere bina main kya?” line!? Even the antara is very soulful, but it is the hookline with its ‘Tu Jo Mila’-esque properties, that draws you in right away. Anyway, the arrangements are amazing, and a nice rhythm section, again, has been employed all throughout. A wonderful flute interlude plays the ‘Main Agar’ hookline, and that part reaches your heart instantly! This arrangement stays for the Reprise by Shafqat, but it is changed in the Papon version. Papon’s Version has a slightly different arrangement than the other two. A mellow piano, and a twinkly xylophone backdrop welcomes us into the song, with a cello following quite soon. And then the strings just free up so beautifully, and showcase their beauty right away. Here, Pritam does away with the percussion, and keeps it like a classical Western song, and you will get a feeling that you are in some authentic Symphony House in Prague. The interlude too, changes from the flute one to a string orchestra one, with piano leading us to the antara. The antara has hints of brass instrumentation as well, and the percussion returns, but not as pronounced at it was in the two other versions. All in all, this version has the richest arrangements of the three. As for the vocals, I’ve already mentioned how Javed’s high pitched voice helps him directly reach our hearts. Shafqat seems a bit out of form, and that vibrato that used to be the characteristic of his voice, seems to have vanished, making his singing sound duller than his former singing, but better than other singers nowadays!! How I wish the old singers that Pritam has used in this album get many more songs today. Papon in his version, uses his deep, metallic voice to awe his audience and fares way better than Shafqat, but again, I felt the composition only suited Jared’s high pitched voice. The other two have sung well, but the composition just doesn’t go with those low voices for me. But the arrangements helped to make those versions better. Amitabh Bhattacharya keeps the lyrics the same in all three versions, and that’s good too, because the lyrics are so wonderful and deep. 🙂 A perfect finale to this album, in three options! Choose your preferred option and enjoy!!

Rating: 5/5 for Javed’s Version, 4/5 for Shafqat’s Version, 4.5/5 for Papon’s Version


Tubelight turned out to be quite worth the excruciating wait. With only five original compositions, and each of them scoring in their own ways, Pritam has made this album a treat for music lovers. The typical Pritam practice of adding lots of reprises in albums has been revived, the last such album of his being probably ‘Dishoom’. But those reprises were so redundant. Here, each reprise has its own specialty. About the album on a whole, it is so full of variety, while also keeping the emotion of the film intact. Though there are three songs that are uninhibitedly sad/mellow songs, even the two upbeat songs have tinges of emotion in them hidden somewhere. Since this album took such less time to grow on me, at least, I would say that it is a superbright, LED tubelight, which of course, light much faster than the normal ones! 😉

 

Total Points Scored by This Album: 4 + 4 + 5 + 4.5 + 4.5 + 4 + 4 + 5 + 4 + 4.5 = 43.5

Album Percentage: 87% {Just 0.5% short of getting the top rating! Oh well.}

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: Kuch Nahi = Tinka Tinka Dil Mera > Tinka Tinka Dil Mera (Film Version) = Naach Meri Jaan = Kuch Nahi (Encore) > Radio = Radio (Film Version) = Main Agar = Main Agar (Film Version)

 

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

A BREACH IN THE RAABTA!! (RAABTA – Music Review)

Music Album Details
♪ Music by: JAM8, Meet Bros., Sohrabuddin & J-Star
♪ Lyrics by: Irshad Kamil, Amitabh Bhattacharya, Kumaar, Jitendra Raghuvanshi, J-Star & Raftaar
♪ Music Label: T-Series
♪ Music Released On: 3rd June 2017
♪ Movie Releases On: 9th June 2017

Raabta Album Cover

 

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

To buy this album on iTunes CLICK HERE


Raabta is an upcoming Bollywood romantic reincarnation drama, starring Kriti Sanon, Sushant Singh Rajput, Jim Sarbh, Varun Sharma and Rajkummar Rao. The film is the directorial debut of already many times successful producer, Dinesh Vijan. The film is produced by him along with Homi Adajania, Bhushan Kumar and Krishan Kumar. The film’s official gist is this: “When a human being dies, they lose 21 grams from the body. This, they say, is the weight of the soul. The journey of a soul transcends over space and time… beyond the realms of this earth. This film tells the story of two seemingly ordinary individuals, going about their lives until their paths cross and they realize that they belong with one another. Unaware of a connection that was forged several hundred years ago, Shiv and Saira are inexplicably drawn to each other, and it takes them on a hysterical rollercoaster of love, intrigue, entertainment and life (twice over!). When two souls unite, they become one.” 😴 Hopefully, it is executed well. The music of the film is by JAM8, and a guest composition by Meet Bros. also features on the album. I guess we all know the controver(sies) surrounding the music of the film, due to that one guest song, so there is no point reiterating them. We all know who the actual composer of the songs credited to JAM8 is, but he wishes that his name shouldn’t be associated with ‘Raabta’ because of his policy to only compose for solo-composer albums, so there’s no point in naming him. I just hope the music company learns its lessons and reconsiders it’s actions!! On this grave (😄) note, let’s start with the music review of ‘Raabta’. 


1. Ik Vaari Aa / Ik Vaari Aa (Jubin Version)

Singers ~ Arijit Singh / Jubin Nautiyal, Music by ~ JAM8, Lyrics by ~ Amitabh Bhattacharya

“Hai pyaar toh kayi dafaa kiya,
Tujhse nahi kiya toh kya kiya,
Tera mera yeh vaasta,
Hai iss zindagi ki daastaan,
Ya phir koi hamaara pehle se raabta?
Toh ikk Vaari aa, aa bhi jaa!”

– Amitabh Bhattacharya

The album starts off with a very happy-go-lucky, romantic club number, with a lilting yet groovy sound. The composition has the stamp of Pritam all over it, and the way it flows is in the trademark way that almost all Pritam songs flow. The song’s melody starts off right with the hook, which is a wonderfully composed piece, that efficiently works in pulling you into the song. The antara following it, too, is very happy-sounding and charming, but it is the last stanza, which I call the ‘conclusion’ because it just doesn’t seem like an antara, is what steals the thunder. That part has been composed in a very entrancing manner, and is a major throwback to the corresponding ‘conclusion’ part in Pritam’s ‘Tu Chahiye’ (Bajrangi Bhaijaan). The high-pitched bridge line that leads to the hookline, is just amazing. The arrangements are quite similar to Pritam’s previous club song arrangements, with the upbeat EDM portions, and that wonderful “chipmunk” that we heard in ‘The Breakup Song’ (Ae Dil Hai Mushkil) last year. There is a Sajid-Wajid touch in the arrangements somewhere (‘Mukhtasar’ from ‘Teri Meri Kahaani’ and ‘Raat Bhar’ from ‘Heropanti’). But on a whole, the EDM has a very international touch to it, and it sounds like JAM8 is trying to recreate Pritam’s club arrangements in an international style. But because I always something out-of-this-world in a Pritam club song, and since this song is by his company, this song was quite underwhelming in that department. The pumped-up portions of the arrangements sometimes clash with Arijit’s super-high-pitch, and that sounds quite odd at times. That brings us to Arijit’s vocals. Definitely not the best he’s performed, but he still manages to carry the song in a quite charismatic way, and doesn’t drive you to sleep like he did in ‘Half Girlfriend’. But of course, the parts where he goes super-high-pitch, made me uncomfortable, and that doesn’t happen with every other singer. In the second version of the song which takes a sans EDM route, and is more reliant on guitars to propel it, everything that sounded wrong in the arrangements is set right. A slight rock guitar backdrop makes the song lighter than it was in the original version, and definitely more enjoyable. The company also replaces the fun chipmunk-like EDM with a nice vocal chorus, which gives off ‘Tum Mile’ vibes somehow,and immediatel removes all Sajid-Wajid vibes. As for the vocals, they have improved due to Jubin’s smooth treatment of the composition, taking care not to sound like he is straining his voice too much, and handling the high notes much better than Arijit did. And the small nuance he takes while singing “yaara” and all of its rhyming words, is just magnificent! In the conclusion stanza, Jubin gets to sing an entirely differently-tuned line that fits in perfectly and sounds as good as its counterpart in the original version. Oh, and it is a welcome change, considering that we have been hearing the original for over a month now. So this reprise is really one of the best reprises to have come out, ever! Amitabh Bhattacharya’s lyrics are great, and suitable for a fun romantic number. I don’t know what I missed in the first version, but something is surely missing. To cover it up though, the Reprise takes a nice romantic twist!

Rating: 3.5/5 for Arijit’s Version, 4.5/5 for Jubin’s Version

 

2. Raabta (Title Track)

Singers ~ Nikhita Gandhi & Arijit Singh, Original Composition by ~ Pritam, Music Recreated by ~ JAM8, Original Lyrics by ~ Amitabh Bhattacharya, New Lyrics by ~ Irshad Kamil

“Hadd se zyaada mohabbat hoti hai jo,
Kehte hain ke ibaadat hoti hai woh,
Kusoor hai, ya koi yeh fitoor hai,
Kyun lage sab kuch andhera hai,
Bas yehi noor hai,
Jo bhi hai manzoor hai!”

– Irshad Kamil

The recreation craze continues as ‘Raabta’ (Agent Vinod) is recreated in this movie, which takes its name from that song. But how fortunate are we, that the man who made the original song, is the one who is remaking it (through his company, that is). The track, originally a romantic number, and probably the first time Arijit Singh actually came into large notice, though he had sung other songs before that, has now been remade into a dance track for the film. But this dance track is as far from a regular Bollywoodish dance track as you can imagine. It has a very quite and soothing vibe to it, and a very unexpected twist in the form of a nice interruption wherein JAM8 introduces to Bollywood, a new genre of music called ‘Tropical House’, which sounds like some techno Caribbean music. Anyway, the new composition that the group has made for the remake, is great. The mukhda, sung by newbie (in Bollywood) Nikhita Gandhi, is charming and scintillating, with its romantic vibes really reaching you. The way they have joined it to the hookline of the original song too, is quite cool. The time the song goes downhill is when, after the nice and refreshing Tropical interlude, Arijit comes back to reprise his portion, the antara from the original song, a part I felt didn’t quite merge with this song. Yes, I know that if the hookline adapted well into this song, every other part should too, but I just didn’t feel the antara this time. When it went back to the new composition, I started grooving to the beats again. So it was like a sudden disconnection from the song. But then, JAM8 makes up for it in the fantabulous (which is a very small word to describe it!) ‘conclusion’ part of the song, which has a lilting and entrancing tune. Especially the oddly-but-fantastically placed line, “Jo bhi hai manzoor hai!”, is a wonderful bridge from the ‘Conclusion’ to the hookline. And the continuous EDM beats, really infuse life into the song. The composers also add wonderful piano notes occasionally, and the guitars that start off the song are so vibrant! So I guess I have already spoken about the arrangements as much as I could. Moving on to the vocals, Nikhita Gandhi, another singer from the Rahman camp of singers, joins Pritam’s camp for this one (quite similar a story to that of the other well known ‘Gandhi’ singer, Jonita — not sisters!) And she totally owns her debut. Yes, Arijit gets the major part in the song, but because she opens it so smashingly, the listeners get hooked and keep waiting for her voice to return. Sadly, it comes back only for the hooklines. Arijit is his usual self, trying to be charming , succeeding and also acing that aforementioned ‘conclusion’ portion. Irshad Kamil writes the new lyrics for this song, wrapping Amitabh Bhattacharya’s already awesome lyrics with an awesomeness of his own. A song that takes itself miles away from its original, neither better nor worse, but just at par, in a different genre. Barring the copy-paste antara, the song is quite good.

Rating: 4/5

 

3. Sadda Move

Singers ~ Diljit Dosanjh, Pardeep Singh Sran & Raftaar, Additional Vocals ~ Ashwin Kulkarni, Music by ~ JAM8, Lyrics by ~ Irshad Kamil & Amitabh Bhattacharya, Rap by ~ Raftaar

“Bhangra ke rhythm mein, tuney Bharatnatyam kyun milaaya?
Mere mehboob, dekho sadda move!”

– Irshad Kamil & Amitabh Bhattacharya

In the next song, JAM8 cuts out the whole international feel that was looming over the album all this time, to replace it with a street hip-hop number in Punjabi style. And I must say, how disappointed I was, hearing this song. The composer takes a very weird route with this song. There isn’t much by way of composition, but whatever is, sounds like very often recycled Punjabi lines used innumerable times. Like the antaras. And the mukhda just starts off so abruptly, it takes time to adjust to it. Actually, a rap starts the song, and it is quite obnoxious. Raftaar. That “Sadda Move Move” line by Raftaar is so irritating. The hookline of the song, too, isn’t too impressive. Arrangements are what lift the song up for me. That flute loop that plays every now and then is just insane — a glimpse of the trademark Pritam-ish insanity that JAM8 has so far, cruelly kept out of this album. The digital beats are quite groovy, but they don’t really provide anything new and innovative, which is what I would like to hear when I listen to a Punjabi street hip-hop number. The tumbi and “burrrhhhaaaa“s are the typical Punjabi people clichés, thrust into the song just to stereotype Punjabi music. But I must say, the dhols are quite engaging. The vocals are above average — Diljit sounds good but not excellent; probably the composition is barring me from liking his rendition too. On the other hand, his co-singer, Pradeep Singh Sran, who made it big in Bollywood with his song ‘Cutiepie’ (Ae Dil Hai Mushkil), brings back his Labh Janjua-ish voice and steals the listeners’ hearts. Raftaar is strictly annoying, and his rap is least enjoyable. Overall the song has a strong Meet Bros-ish vibe. Legends Amitabh Bhattacharya & Irshad Kamil come together to write something that Kumaar or Shabbir Ahmed would’ve written by themselves, if they had been approached. Quite stereotypical, and ‘enjoyable’ would be an exaggeration. A clear dip in the level of the album. 

Rating: 3/5

 

4. Lambiyaan Si Judaiyaan

Singers ~ Arijit Singh, Altamash Faridi & Shadab Faridi, Music by ~ JAM8, Lyrics by ~ Amitabh Bhattacharya

“Tere nishaan, yaadon mein hai,
Tu kyun nahin, taqdeer mein?
Naadaan dil, hai dhoondhta,
Qurbat teri tasveer mein.
Mumkin nahin hai, tujhko bhulaana,
Mumkin nahin hai, tujhko bhulaana,
Dekhe khudaya, do aashiqaan diyaan tabaahiyaan
Ve badi lambiyaan si judaiyaan!”

– Amitabh Bhattacharya

After three relatively happy-sounding songs, it was necessary, I guess, for the composers to bring in a touch of pathos in the album. So they bring a sad song sung by Arijit, which I feel is loosely modelled on Pritam’s ‘Channa Mereya’ (Ae Dil Hai Mushkil), because of the slight Sufi touch to it. The composition, I have to say, is something that disappointed me highly. I just couldn’t find anything great in it. The song is trying so hard to be emotional, but manages to ve not even one bit emotional! And that almost never happens with Pritam songs. The first two stanzas are composed on the same tune, and that is a major drawback, because it is what makes the song sound very, very monotonous. The very first line of the song made me think, “What?” because the music that starts off the song is very promising! After that it becomes a crying fest, something so overdramatic I wouldn’t have expected it to be a song from a big banner films as ‘Raabta’. The hookline is so unidimensional, it hardly managed to touch my heart as an emotional song should. The composition ends with another “conclusion” stanza, and this time, that stanza is clearly trying to emulate the “conclusion” of ‘Channa Mereya’ (Ae Dil Hai Mushkil) with its composition, arrangements and Arijit’s singing style. The arrangements of the song are also very heard-before, and stale arrangements. The Dholak rhythm has gotten so old and typical, I wish no composer uses it in sad songs anymore! The music that starts the song though, the violin one, is very good! And that is what made me believe the rest of the song too, would follow suit. Arijit sings this one with utmost lack of expression, almost like a robot. It seems he spent all his energy in ‘Ik Vaari Aa’. The Faridi brothers pitch in for a good but again, clichéd, Sufi interlude, that only makes the song sound more artificial. Amitabh Bhattacharya’s lyrics are good, but not amazing. A sad song that makes me sad that it had to be in this film.

Rating: 2/5

 

5. Main Tera Boyfriend

Singers ~ Arijit Singh, Neha Kakkar & Meet Bros., Original Composition by ~ J-Star & Sohrabuddin, Music Recreated by ~ Meet Bros., Original Lyrics by ~ J-Star & Jitendra Raghuvanshi, New Lyrics by ~ Kumaar

Na Na Na Na!

– J-Star & Jitendra Raghuvanshi

Guest composers, Meet Bros, step into the album now, for their remake of the popular track of J-Star’s, ‘Na Na Na Na’. Now there’s a huge controversy regarding who stole the song from whom and blah blah blah. But besides all that, I think the whole nation is raving about the song and how catchy it is. The original was definitely one of the catchiest pop songs of that year and even now, and Meet Bros try to keep its catchiness intact. They have built a typical Bollywoodish composition around it, which sounds least like a Meet Bros. composition, and more like a Pritam one. How coincidental because JAM8’s ‘Sadda Movie’s sounded like a Meet Bros song. The Mukhda starts the song off on a very nice tune, and expectations rise right away. It is the antara that could’ve been better, and repeating each Antara twice was not needed; it just made the song that much longer. The hook… Do I need to speak about it! 😀 The arrangements too, are very similar to Pritam’s, complete with the chipmunk noises here too. The club sounds are great as well, and make the song enjoyable at all points. The vocals are energetic, with Arijit replenishing all his drained energy, and giving a very spunky rendition of the song. Is it just me, or does anyone else also think he sounds amazing in upbeat numbers as well!? Neha cannot match up to her co-singer’s level and performs a bit disappointingly this time. Meet Bros. also come and sing an interlude that would have sounded better had it stayed out of the album. 😥 And after that, there’s a lady’s voice that says “I Wanna be your boyfriend.” 😮 Kumaar’s lyrics are the usual type of lyrics that go into such songs. A song that I didn’t expect much from, since it was a remake, turns out to be quite foot-tapping!

Rating: 3.5/5

 

6. Darasal

Singer ~ Atif Aslam, Music by ~ JAM8, Lyrics by ~ Irshad Kamil

“Inkaar mein jo chhupa hai woh ikraar ho!”

– Irshad Kamil

Finally, to finish off the album, JAM8 bring an Atif Aslam romantic melody, something that is quite quintessential in recent T-Series albums. As soon as the song started, it reminded me of ‘Jeena Jeena’ (Badlapur) because of the similar pattern of the guitar piece. The composition is actually very sweet, and it is also slow-paced like ‘Jeena Jeena’, and would suit well for a waltzy arrangement too. But JAM8 choose to keep things minimal and grace the song with nothing more than a nice and sweet guitar riff, and occasional amazing strings. The tune, though slow-paced, grows on you instantly. It is instantly likeable, unlike all the other JAM8 songs in the album, which I took some time to get accustomed to (Except the Jubin ‘Ik Vaari Aa’). I loved the way how they repeated the last line of every antara twice, and the last line of the song thrice. The antara itself is very calm and soothing, and gives a very breezy feel to the song. In the Mukhda, the line where he repeats the words twice, is just outstanding! (“Teri Ada, Ada Pe Marta…” etc.) This is actually what is expected from an ideal romantic comedy. Sadly, it comes in at the end of this album! 😪 Atif’s vocals are some of the best I’ve heard from him in quite a while; he sings the song with a totally different charm than he sung his other songs of late. It draws the picture of the typical boy-next-door image in Bollywood rom-coms. Kamil’s lyrics are just beautiful! Some of them are just salute-worthy, like the one I’ve featured up there at the beginning of this song’s review. Finally, a cute romantic song that befits the film’s romantic aspects. 

Rating: 4.5/5


Raabta is an album I wouldn’t have expected (read, I would have expected much more) from a romantic film like this. Most of the songs are prohibited to be the usual fun-and-frolic that we associate with Pritam, for no specific reason. In fact, the dance song from guests Meet Bros is better than the dance song from JAM8 itself. JAM8 sticks to a very conventional route, save the title track, and only manages to deliver well in two songs in that conventional barrier (‘Darasal’ and ‘Ik Vaari Aa’). But I can’t take away from the album that, as an entire album, it is full of variety and sounds good. It is just lacking on the innovative quotient, and likeability quotient, and hence, the repeat value. ‘Raabta’ means ‘connection’, but there is a slight breach in this Raabta!

 

Total Points Scored by This Album: 3.5 + 4.5 + 4 + 3 + 2+ 3.5 + 4.5 = 25

Album Percentage: 71.43%

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: Darasal = Ik Vaari Aa (Jubin Version) > Raabta (Title Track) > Ik Vaari Aa = Main Tera Boyfriend > Sadda Move > Lambiyaan Si Judaiyaan

 

Remake Counter
No. of Remakes: 15 (from previous albums) + 02 = 17

 

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

SARVAGUNA SAM’POORNA’!!! (POORNA – Music Review)

Music Album Details
♪ Music by: Salim-Sulaiman
♪ Lyrics by: Amitabh Bhattacharya
♪ Music Label: Zee Music Company
♪ Music Released On: 3rd March 2017
♪ Movie Releases On: 31st March 2017

Poorna Album Cover

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

To buy this album on iTunes CLICK HERE


Poorna is an upcoming Bollywood biopic, starring Aditi Inamdar and Rahul Bose, and the film is directed by Rahul Bose, and produced by the director along with Amit Patni. The film is a biopic on Malavath Poorna, who, at 13 years and 11 months, became the youngest girl to have scaled the highest peak on Mt. Everest on May 25th, 2014. The film is an inspirational one, and I’m sure it will win many hearts once it opens in theatres tomorrow. I mean, the indian cricket team has seen it and loved it, so aren’t we bound to, too? The music of the film has been composed by Salim-Sulaiman. The duo has been absent for quite a long time. There was a time when Salim-Sulaiman composing for a film had to mean it was 90% a rom-com. But their last five Bollywood projects have been ‘Jai Gangaajal’ (2016; an action flick), ‘Wedding Pullav’ (2015; a rom-com), one song from ‘Ungli’ (2014; a political satire), the song from ‘Mardaani’ (2014; an action film), and two songs from ‘Kaanchi’ (a political thriller). Out of five films over three years, they seem to have been consciously trying not to choose rom-coms, as they signed only one! Now they sign this movie which definitely isn’t a rom-com. And they give us three songs, one of which has a second version. Hopefully, like another three-song-wonder, Amit Trivedi’s ‘Kai Po Che’ (which is the epitome of ‘Quality over Quantity’) this one too has an amazing soundtrack. So let’s see how this short album turns out to be! 🙂


1. Kuch Parbat Hilaayein / Kuch Parbat Hilaayein (Intimate)

Singers ~ Arijit Singh / Salim MerchantBacking Vocalists in First Version ~ Raj Pandit, Crystal Sequeira & Gwen Dias

“Woh toofan kya, chattanein jisko mod de,
Woh udaan kya jo, unchaai pe dum tod de,
Khudpe hai bharosa rakhna tujhe,
Jeete jee nahi hai rukna tujhe!
Itihaas hai likhna tujhe!
Kuch parbat hilaayein, toh baat hai!”

The first song comes to us in two versions, so we will focus on each separately. The track is a wonderful motivational song, composed marvellously by Salim-Sulaiman. The tune does tread on familiar territory, and you can easily tell that it is Salim-Sulaiman’s composition. The mukhda is simple and sweet; though it sounds heard before, it doesn’t disappoint in its intention of being a motivational tune. Yes, in some parts the composition sounds a bit dreary, but everything can be excused when that liveliest hookline arrives, and takes away your breath. The first antara follows the same tune as the mukhda, while the second takes on a more pensive form, and aptly, given the motivational theme of the song, just like so many Bollywood motivational songs do. They all go serious for some reason, midway. But no complaints. Salim-Sulaiman have wrapped it up quite nicely by bridging it to the hookline in a grand way, making great use of the percussion. That brings us to the arrangements. The Northeast Indian arrangements are audible for like the first minute or so, and then later on they somehow get dissipated amongst a lively show of drums (Darshan Doshi) and guitars (Nyzel D’Lima). The percussion is amazing though, with Sulaiman’s trademark djembe. The backing vocalists (Raj Pandit, Crystal Sequeira, Gwen Dias) are amazing with their Northeastern inputs, and their little rhyme which they sing at the end is adorable. Arijit’s vocals are good, but I felt he could’ve used his lively voice here, instead of his droning voice. (If you have been following me since the inception of my blog, you will know the difference between the two Arijit voices.) Some places he gets very lively, while others, he falls flat, like that mukhda. On a whole though, it is enjoyable hearing him singing a non-romantic song! The “Intimate” version fares well in its own place, trying to be a mellowed-down version of the original, and succeeding. This time, the composition has been backed by wonderful acoustic guitars and occasional piano — providing the required intimate sound. Salim’s vocals are a good substitute because they are soothing and calm; Arijit’s were more suited to the first one. Again, the backing vocalists, in trademark Salim-Sulaiman style, provide a nice and majestic backing chorus. Amitabh Bhattacharya’s lyrics are just magically motivational. A good start to this motivational album! 

Rating: 4.5/5 for the Original Version, 5/5 for the Intimate Version

 

2. Poori Qaaynaat

Singers ~ Raj Pandit & Vishal Dadlani

“Chaahe talaashe, gehraaiyaan samandaron ki saari,
Chaand sitaaron, sooraj ki chaahe naap aaye doori,
Par Kabhi dhoondhein tere bhi andar toh jaane!
Hai poori qaaynaat tujhmein kahin,
Sawaalon ka javaab khud hai tu hi!”

For the next song, Salim-Sulaiman recycle their song “Chheene Re Mora Chain” from Coke Studio @ MTV Season 3, resulting in a makeover of a romantic semiclassical song, to a motivational one, again, so apt for the situation of the film. The composition is an amazing one, especially the hookline, which constitutes about 75% of the song! But since it is a semiclassical song, that is expected, just as phrases are repeated a thousand times in classical songs. The fusion is amazing, and I always like me a little rock with classical (Remember ‘Piya Tu Kaahe Rootha Re’ from ‘Kahaani’ by Vishal-Shekhar?) Here, too, Salim-Sulaiman ace it by interweaving the rock portions nicely in between two chunks of the classical parts. There is one antara, also falling into the classical part of the song, and it makes the ambience of the song a shade darker than the rest; the composition is already quite haunting in the way that classical songs always haunt you, pleasantly. The arrangements are ravishing! The rock guitars (Nyzel D’Lima) and drums (Darshan Doshi) do not leave the song even in classical parts, and that’s what makes it even more appealing to the senses. To bring a classical touch to the song, the duo has incorporated a wonderful sitar(Chirag Katti) loop that just blows your mind. In the interlude, a wonderful strings-tablas combination sounds amazing, and even part of the antara is backed by only wonderful tablas. The arrangements are very upbeat on a whole, and won’t leave you dissatisfied. The vocals are beautiful; Raj Pandit carries out the aalaaps effortlessly, and Vishal Dadlani, with his booming voice, aces the rock portions. The lyrics by Amitabh Bhattacharya, are motivational yet again, and save for the fact that they repeat many times, I enjoyed them! A scintillating fusion! 🙂

Rating: 5/5

 

3. Baabul Mora

Singer ~ Arijit Singh

“Baabul mora, mora, naihar chhooto hi jaye,
Din ka chola peeche chhoda,
Raat ki chadar odha chali,
Baabul more teri muniya,
Teri duniya chhod chali”

To call it an end to the album, Salim-Sulaiman present a very sombre, pensive classical song. It is a composition which is quite heavy to the ears, unless you really love classical music, which I do! The song starts with a heart-rending high-pitched part sung by Arijit beautifully. The composition that follows might bore some, but it will be a treat for, as I said before, classical music lovers. It is not a song you would hear on loop, but while it lasts, you would cherish it. The small nuances in the composition have been very well-rendered by Arijit. His voice goes straight out to touch the heart, and leaves an impact on you. The arrangements are minimal, with a constant beat going on in the background, intensifying it manifold. Arijit handles the aalaaps and nuances very carefully, and it results in a cherishable sad song. The lyrics are adapted by Amitabh Bhattacharya from Nawab Wajid Ali Shah’s thumri of the same name. The rest of the lyrics are new, and that makes it a non-remake in my eyes. Anyway, the song seems to be in a situation where the girl in the movie misses her home. A beautiful classical melody to end the album, but not something to listen to on loop.

Rating: 4/5


Poorna is a short and sweet album. All three songs and the one version are amazing and contribute something to the movie. They could be played at different situations in the movie, and fit well in with the narration. There are two motivational songs, one sad song, and one happy and pleasant one. Variety shows itself through just four songs. Salim-Sulaiman have done a great job, and though the number of albums they’re doing is diminishing, the quality seems to be increasing and increasing year by year. The duo has long since thrown off their rom-com stereotype, and has started achieving great musical feats, by climbing up the mountain of endless rom-coms, and choosing content-oriented films after reaching the peak! A short but wholesome album: in Hindi, ‘Sarvaguna Sam’POORNA’!!

 

Total Points Scored by This Album: 4.5 + 5 + 5 + 4 = 18.5

Album Percentage: 92.5% {That makes it the top-scoring album of the year so far! 🙂 }

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: Poori Qaaynaat = Kuch Parbat Hilaayein (Intimate) > Kuch Parbat Hilaayein > Baabul Mora

 

Remake Counter:
No. Of Remakes: 08 (from previous albums) + 00 (from Poorna) = 08

 

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

MUCH ADO ABOUT NOTHING!!! (RAEES – Music Review)

Music Album Details
♪ Music by: Ram Sampath, JAM8, Omgrown Music & Kalyanji-Anandji
♪ Lyrics by: Javed Akhtar, Indeevar, Amitabh Bhattacharya, Mayur Puri, Ram Sampath, Hiral Brahmbhatt & Manoj Yadav
♪ Music Label: Zee Music Company
♪ Music Released On: 24th January 2017
♪ Movie Releases On: 25th January 2017

Raees Album Cover

Raees Album Cover

 

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

To buy this album on iTunes CLICK HERE


Raees is an upcoming Bollywood action / crime thriller film starring Shah Rukh Khan, Mahira Khan and Naseeruddin Shah in prominent roles. The film has been directed by Rahul Dholakia, and produced by Gauri Khan, Ritesh Sidhwani and Farhan Akhtar. The movie sees Shah Rukh Khan playing a gangster, and that’s pretty much all that we all know about it. The album has released one DAY before the movie, and that’s been frowned upon a lot, mostly by me, and I hated this promotion strategy, if you can call it a strategy. The film had three songs running around TV till the album decided to release a day before. Anyway, the music is by Ram Sampath and JAM8, which is Pritam’s Artiste & Repertoire company promoting new talent. One song by JAM8, it hasn’t been specified who has composed, while the two others are by someone named Aheer. So without further ado, (I mean, how can there be any further ado…) let’s see what this latecomer album has to offer, and whether it was worth the suspense.


1. Laila Main Laila

Singer ~ Pawni Pandey, Additional Vocals ~ Chaandni RMW & Team Omgrown, Original Composition by ~ Kalyanji-Anandji, Music Recreated by ~ Ram Sampath, Original Lyrics by ~ Indeevar, New Lyrics by ~ Javed Akhtar

“Mohabbat ka dasta, tumhe naag hai kya,
Tumhare bhi dil mein, lagi aag hai kya?
Mere liye bhi, tadapte ho tum bhi,
Main betaab jaise, tumhare liye hoon?”

– Javed Akhtar

The first song on the album takes the form of a (yes, again!!) remake of a popular old song. This time, ‘Laila O Laila’ from ‘Qurbani’ gets brought to the slaughtering counter. (Or is it? Let’s see..) Anyway, Ram Sampath takes charge of this ambitious remake. Ram Sampath is somebody I never have seen remaking songs. (Correct me if I’m wrong, but the only remake I remember him doing before is that remake of a folk song, ‘Ambarsariya’ in ‘Fukrey’). So he gets to do the remake to this hit club song of the Disco era. Kalyanji-Anandji’s tune for both mukhda and antara get retained, and that is always a pleasure to know. Not that I was a huge fan of the old song, but all celebrations in India (and please note that that is just figurative) are incomplete without this song playing at least once. With the original tune retained, remaking a song properly almost always becomes a piece of cake. Or so I thought. The tune has been retained, and the item-ish flavour has been retained, so as to keep as much similarity with the original and not make an out-of-place remake, but something still seems missing in the song. The arrangements are fantastic. What else can we expect when Taufiq Qureshi is in charge of percussions! Nothing but awe overcomes you when you hear the wonderful and grand percussions — they are so earthy! They make the song which was originally a disco song, a rural number. And that “Bubuchikum, boom bubuchikum” with which the song starts is just crazy! Thats probably one of the best parts of the song. The arrangements of course, like any item song, are incomplete without whistles and a backing chorus going “hey hey“. And everything’s been done here. Even the legendary trumpets (Ed Gibson) have been used and that epic trumpet tune to the hookline has been played throughout the song. But still, something seems missing! Pawni Pandey, who shot to fame with ‘Sa Re Ga Ma Pa Li’l Champs’, has clearly left behind her Li’l-champ-ness. She tries very hard to get the nuances and various little bits of an item song right, but to no avail. (Similar to how Chinmayi couldn’t quite sing ‘Mera Naam Mary’ from ‘Brothers’ well). She only sounds very heavenly when she sings the line, “Laila o Laila Laila, aisi tu Laila“, (she sings in her actual voice there) but not in the lines where she actually sings AS Laila. (On retrospection, I think that might be backing vocalist Chaandni RMW.. So she sounds better than Pawni!) However, that backing vocalist who sings the “phabak phabak” part in this version somewhere in the second interlude, really aces his part! 😀 The lyrics to the antaras have been changed though the tune has been retained, and they carry on the spirit of the old song. At least Javed Akhtar has written something sensible and non-vulgar for such a song too, and not something yucky and stupid. Of course, Indeevar’s classic lyrics for the mukhda can’t really be replaced, can they? Ram Sampath tries his best to deliver a smashing remake, and I must admit, this is better than other recent remakes, (first and foremost, it has no rap! Yay!) but something still lacks, and I can’t seem to understand what!

Note: As I’m writing this review, this song seems to have volatilized from my brain! I mean, it released like a month ago!

Rating: 3/5

 

2. Zaalima

Singers ~ Arijit Singh & Harshdeep Kaur, Music by ~ JAM8, Lyrics by ~ Amitabh Bhattacharya

“Deedar tera Milne ke baad hi chhooti meri angdaai,
Tu hi bataade kyun zaalima main kehlaayi?
Kyun iss tarah se duniya jahaan mein Karta hai meri ruswaai?
Tu hi bataade kyun zaalima main kehlaayi!”

– Amitabh Bhattacharya

Pritam Chakraborty’s Artists and Repertoire company, JAM8 get charge of the romantic song of the album. Now isnt it such an honour to compose a romantic song for THE Shah Rukh Khan? And I must say, the team has made a good effort in keeping with the star’s legacy. Before you start hurling curses at me, I will stop judging music by star value and let’s get on with the review! So the composer(s) [I don’t really know who it is exactly for JAM8] composes this song with a very evident feel-good vibe to it, and who doesn’t like such breezy music? The mukhda has a very sunshine-ish tune to it, and the hookline is so nicely inserted into it, just like a jigsaw puzzle piece that fits into another piece perfectly. (Must be some great quality cardboard that that jigsaw puzzle is made of! Sorry.) The mukhda contains some nice couplets followed by the interjection “zaalima“, and these couplets have been put to such a nice and playful tune, you can’t help but groove to it, though it isn’t the most conventional of tunes. It reminded me of ‘Aaj Dil Shaayraana’ (Holiday)! It also has PRITAM written all over it; the composer(s??) have done a good job of recreating his style. The mukhda also has another line, which has the most brilliant of tunes, in a high scale of notes. (It’s the part that goes “Aankhein marhaba, baatein marhaba“, in case you’re wondering.) The first antara is yet another playful tune that you just can’t get enough of, especially the seamless way the tune goes from low notes to high, in a very clever bridge note. And then the tune of that “marhaba” part comes back with different words, and so do the goosebumps! After the first antara, you think that the song would end, but JAM8 had more in store. When it continues you wait for another antara or the mukhda repeated (like most songs have nowadays) but what you get is even better. A brilliant conclusion comes in the form of nice Sufi-style lines, put to a heavenly tune and Harshdeep’s awesome vocals. The arrangements are fantastic, what with the trademark Pritam guitars and dholaks on a very breezy melody. Some techno sounds are very impressive, like that nice sound at the beginning of the song, playing all the time before Arijit starts, and after each “O zaalima” hook, and in the first interlude. A nice rhythm of daflis (Iqbal Azad), quite similar to the one Pritam himself had given in ‘Gerua’ (Dilwale), gives a nice and traditional touch to the composition. The first time the “O zaalima” hook crops up, there’s a nice hit of drums (Alan Hertz). The acoustic guitars that start the song (Pawan Rasaily & Arijit Singh) are wonderful and lure the listener into the song perfectly. Even the rock guitars actually rock whenever they play. The first antara has this wonderful ‘Tum Jo Aaye’-ish tabla rhythm, taking you back to the ‘Tum Jo Aaye’ days. The second interlude is phenomenal with a nice harmonium-led (Feroz Shaikh) traditional piece. Vocals are topnotch, with both vocalists impressing. Arijit is his usual charming self, and how I love his voice in such cheerful songs. I think even composers do, because I’m hearing less of his bawling and drawling nowadays. Harshdeep is fantastic too, and her husky voice was a perfect choice to get that small amount of rustic-ness required for the song. She also sings that conclusion stanza very convincingly. The lyrics by Amitabh Bhattacharya are a good, fine example of clever poetry and have a nice ring to them, especially when Arijit sings it. The fact that the lyrics are great has been proved already, when the makers resorted to lyrics for building up pre-release buzz for the song, instead of releasing teasers of the audio or stills from the video! “Jo tere ishq mein behka pehle se hi, kya use behkaana, O zaalima!” or “Jiski har dhadkan, tu ho aise, dil ko kya dhadkaana, O zaalima!” It is just, perfectly exemplary writing. A good attempt by ‘almost’ newbies JAM8, to create a good romantic track for SRK, and what they will get in return for this is exposure i.e, exposure that being in an SRK film gives you. Surely, bigger projects are in store for them now after the middling ‘1920 London’ last year!

Note: I’m not too sure whether it is the same people behind this song for JAM8, who were behind the songs for ‘1920 London’ (Kaushik-Akash).

Rating: 3.5/5

 

3. Udi Udi Jaye

Singers ~ Sukhwinder Singh, Bhoomi Trivedi & Karsan Sagathia, Music by ~ Ram Sampath, Lyrics by ~ Javed Akhtar

“Kehne ko toh khel hai yeh tera mera sanjha,
Par mera dil hai patang aur teri nazar manjha,
Manjhe se lipti yeh patang judi judi jaaye!”

– Javed Akhtar

Ram Sampath re-enters into the album that was rightly his before JAM8 were taken on board. His next song is a garba track, but it has shades of a romantic track. And this blend has been done so well, that at one point you think it’s a dance number you’re listening to, and at another point, you think it is an out-and-out romantic song. The composition, though quite typical to the genre, is very sweet and innocent, especially the wonderfully crafted hookline. Yes, it has a bit of a 90s touch to it, but that makes it sound all the more charming. The mukhda is a direct plunge into the melody of the song, with the hookline ‘hooking’ you from the very start, just like a hookline is supposed to. That one line that Ram has composed so that we can actually say there is some kind of mukhda (The ‘kehne ko toh khel hai…‘ part) is just sooooo sweet, and whenever it repeats in the chorus, you just can’t help but smile. The antaras have been composed in a just as melodious tune, with an even more evident 90s feel to it, and that touch makes it sound as good as it does! (You see, I have no qualms with 90s touches when they’re well done!) In the second interlude, there’s a wonderful very folksy Gujarati part, crooned by Karsan Sagathia, and that is something to look out for in the song. I like the way Ram has composed such a flavourful Gujarati track, though he isn’t Gujarati himself. That just reflects the unity in diversity of India once again, I guess? 😀 The arrangements are wonderful, and make the song sound grand. If you close your eyes and listen to them, you might just feel you are in the middle of a big Navratri function in the heartlands of Gujarat itself. The powerful, booming percussion (Nitish Ranadive) just can’t be ignored, as it provides such a foot-tapping beat throughout the song. The Gujarati folksy string instruments have been put to great use. That mandolin (Tapas Roy) is just too splendid to ignore! Overall, the arrangements by Sampath set up this very happy and grand ambience, and transport you to Gujarat. Vocals are too impressive to be true. Sukhwinder, as always, is great, but his voice sounds exceptionally well here — barring those small autotunes I can hear occasionally! And the “Chaiyya Chaiyya” (Dil Se) magic is recreated! Bhoomi Trivedi gets her next big song right after her debut in ‘Ram-Leela’, and making great use of the space she gets here, she shines. Her husky voice proves just right for the track, and at places, she sounds just like Sunidhi Chauhan. Karsan’s small interlude, is fantastic, and I don’t know whether it’s a new recording, or a recording of one of his old songs. Probably the former. I don’t know. I don’t think it should matter too. 😛 Javed Akhtar’s lyrics are good; a nice romantic touch is added to the Garba setting with his words. Other than that, there wasn’t anything too exceptional about them. 🙂 A song that will go down as one of the best Garba songs of Bollywood, joining the *recent* hits like ‘Nagada Sang Dhol’ (Ram-Leela), ‘Shubhaarambh’ (Kai Po Che).

Rating: 4/5

 

4. Dhingana

Singer ~ Mika Singh, Additional Vocals by ~ Team Omgrown, Music Composed by ~ Aheer for JAM8, Music Produced by ~ Omgrown Music (Ram Sampath’s company), Lyrics by ~ Mayur Puri

“Farzi, duniya hai farzi, tedhi jab kar di ungli, toh seedhi chali,
Marzi, apni marzi, jab Hoti gardi, kismat gale lagi
Dhingana dhingana, dhandhe ka dhingana!”

– Mayur Puri

JAM8 comes back with yet another song on the album, this one credited specifically to new composer Aheer composing for JAM8. The song is your everyday gangster song, something full of attitude and loud beats that you might expect to play everywhere around for a while after the film releases. The composition by Aheer is quite good, getting the attitude and spunk quotient right, with the mukhda particularly starting the song off on a note that would get the listener hooked. As it progresses towards the hookline, the composition does get a bit heard-before and tedious, but bearable. It isn’t like the composition would bore you. The hookline itself is full of that gangster attitude. The one antara that follows too, has a nice retro-styled composition, and reminds one of Amitabh Bachchan’s Angry young Man days. One thing is for sure though, that this song will be played numerous times in parties and functions. The arrangements are your normal massy song fare, with loud masala movie styled percussions (that sound a bit too loud, thus reminding me of Sajid-Wajid’s ‘Madamiyan’ from ‘Tevar’), and cool guitars (Shon Pinto). The star of the arrangements, though, has to be the rock guitars tune, the one we heard in the trailer, and what people were calling the “Raees Theme”. They should’ve released an instrumental track based on that trumpet-and-guitars piece! Vocals by Mika are surprisingly not as irritating as they could’ve been, and that’s saying quite something! He adds a bit of a grunge to his voice in places, and it sounnds great! The song’s duration has been kept very short, under three minutes, and rightly so, situational as it is. Mayur Puri, returning in a film album as Lyricist after quite some time, writes functional lyrics, and from what I gather, it is a song where the gangster and his henchmen are celebrating about the success of their business. Enjoyable, but to an extent, that unfortunately gets reached quite soon.

Rating: 3/5

 

5. Enu Naam Che Raees

Singers ~ Ram Sampath & Tarannum Malik, Additional Vocals by ~ Team Omgrown, Music by ~ Ram Sampath, Lyrics by ~ Ram Sampath & Hiral Brahmbhatt

“Enu naam chhe Raees, Enu naam chhe Raees,
Akkhi duniya mein yeh single piece, single piece!
Heilo haalaro, hulle hullare ho!!!”

– Ram Sampath & Hiral Brahmbhatt

Here comes another theme song revolving around the central character, Raees. This one has been composed by Ram Sampath and I’m guessing, was part of the album before SRK started making amendments in the album. I say that because it is horribly disappointing! The composition is a typpppppical Ram Sampath composition. But that’s not bad, is it? Well, it isn’t but the result isn’t too satisfactory either. Yes, the composition does have certain hooks that make it work, like the “Heilo haalaro hulle hullare ho…” loop, which is family catchy, but as a whole, it just doesn’t work out as a theme song which it is meant to be. The hookline seems like something that has been composed for an advertising campaign, and doesn’t seem like something you would add into a Bollywood album. Okay, even if it were sounding like an advertising campaign and sounded good, it would be fine. However, the result is a mishmash of confused sounds and tunes. Barring the vocal loop I pointed out, everything seems below the standards. I don’t even get how the track, which is heavy on trippy Latino and club beats, has found a place in such a folksy (till now) album. It is a bit too far-fetched, no? Arrangements are just that: A confused mash of techno beats and Taufiq Qureshi-ish percussion by Farai Arendse and Dayo Afolayan. Also, I don’t know where the Salsa-style beats came from in this song! Vocals by Ram Sampath sound good, but again, it really does not go well with the rest of the album. Again, the vocalists who have sung the vocal loop, fascinate. Ram Sampath and Hiral Brahmbhatt’s lyrics are a good description of Raees’s character, but could’ve done with a much better comoosition. Sadly, so underwhelming a theme song, that I don’t know if it even will be remembered as one.

Rating: 2.5/5

 

6. Saanson Ke

Singer ~ K.K., Additional Vocals by ~ Thomson Andrews, Ryan Dias, Dean Sequeira, Murishka Dcruz, Shazneen Arethna, Gwen Dias, Music by ~ Aheer for JAM8, Lyrics by ~ Manoj Yadav

“Main kis manzil ka raahi hoon, tu kinn raahon pe laayi hai
Samajh paaun na main tujhko, naa tu mujhko…
Jo na manzoor hai mujhko, wohi manzoor hai tujhko
Samajh paaun na main tujhko, naa tu mujhko…”

– Manoj Yadav

As soon as the next song starts, you wonder whether you accidentally opened the “Raaz 5” album. The piano notes that the song starts with evoke memory of everything pertaining to the Bhatts. JAM8 returns yet again, with Aheer helming it yet again. And what follows is a very mediocre sad song, that would have (okay, might have) sounded better in any Bhatt album! The composition has been delivered strictly according to the Bhatts’ needs and requirements, and that template has been followed perfectly. Melancholia, check. Acoustic guitars and strings, check. K.K., check. However, was there any need of such a song here? A wonderfully earthy sad song a la ‘Naina’ (Dangal) could very well have been made as well. And my frustration about this song is much less about it being a trademark Bhatt-ish melody, than it is about it being such a mediocre composition! I mean, Shah Rukh had called in JAM8 to enhance the album, as he thought it was underwhelming, but in such short notice, all that JAM8 too, could offer, is this underwhelming song too! Everything about the composition sounds too heard-before and gives you the feeling that you could just as well hear all of this song’s elements in some other, better, actual Bhatt movie song! That much about the composition. Arrangements fare much better, what with a haunting chorus joining in to make it sound all the more pensive (and also dated, at times). The guitars (Roland Fernandes) help the song nicely throughout the duration. The strings very majestically grace the hookline. The best part of the arrangements are the clarinets and flutes (both by Shirish Malhotra), which you might need to strain your ears to listen to. K.K. as usual, aces the vocals, but again, I can’t help but thinking how bored he must’ve been singing this — a melody, the type of which he has sung a thousand times before! Manoj Yadav’s lyrics are a pleasure to hear, and provide the respite that the other aspects of the song do not. A misfit.

Rating: 2.5/5

 

7. Ghammar Ghammar

Singer ~ Roshan Rathod, Music Produced by ~ Ram Sampath, Composition & Lyrics ~ Traditional

“Ghammar Ghammar maru valonu gaaje,
Shaam aavi ne maari matuki phode!”

– Traditional

The last track on the album is a fun Gujarati folk song recreated by Ram Sampath. And I must say, it is quite impressive! The traditional composition has been given a nice techno revamp, and Roshan Rathod has rendered quite zestfully. What’s most impressive is that the techno sounds and the folk instruments blend perfectly and the techno sounds do not tamper the folksy feel of the song whatsoever. I really have nothing much more to say about this! Just enjoy this one! A short track to dance on in Navratri and/or Janmashtami! 😀

Rating: 3/5


Raees turned out to be quite some disappointment. First of all, you would think an album releasing so late (ONE DAY BEFORE THE MOVIE!!) must be so good for it to be delayed so much. After hearing the album, I could gather that the delay must be due to last-minute additions that clearly went wrong. Ram Sampath’s original music for the film getting scrapped, and JAM8’s new songs (out of which one is great, one is above average, and the other is average) being added like one month before the film releases, takes its toll on the album itself. Whatever was the idea behind this last-minute change of music really backfired on the music itself. And all the pre-release hype that could’ve been created by music has just been wasted. I can just say, Much ado about nothing!

 

Total Points Scored by This Album: 3 + 3.5 + 4 + 3 + 2.5 + 2.5 + 3 = 21.5

Album Percentage: 61. 43%

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: Udi Udi Jaye > Zaalima > Ghammar Ghammar > Dhingana > Laila Main Laila > Saanson Ke = Enu Naam Che Raees

 

Remake Counter
No. Of Remakes: 03 (from previous albums) + 01 (from Raees) = 04

 

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

DHAAKAD DUO PRITAM-AMITABH WIN THIS MUSICAL DANGAL!! (DANGAL – Music Review)

Music Album Details
♪ Music by: Pritam Chakraborty
♪ Lyrics by: Amitabh Bhattacharya
♪ Music Label: Zee Music Company
♪ Music Released On: 14th December 2016
♪ Movie Releases On: 23rd December 2016

Dangal Album Cover

Dangal Album Cover

 

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

To buy this album on iTunes CLICK HERE


Dangal is an upcoming Bollywood sports drama / biopic starring Aamir Khan, Fatima Shaikh, Sanya Malhotra, Sakshi Tanwar, Zaira Wasim and Suhani Bhatnagar. The film has been directed by Nitesh Tiwari, and produced by Aamir Khan, Kiran Rao and Siddharth Roy Kapur. The film revolves around the life of wrestler Mahavir Singh Phogat (played by Aamir), who teaches his two daughters, Geeta and Babita Phogat to master the sport. The movie looks like a fun but emotional struggle of the family, and I’m looking forward to watching it. Of course though, till the 23rd of December, we all have the music album of the movie to entertain us. The music has been composed by Pritam, who has not even yet come out of the fresh success of his latest super-hit album ‘Ae Dil Hai Mushkil’. This happens to be Pritam and Aamir Khan’s second time working together, the first being ‘Dhoom 3’, which, as most sequels are, was a bit underwhelming. This movie being a sports film, I was skeptical whether there would be any scope for Pritam to shine as much as he did in ‘Ae Dil Hai Mushkil’, but again, we remember music albums like ‘Phantom’ and ‘Barfi’, movies where music might not have played too much of a role, but Pritam nailed it with his music and stunned critics as well as listeners. So let’s hope Pritam continues his hit spree with this album as well! With this album, Pritam offers 6 more songs to add to his 6 songs from ‘Ae Dil..’, so without further ado, let’s start!!!


1. Haanikaarak Bapu
Singers ~ Sarwar Khan, Sartaz Khan Barna, Backing Vocals ~ Kheta Khan & Dayam Khan

“Toffee chooran, khel khilaune, kulche naan parantha,
Keh gaye hain tata jabse, Bapu toone daanta!
Jis umar mein shobha dete, masti, sair, sapaata,
Uss umar ko naap raha hai, kyun ghadi ka kaanta?”

It is with the first song itself, that Pritam assures that whatever our doubts were before hearing the album, he is going to provide his utter best and not leave a single chance to give good music, whatever be the genre of the film. So of course, the film shows the struggle of Mr. Phogat’s daughters right from their childhood, in which case a children’s song is a must, isn’t it? And so, Pritam, very diligently, delivers a children’s song as the very first song of the album. And what a smashing opening it makes for! The composition is another one that falls into Pritam’s category of insane, fun songs, and is one that will instantly connect with the audience, especially the part of the audience that it is clearly aimed at — The kids! More specifically, the kids who have a very strict father, like the girls in the movie do. 😀 The song starts with a cute little ad-lib by the young boys, paving a nice way into a folk-flavoured rhythm that goes “ding dang ding dang…” and at the same time, makes you groove. And it is the mukhda which makes the song finally get going finally. The catchy tune, rendered by those cute young voices, just can’t let you hate it! The raps that act as fillers in the interludes are so entertaining, that the instruments almost don’t matter! (People wanting to sue me because of less recognition and rights for instruments, please note the ‘almost’ 😛 ) The antara showcases even more of the Folk flavour, by slowing the tempo down, sort of like how it is in Qawwalis, and that tune too is amazing! Pritam has employed great folksy nuances to complement his buoyant composition, the rock guitars (Vadim Zilberstien & Amandeep Singh) being the most prominent. What infuses the folksy feel into the song, though, are the lively harmoniums and that wonderful rhythm (Iqbal Azad, Hanif Dafrani, Aslam Dafrani & Yusuf Sheikh) that plays all throughout. The duffs and other folksy percussion have been used so wonderfully, not to mention the awesome occasional drums (Alan Hertz). I completely loved the fusion of Western and Folk music that Pritam has utilised in this song. The second interlude has a wonderful banjo solo, that is just a pleasure to listen to! Back to the rock guitars, it just rejuvenates you when those guitar strums play unexpectedly in the middle of a verse. The song ends on a nice high-energy conclusion, complete with whistles and the “ding dang” rhythm making it a grand finale. The vocals are impressive. Pritam’s earthy finds, Sarwar & Sartaz Khan, two young folk singers, render the song beautifully. That naughtiness that was required to render the song, has been very professionally brought into the song by them. Their diction of certain words is very fun and entertaining, like ‘torture’. But the backing vocalists, two more young boys, namely Dayam & Kheta Khan, also make the song sound better with their occasional embellishments throughout the song. The genius mastermind that he is, Amitabh Bhattacharya excels with the pen in this track. His witty nuances constitute the majority of the song, while also dissipating the subliminal message of letting children enjoy their childhood. Lines like “Bapu sehat Ke liye Tu toh haanikarak hai” (Father, you are injurious to health) and “Mitti ki gudiya se bole Chal body Bana, yo toh torture hai ghana re yo toh torture hai ghana” (He tells a young girl to do body building, this is sheer torture!) and “Discipline itna khudkhushi Ke laayak hai” (So much discipline, that it is enough for us to commit suicide), though marinated in sarcasm and exaggeration, do evoke laughter from you, even though they are a bit far-fetched. 😀 The jest contained in this song is enough to make you rolling with laughter. Finally, Bollywood evolves from songs that worship blindly, to songs that are straightforward like open letters. To those cute boys, please sing more in the future! #5StarHotelSong!!

 

2. Dhaakad / Dhaakad (Aamir Khan Version)
Singers ~ Raftaar / Aamir Khan

“Tanne chaaro khaane chitt kar degi, Tere purje fit kar degi,
Datt kar degi Tere daanv se badhke, pech palat kar degi,
Chitt kar degi, chitt kar degi!
Aisi dhaakad hai, dhaakad hai, aisi dhaakad hai,
Aisi dhaakad hai, dhaakad hai, aisi dhaakad hai!”

The next song redefines Bollywood’s meaning of ‘rap’ and actually takes rap for what it means. The song is a Haryanvi hip-hop rap song, that is full of attitude and spunk. Though it is completely a rap song, it is that harmonium tune by Pritam that gets the listener hooked right from the beginning. The arrangements too are very captivating. More on them later. So as I was saying, or writing, the song starts off quite subtly with a rap that does not instantly grab you in. However, gradually, as the rhythm sets in and you get accustomed to the very innovative setting of the song, the song sounds nothing but catchy. Raftaar’s rap has this flow to it that makes you want to hear it over and over again. Especially the lines I’ve written above, that part sounds so good!! However, Raftaar only plays half the role in making the song sound so good. Because Pritam has decorated the background music with such cool sound effects, that it is difficult to keep your concentration on one particular thing. The song itself starts with a very stunning prelude, which gives us an insight into the Haryanvi setting of the song, with the sarangi (Rajesh Kumar) welcoming us into the song very warmly and getting us ready for some folksy fest, when unexpectedly, some techno sounds and digital beats start playing and those nice sound effects bring a modern touch to the song. The Folk percussion and the manjeeras too help the song to get elevated right at the beginning. Raftaar’s spunky rendition is just perfect. There couldn’t be a more full-of-attitude delivery of the verses. He also puts in those awesome backing vocals that interrupt in between the lines, like ‘haanji’, ‘kasam se’, ‘by God’, ‘ibb yo suno’ and whatnot. Those phrases just sound awesome in their randomness. Aamir’s version has Aamir starting off well, and with a lot of attitude, but you just get disconnected from the song midway. Nevertheless, it acts as a nice makeover of the actor’s goody-goody image. :p He does deliver the words very fast, and that one rap in the middle which Raftaar had rendered amazingly, Aamir too aces easily! About that ‘nineteen-to-the-dozen’ rap, though, there are many musical additions by Pritam behind whatever Raftaar or Aamir are saying. A nice techno base offers a modern touch, while electronic tablas steal the show and that been/pungi (Mukesh Nath) that sounds oh-so-earthy, is just awesome. Pritam places the techno elements in the song in places they are least expected. And that harmonium which plays everytime the rapper says “Tere purje fit Kar degi..” is just mind blowing!!! Amitabh’s lyrics are equally full of attitude. I doubt Raftaar being a rapper could’ve written the lyrics! A step towards the uplifting of the rap genre in Bollywood, this song acts as a nice relief from the rap songs of today. #5StarHotelSong!!

 

3. Gilehriyaan
Singer ~ Jonita Gandhi

“Ek nayi si dosti, aasmaan se ho gayi,
zameen mujhse jalke, muh banaake bole, Tu bigad rahi hai!
Zindagi bhi aaj kal, gintiyon se oobke,
Ganit ke aakdon ke saath ek aadha sher padh rahi hai!”

With the next song, the fun and naughty flavour of the album is gone, and replaced by a subtlety and innocence which can only be got in the best of romantic songs. With that fun flavour, even the rustic, folksy nature of the former tracks is replaced by an almost urban, modern touch. So Pritam has composed a song tracing the feelings of the girls when they go to the city for their training, and what results is a lilting composition that sucks you in right away. The mukhda is the hookline itself, and what a relief it is! It is so fresh and relaxing, that you cannot even imagine to hate it! The part that goes “Kyon zarasa mausam sarphira hai ya mera mood maskhara hai..” is beautiful! Pritam’s tune instantly gets you hooked, and you can’t do anything except sit and listen until the magic is over. The antara just continues the magic, and those two lines of the antara sound scintillating and surreal. The way Pritam connects the antara then, to the hook again, is fantastic! The hook has that lilt to it, which you normally feel when you are on top of the world, happy, jolly and indifferent to whatever’s going on around you! That lilt has been infused into it because of the amazing arrangements. The guitars (Nikhil Paul George) are so beautiful, that you just can’t ignore them, not to mention those finger snaps at the end of every line. The strings (The Symphony Team conducted by Christian Lorenz) are amazing, coupled with a nice choir piece to them. The mandolin can be heard in places, while the matkas are beautiful in the hook. The whole thing results in a wonderful positive vibe that does nothing but make you feel content and satisfied. It is Jonita that explores herself the most in this song. While she has sung quite some soft numbers for Rahman, it was her first such song with Pritam (the club numbers ‘Sau Tarah Ke’ from ‘Dishoom’ and ‘The Breakup Song’ from ‘Ae Dil Hai Mushkil’ being her previous songs with Pritam) and Pritam has made her sing so calmly and smoothly that it actually sounds fairy-land-ish and lulling. When she touches the high notes, her voice just directly touches your heart. Amitabh’s lyrics are genius here as well, and those lines from the antara are just ingenious!! A song that will make a place in everybody’s playlist for this year’s best songs! Melodic! #5StarHotelSong!!!

 

4. Dangal
Singer ~ Daler Mehndi

“Thhos majboot bharosa, apne sapnon pe karna,
Jitne munh utni baatein, gaur kitnon pe karna,
Aaj logon ki baari, jo kahe, keh lene de,
Tera bhi din aayega, uss din hisaab chukake rehnaaa..!
Arey, bhed ki hahakaar ke badle sher ki ek dahaad hai pyaare,
Dangal Dangal!”

The album’s title song comes quite late into the album, but how! The song is a pulsating, racy, energetic song that can be described just half of how great it actually is! Pritam has outdone himself here and produced such a heart-rending, motivational song, with such a beautiful composition, that I really have to salute him! The song starts off with those backing vocalists that we heard in the trailer of the film, and they sing that line with such conviction and energy, that it’s simply magical! The song immediately plunges into the mukhda that is the hookline, and then takes a small detour to the actual mukhda, which is amazing. (“Dhadkanein chhati mein…”) The composition of these two parts is enough to grab the attention of the listener and get him hooked! The backing vocals line keeps repeating throughout and it sounds just as exhilarating each time it plays. Though the hookline is oh-so-dependent on the repetition of the words “dangal dangal”, it still remains fresh in your mind after the song is over, and doesn’t come across as boring,because the padding around it has been composed rather professionally. Of course, what else can you expect from Pritam? The antara has a very emotional touch to its tune, and that was a welcome touch added by the composer. Everytime the verse connects with the hookline, you feel some thrilling sensation, and that just means that the motivational song has succeeded in its intentions! Arrangements are awesome as well! Of course, the usual rock guitars (Amandeep Singh & Roland Fernandes) and drums (Alan Hertz) that are used by everyone in such motivational title songs, are present. But leave it up to Pritam to give an already fortified and established cliché, an unexpected twist. He adds a nice Punjabi percussion to the song, and I must say, the percussion (Iqbal Azad, Girish Vishwa, Babloo Kumar, Ramjan Khavra, Ahmed Khavra) has added a nice and very intense quality to the music. Though it is a bit reminiscent of the ‘Rang De Basanti’ title song, which also had Daler Mehndi singing amidst heavy Punjabi percussion, this one too will make a place for itself in history. Moving on to the vocals, I can’t really praise Daler Mehndi enough! This year he has ventured into Bollywood thrice — once with Sachin-Jigar in ‘Raj Karega Khalsa’ (A Flying Jatt), then with Shankar-Ehsaan-Loy in the ‘Mirzya’ title track, and now this. Each time, he has showcased his awesome singing prowess and prices that he is the lion of Bollywood music. He uses his distinctive voice to awe the listeners in this track too, and doesn’t fail to live up to the energy that Pritam has created with his tune and arrangements. The backing vocalists (unfortunately uncredited by Zee Music), as mentioned earlier, are awesome! Amitabh goes to a different league altogether with the lyrics of this song. The struggle of the main character has been perfectly described through his words. The antaras are amazing, and somewhere I find that the words also apply to Pritam himself, who rose up from those demonic allegations of plagiarism and reinvented himself. The words are very touching and are sure to get some tears (even one will do, but don’t cheat and add glycerine please!) in your eyes! An adventurous title song, rendered beautifully by Daler Mehndi! Pritam has tried something different and succeeded with flying colours!! #5StarHotelSong!!

 

5. Naina
Singer ~ Arijit Singh

“Naina, jo saanjhe khwaab dekhte thhey,
Naina, bichhad ke aaj ro diye hain yun,
Naina, jo milke raat jaagte thhey,
Naina, seher mein palkein meechte hain yun”

The melancholia sets in with the next song. Pritam composes another song to accompany his songs in the league of ‘Channa Mereya’ (Ae Dil Hai Mushkil), ‘Kabira’ (Yeh Jawaani Hai Deewani) and ‘Ashq Na Ho’ (Holiday). The same feeling of melancholia hits you as soon as this one starts playing. The song starts with a small verse that sounds a bit like that concluding Punjabi couplet of ‘Channa Mereya’ in certain notes. However, it soon passes through that small resemblance phase, and as the miraculous hookline takes over, you soon forget about whatever small resemblance both songs showed. The hookline is amazingly poignant, and touches the chords of your heart immediately, and then the mukhhda just consolidates their position in your heart. The antara too, is very soul-stirring, and the high notes in Pritam’s composition help that part to connect with the audience. The melody has some old-world charm to it, something that is missing in most of today’s songs. The arrangements are beautiful as well, and the Composer goes with the typical Duff rhythm to accompany the composition. Calm guitars help the song to grab the attention of the audience before the actual melody starts playing. A wonderful sitar provides a nice source of relief in the interlude, only to be followed by an accordion-mandolin combo. In other parts though, the Duff does the needful, and though I have gotten bored of this rhythm in other songs, it sounds fresh here, maybe because of the poignant melody. And that violin that appears out of the blue at 2:18 in the song!! It sounds so retro and soothing! 😀 Violins also join in to conclude the song during the last hookline. Arijit renders the song beautifully, but part of the sameness of this song and the others I mentioned at the beginning, is that Arijit has sung them. Nevertheless, he is good at his delivery and does what he’s best at. Amitabh’s lyrics are splendid and a great to listen to, especially with Pritam’s heart-touching melody. A song that might go unnoticed, but is actually a gem! #5StarHotelSong!!

 

6. Idiot Banna
Singers ~ Jyoti Nooran & Sultana Nooran

“Main boli banna manne picture dikha de, Balcony ki do tho ticket kata de,
Yoon toh Sara theatre tha khaali, Banne ne ek ticket hi nikaali!
Bola ke interval take dekh le Tu, Interval ke aage ki main dekh loonga,
Ek ticket se kaam chale toh do leke Kya karna?!
Idiot hai mera banna!”

The last song on the album definitely suits as a grand finale to the album. The song is a wedding song, clearly a song where the ladies of the town are singing and dancing, and the men are nowhere to be seen. The song follows the convention of songs like ‘Mere Haathon Mein Nau Nau Chudiyan’ (Chandni), ‘Didi Tera Devar’ (Hum Aapke Hain Koun) and ‘Gore Gore Se Chhore’ (Hum Tum) where the girls are singing about the men, and making fun of them. And with the men being made fun of, we listeners too get let in on a few secrets as we enjoy the track. Pritam’s composition perfectly sums up the essence of village weddings, and has a distinct Haryanvi flavour to it. The backing vocalists (again uncredited) become a nice addition as they help with the gossiping and whatnot. They start the song off on a very upbeat and ‘Cutiepie’-ish note. The mukhda too, seems as if it has been taken out of ‘Cutiepie’ (Ae Dil Hai Mushkil). Again, the resemblance only lasts for an insignificant amount of time, and wears off right away. The hookline is catchy, and very fun. The antara is functional, but since the song is primarily situational, it doesn’t matter, as the fun lyrics help us through the song. Arrangements are fantastic, almost a replica of ‘Cutiepie’ but less loud and less in-your-ears. The dholaks are what reminded me of ‘Mere Haathon Mein’ (Chandni) and the shehnaai in the interlude is very fun and cute, though reminiscent of Salim-Sulaiman’s shehnaai in ‘Baari Barsi’ (Band Baaja Baaraat). The rock guitats and drums stand out here as well, and the harmonium sounds charming. The Nooran sisters with their ebullient voices, harmonize perfectly with each other and though their voices, usually left free to their natural extent, sounds a bit suppressed and restricted here, the magic produced is the same. Amitabh Bhattacharya’s lyrics are very humorous, and really make for a fun listen. The words I have showcased are just one of the three funny incidents about the Banna. (Groom) Bringing the old Bollywood traditions back into Bollywood as they were!! #5StarHotelSong!!


Phew!! Dangal is stunning! Each and every track has a different distinct flavour to it — one primarily a children’s song, another a rap song, yet abother a lilting romantic song, and a electrifying motivational song, a poignant melody, topped by a fun village-ish wedding song. Pritam has delivered songs that don’t even scream “Pritam has composed us!”. None of the songs sound like a Pritam song! How interesting it is, that all the sings from Pritam’s last album, ‘Ae Dil Hai Mushkil’ had that distinct Pritam flavour, while all of the songs in this album (save maybe ‘Naina’) don’t! Anyway, the album is one of Pritam’s best, and also Aamir Khan’s best albums in quite some time. (‘PK’ being good, ‘Dhoom 3’ being okay, and ‘Talaash’ being the last great album of his movie.) The variety of tracks that this album offers, is amazing! All I can say is that, the ‘dhaakad’ duo Pritam-Amitabh have won this Musical ‘Dangal’ and ended 2016 on a high, with a bang!!

 

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: Dangal > All the rest! 😀

 

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

 

THE YEAR’S ALBUMS ARE OVER!!! STAYTUNED FOR THE ANNUAL ROUND-UP! 🙂

A MIDDLING ‘KAHAANI’! (KAHAANI 2 – Music Review)

So sorry for being late, but there was some technical problem, maybe network error, due to which I couldn’t access my own blog. :p Luckily, a new song from the album released yesterday, so I now got to include that in the review!!


Music Album Details
♪ Music by: Clinton Cerejo & Rabindranath Tagore
♪ Lyrics by: Amitabh Bhattacharya & Rabindranath Tagore
♪ Music Label: Saregama
♪ Music Released On: 19th November 2016
♪ Movie Released On: 2nd December 2016

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Kahaani 2 Album Cover

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

To buy this album on iTunes CLICK HERE

To hear “Anandoloke” on Saavn CLICK HERE

To buy “Anandoloke” on iTunes CLICK HERE


Kahaani 2 is a Bollywood thriller starring Vidya Balan, Arjun Rampal, Jugal Hansraj and Naisha Khanna. The film is directed by director of ‘Kahaani’, Sujoy Ghosh, and produced by the director along with Jayantilal Gada. The makers have made it known that the film is by no means a sequel to the 2012 runaway hit ‘Kahaani’, but since the storyline fits well with the theme of that movie, the makers have decided to club this movie with that, in order to make a sort of ‘Kahaani’ franchise. Bhatts, learn something! But instead of lecturing the Bhatts for making an infinite number of franchises, and including infinite instalments in each of the franchises, I should focus on the music of the movie. For the first movie, we had one of the top composer duos of Bollywood, Vishal-Shekhar, behind the music of the album. This time around though, we have a composer that hasn’t yet proved himself as a great composer to the masses, but for music lovers like us, he has provided many beautiful albums. And that man is Clinton Cerejo. Just this year, he has given us two wonderful albums, one for the musical ‘Jugni’ with 12 tracks, and the other for the thriller ‘Te3n’, with 5 tracks. Here he comes for his third film of the year, yet another thriller, with a mere 3 tracks. The album should really live up to the standards that ‘Kahaani’ has set, but I also have a guilty thought that with just 3 songs and without Vishal-Shekhar, the album won’t exactly meet my expectations. Anyway, I will hear it with an unbiased mind and hope to like it! 🙂


1. Mehram
Singer ~ Arijit Singh

So with everyone bowing down to the public’s demand of having Arijit in an album, here we see Clinton doing so as well. The first song on the album very conveniently blends Arijit’s singing prowess with Clinton’s beautiful composing style. Clinton has composed a nice and breezy romantic song that pleases you instantly. The mukhda is characteristic of Clinton’s usual composing style, and instantly takes you into the calm and breezy world of the song. The line “Mujhe kuchh mat de…” takes the song to a wonderful high, and from there, seamlessly joins the hook line, which has distinct shades of Cerejo written all over it. So much so that you almost feel that the song is a happier version of Clinton’s ‘Haq Hai’ (Te3n). No complaints, though! The first antara, as is the convention nowadays, follows the tune of the mukhda, while the second takes a beautiful turn, without any interlude between the hookline and itself. The whole composition in all, however, turns out to be an utterly soothing one, and at the end of the song, calls for a repeat listen. The arrangements are nice as well. In addition to the breezy composition, Clinton puts in some nice acoustic guitars (Sachin Mittra & Clinton Cerejo) to keep the song catchy, with electric guitars and drums joining in whenever an impact is to be created. Especially in the hookline, the drums make a huge difference and increase the likability factor by a lot! Arijit’s vocals prove yet again why every composer is after him for at least one song in each of their albums. Amitabh Bhattacharya’s lyrics are nice and pleasant as well. This starts the album off on a very pleasant note! Unexpected but accepted. #5StarHotelSong!!

 

2. Lamhon Ke Rasgulle
Singers ~ Sunidhi Chauhan & Bianca Gomes

“Okay. Don’t worry… There might be some situation in the film where this song will fit in..” That was an exclusive insight into my mind, which was clearly confused after hearing this song, and I was trying to convince it. But of course, I couldn’t manage to convince it. This next song sounds like a total misfit. In all aspects. The song just doesn’t seem right! As soon as starts, you think it might be like those 80s disco songs that indicated something sinister would happen right when they ended (that was such a cliché in those films!). However, all traces of that thought disappear when the song actually starts, and its composition is nothing that would build up to something thrilling and suspenseful. In fact, it sounds way too happy-go-lucky to catch hold of in a normal situation too, let alone in a thriller film. It might’ve been better suited to a rom-com, but there too, it wouldn’t have gone too far. The composition wears out after the first one hundred seconds or so, and that’s mainly because Sunidhi is behind the mic. Two songs the song really reminded me of, were ‘Thank God It’s Friday’ (Himmatwala) and the very recent ‘Let’s Break Up’ (Dear Zindagi). The arrangements can be thanked for that. The disco sounds are really enjoyable! The brass instruments and the synthetic chords really remind you a lot of Amit Trivedi’s arrangement style. Another reason this song sounds so similar to the ‘Himmatwala’ song, can be that Sunidhi sang that one too. Here, she gets to share the song with Bianca Gomes, who sounds like a less harsh-sounding version of Shefali Alvares. Both ladies carry the song wonderfully, and give yet another reason to hear it once. Amitabh’s lyrics are quite situational, and undecipherable (at least to me) at this stage. Could’ve done good, but sadly got placed in the wrong album! A song that depends on vocals and arrangements to propel it forward.

 

3. Aaur Main Khush Hoon
Singer ~ Ash King

The next song is yet another happy-go-lucky, breezy song, again sounding like Amit Trivedi ghost-composed it. Again, it sounds as if it has been placed wrongly. This outrageous idea of putting romantic and breezy song in albums that seemingly don’t require them has been getting too ridiculous nowadays! Anyway, the composition is good, but gets boring after quite some time. I just found it hard to catch hold of. The hookline might be the best part of the song, everything else seems inconsistent and flying all over the place. The guitar riff doesn’t help either, it just makes the song sound like it belongs in ‘Ek Main Aur Ekk Tu 2’. The guitars and ukulele (played by Clinton Cerejo) keep playing incessantly throughout the song, and sometimes sound very sweet, other times, very unnecessary! The harmonica also sounds nice whenever it plays. Ash King renders the song with such impeccable ease! The playful way he sings Amitabh’s playful lyrics, is endearing. There’s nothing much more to say about this song!

 

♪ Bonus Song

4. Anandoloke

Singer ~ Clinton Cerejo, Composition & Lyrics by ~ Late Rabindranath Tagore

This song just released the day the movie released, which was yesterday, and luckily for me, I was having technical problems posting the review… And I happened to stumble upon this! 😀 The song follows ‘Kahaani’s convention of taking a beautiful Bengali song and recreating it for the movie. For the first film it was patriotic song ‘Ekla Cholo Re’, a Rabindranath Tagore composition. This time around as well, it is a song by Rabindranath Tagore, and this time it is ‘Anandaloke Mongalaloke’, a Rabindra-sangeet song that has been re-interpreted in many different ways before in Bengali films, and now for the first time in a Hindi film. Tagore ji’s original composition is just as soothing and relaxing as was ‘Ekla Cholo Re’, and Clinton adds his grand instrumentation to make it sound even more soothing to the ears. The piano, which is always the best way to start such a song, starts off this song very grandly, accompanied by a strong orchestra, with a brass instruments bringing in the brightness. After this, wonderful flutes play a playful melody that just makes you feel loved! Throughout the song, the scinitllating arrangements just steal your attention, and hence, that language barrier (which I don’t really believe in anyway) gets smacked right in the nose! 😀 The vocals by Clinton are amazing! He carries the song with the required responsibility, while he also employs an awesome choir to accompany him, reminiscent of the choir he has assembled for ‘Haq Hai’ (Te3n). At the end of the song, you just can’t help but feel that this was the Clinton you were waiting for! #5StarHotelSong!!


Kahaani 2 is one of those albums that is very misleading. A thriller with three songs out of the four in its album, being happy and breezy is such an irony. Contrary to how heart-moving the album to ‘Kahaani’ by Vishal-Shekhar was, this one just disappoints. With the exception of ‘Mehram’ and ‘Anandoloke’, this album has hardly anything working in its favour! After two great albums, Clinton Cerejo closes his account this year with a not-so-good album. Hopefully, he gets back on his wonderful track next year! Also, not liking this album might not have much to do with me hit living the tracks, than it has to do with me not liking that the album is full of tracks which will merely help in promotion, and not included in the actual movie. This ‘kahaani’ gets nowhere close to the first!

 

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: Anandoloke > Mehram > Aaur Main Khush Hoon > Lamhon Ke Rasgulle

 

Which is your favourite song from Kahaani 2? Please vote for it below! Thanks! 🙂

NA PASAND AANA HAI MUSHKIL! (AE DIL HAI MUSHKIL – Music Review)

So, like two days before the movie releases, Sony Music decides to finally release this album! Good job, Sony and Keep it Up! 😠


Music Album Details
♪ Music by: Pritam Chakraborty
♪ Lyrics by: Amitabh Bhattacharya
♪ Music Label: Sony Music
♪ Music Released On: 26th October 2016
♪ Movie Releasees On: 28th October 2016

Ae Dil Hai Mushkil Album Cover

Ae Dil Hai Mushkil Album Cover

 

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

To buy this album on iTunes CLICK HERE


Ae Dil Hai Mushkil is an upcoming Bollywood romantic comedy / drama, which stars Anushka Sharma and Ranbir Kapoor in lead roles, Aishwarya Rai Bachchan and Fawad Khan in cameos, and special appearances by Shahrukh Khan, Lisa Haydon, Alia Bhatt and Imran Abbas. The film has been directed by Karan Johar, and produced by him along with Hiroo Yash Johar, his mom. The film’s storyline has been well debated on throughout the days of its promotions, and that leaves me with nothing to write about it here, and since the album has been released so “early”, I need to get on with the review like right away! So as you all may know, Karan Johar’s movies have always had awesome soundtracks that become the definition of his films. Be it ‘Kuch Kuch Hota Hai’ by Jatin-Lalit, ‘Kabhi Khushi Kabhie Gham’ by Jatin-Lalit, Sandesh Shandilya & Aadesh Shrivastava, ‘Kabhi Alvida Naa Kehna’ & ‘My Name Is Khan’ by Shankar-Ehsaan-Loy, or ‘Student of The Year’ by Vishal-Shekhar, Karan has struck a great rapport with each music composer he’s worked with and the results have always turned out to be outstanding. This time, he chooses the hit machine Pritam Chakraborty to do the honors, and I think that was a great decision after the music of his production ‘Yeh Jawaani Hai Deewani’ which had music by Pritam, became such a blockbuster. I also suspect that that was when he roped in or started thinking about Pritam scoring for his next film, that turned out to be ‘Ae Dil Hai Mushkil’. Well, five of the music videos have already released, and from the last two months, the songs of the movie have been all over, literally! Pritam has scored six songs for the movie. So without further ado, let’s see how mushkil (difficult) it is to like this album! 😀 Or rather, how difficult it is not to like it! 😉


1. Ae Dil Hai Mushkil
Singer ~ Arijit Singh

The album kicks off with melancholy galore! And I really don’t usually like melancholy with a typical Bhatt wrapping in Bollywood music, but this song, is so different! First of all, forget about that Bhatt wrapping! Because this time, the Bhatt wrapping itself, has been given a very different touch! Pritam uses the same style he would use to compose songs for the Bhatt movies, but in the process, sheds all typicality. The melancholy represents the Bhatt style so much, but the arrangements all scream “Grand!!” The song seems like a put-together of ‘Janam Janam’ (Dilwale), and a very Bhatt-ish sound to it. I’m not complaining! The result is fantabulous! The composition is wonderful. Pritam starts off with an enticing mukhda that just screams at you to jump into the song, just as your grandmother tells you to jump into her house when you visit! 🙂 Everything about it is so alluring and convincing, that nothing could go wrong. A grand opening makes way for the very mellow hookline, which has become the daily food of most of the nation’s population over the two months since it has come out. The high-pitched line “Mujhe aazmaati hai teri kami…” is so fantastic, that it hurts to wonder how Pritam put together such contrasting lines as this and the starting line and the hookline. The first antara follows the high-pitch and angst and takes it to a whole new level, where it seems that Arijit seems uncomfortable touching those notes, but the result still sounds amazing. Pritam’s vision can’t go wrong, can it! 😀 The second antara follows a more sombre approach to being angsty, and the different, low-pitched composition is sooooooo beautiful, that it just immediately grows on you. The low pitch eventually gives way to more high-pitched lines, this time also, very magical. The hookline, which has different lyrics each time, is so wonderful, that you just can’t forget any of its versions. Pritam’s arrangements surpass everything else. The reason the song reminded me of ‘Janam Janam’ (Dilwale) was solely because of the arrangements. The nice little piano loop at the beginning of the song are so, so grand! On top of that, the grandeur is accentuated even more by wonderful, ostentatious, orchestral strings. The string orchestra consists of violins (Rolf Wilson, Morvin Bryce, Natalie Klauda, Ian Humphries, Raja Halder, Jan Regulski, Charles Sewart, Michelle Fleming, Debbie Widdup, Kate Robinson), violas (Meghan Cassidy, Timothy Grant, Eoin Schmidt Martin) and cellos (Ashok Klauda, Will Scholfield, Peter Gregson). The whole orchestral recording has been produced by Nikhil Paul George, and I must say, he has done a brilliant job putting together those wonderful sounds of the orchestra, not to mention the awesome job that Pritam did in composing them! The trumpet (Neil Brough) in the first interlude is so wonderful, and it imparts a kind of jazzy feel to the song. The oboe (Alison Teale) has been done very nicely, and it plays in the second interlude. Throughout the second antara, wonderful digital beats give the beats, and it sounds so otherworldly! Arijit’s vocals are amazing. He might be struggling a bit with the high notes, but manages to pull it off, and leave us spellbound with the magic of his voice. The way he mellifluously goes through the composition, both low and high portions, is commendable. Amitabh’s lyrics are quite ordinary, not bad and not excellent. They are, however, nice on the ears, due to a good use of Urdu. 😀 grand beginning to the album! Arijit is going to get his second career boost after ‘Tum Hi Ho’ with this one! And Pritam’s melody is just so… PERFECT!! 😀 #5StarHotelSong!!

 

2. Bulleya
Singers ~ Amit Mishra & Shilpa Rao, Backing Vocals ~ Arjun Chandy, Himanshu, Ashwin & Geet

The second song in the album is a more upbeat, fast-paced, rock-Sufi ballad. Pritam starts it off with a wonderful guitar strum, and then that strum breaks into a very impressive riff, which makes you groove to it right away. The dynamic nature of this composition perfectly contrasts the mellow nature of the previous one, and while that one was perfect as a soother, this one works as an energizer, in a very heavenly way. The composition instantly gets stuck in your head, with Pritam very nicely constructing it with traditional Sufi songs in mind. The mukhda is immensely catchy, and the magic of Pritam is infused into it in such a way, that it doesn’t take long for you to get tripping over it. Right from the beginning, Pritam might have been using some kind of telepathic connection, and as the song progresses, you’ll find that it unfolds just as you want it to, and that’s because you really love what’s going on! 😀 The mukhda is quite sober, but it’s not until the hookline when the composition gets really intoxicating. It reaches its peak there, and rises up to the mountain of high notes so easily, that you have no option but to listen with your jaw open in surprise and wonder. The first antara, sees the song get even better, with a very freely flowing tune that is something to fall for. This is definitely my favourite part of the song, and the way Amit Mishra brings a smile into his voice while singing it, is so cool! It gives way to the hookline perfectly. The second antara, is composed on a different set of notes, and is sung by Shilpa Rao very beautifully. The composition of this stanza is so heavenly, and perfectly suited for a female voice, especially that of Shilpa. I just loved the way it makes the energy of the song come to a complete halt for a while and the way it lets us in on a glimpse of heaven. The vocals by both singers are amazing. Amit Mishra is slowly emerging as a very versatile and well-ranged singer, with his voice perfectly acing those high notes in the hookline as well as the more mellow notes in the first antara. The vibe that his voice sends out while singing the words ending with “aaaar” like “yaar“, “pukaar“, “parvardigaar“, is just soooooo applause-worthy!! Shilpa Rao, who Pritam has made to sing after quite some while now (last being ‘Malang’ from ‘Dhoom 3’) sings the second antara angelically. Amit also ends the songs brilliantly with a portion that gives you goosebumps. The backing vocals by Ashwin, Himanshu, Geet and Arjun Chandy are great, and they complement Amit superbly in the main hook of the song – “murshid mera, murshid mera“. Amitabh’s lyrics are wonderful here as well — romantic and a hint of devotion. Pritam’s arrangements though, are the star of the song. That rock guitar (Roland Fernandes) is the biggest attraction of the song, and it plays almost everywhere! It is what makes the arrangements sound so energetic and dynamic. The drums, of course, are there, and can very well be missed due to everything else happening, but make their presence very well felt during the beginning of the hook every time, when they do a kind of rapid beat which is something to die for. The dholaks, on the other hand, sound very calming and soothing — resulting in a very smart fusion of rock and Sufi. Energetic, dynamic and something of an extravagant nature. Amit becomes the new rockstar of bollywood music, as Pritam presents this wonderful rock and Sufi clash! #5StarHotelSong!!

 

3. Channa Mereya
Singer ~ Arijit Singh, Backing Vocals ~ Keshia Braganza & Gwen Dias

It is the next song, that keeps up the emotional quotient of the album, with which we had started off the album in the title song, but this one takes that emotion to a whole different level. The composition has the capability to touch the strings of your heart and how! ❤ The song has been composed on a very trademark dholak beat, which can be heard in many such songs, and which instantly reminds me of Pritam’s own ‘Kabira (Encore)’ (Yeh Jawaani Hai Deewani). The composition is very sweet and heart-touching, and though it seems like it has been heard many times before, it still refreshes you quite magically from the inside, along with giving you this weird sense of sadness as it ends. The song starts with the mukhda sung by Arijit in an unplugged style, with nothing but the guitars supporting him, and then it gives way to that very touching dholak backing loop. The mukhda has a very emotional tune, and it just makes you want to sit and listen to it in peace, without any disturbances. Such songs are always masterpieces. Pritam did it last time in ‘Kabira’ and now here he is, at it again. The hookline is sooooo enchanting, that it just doesn’t get out of your head after hearing it for just one time. It is so immensely catchy, that it just sticks in there and all you can do about it, is to pamper it by singing it and humming it all day. You might not even realize when you start singing this song, it just comes so spontaneously to me. Now that’s a sign of a masterpiece. The first antara too, has such a sweet and lovable tune, that it is hard to ignore or forget, on hearing. The second antara actually takes the form of a kind of traditional style of singing folk Punjabi songs, and Arijit kills it! Pritam’s arrangements are masterclass. The dholak rhythm (Played by Iqbal Azad & Sanjiv Sen) keeps you listening, while the acoustic guitars (Roland) support the dholaks very well. Rock guitars (Roland & Amandeep) infuse the pathos into the song, making it sound trademark Pritam. In the first interlude, a very soul-stirring shehnaai (Omkar Dhumal) just connects with your heart, and the tune gets stuck in your head. Pritam employs some very sweet and angelic voices (Keshia Braganza & Gwen Dias) to sing the backing vocals, and you can hear them sing the hookline in a very heavenly tone. In the second interlude, they rule, and while they’re at they’re hookline, working to pave their way into our hearts with their awesome voice, there’s a very short and wonderful sarangi (Ghulam Ali Khan) in the background, which you would miss unless you’re hearing very carefully. It comes back during Arijit’s second antara, and once again, is very soft, so you have to strain your ears to hear it! Arijit’s vocals are fabulous, with each and every note making itself a home in your heart (God, your heart must be full now.. How will the blood enter and exit? 😦 ) With each of his variations, you can’t help but let out a “Waah“, and during that conclusion paragraph of his, well, he just aces it! The lyrics by Amitabh are mostly in Punjabi, but they are veryyyy touching. With lines like “Andhera tera, maine le liya, mera ujla sitaara tere naam kiya” (I took your darkness, and gave you my bright star, in exchange) and “Kitni dafaa, subah ko meri, tere aangan mein baithe, maine shaam kiya” (I turned so many of my days into evenings, waiting in your yard), Amitabh proves his mettle as a songwriter. Each line just makes its way so gracefully into your lungs. (Remember, your heart is full!) Heart-touching, and a masterstroke by Pritam! One of the best songs of the year for me! #5StarHotelSong!!

 

4. The Breakup Song
Singers ~ Arijit Singh, Badshah, Jonita Gandhi & Nakash Aziz, Rap by ~ Badshah

After those three songs that constitute the heartrending, emotional and cry-worthy songs of the album, things become lighter with a song that is another emotional, sobby song, disguised in a sweet, upbeat, club number. Pritam is an expert at such club numbers, and just two months ago, he gave us ‘Sau Tarah Ke’ (Dishoom) which was more of a sensuous song. This one here, is completely clean and sanskaari so much so, that the girl is actually happy about breaking up with her so-called ‘saiyaan ji‘! Pritam brings together his arrangements for songs like ‘Blame The Night’ (Holiday) and ‘Hey Mr. DJ’ (Phata Poster Nikhla Hero), and adds to it, a very desi melody, reminding one of the Kishore Kumar-Asha Bhosle duets of the 50s and 60s, where all the nok-jhok and cute teasing would please the listener. The song starts off very quirkily, with Nakash Aziz singing an introductory couplet in the voice of a chipmunk. And then the chipmunk, thanks to the clever vocal programming done by Pritam, goes on to sing a very funny and catchy tune, which turns out to be the characteristic tune of the song. (The one that starts at 0:18 and keeps playing occasionally throughout the song) After the froggy/duck-y tune in “Premika” (Dilwale), Pritam makes this chipmunk tune very nicely. 😂 And then we are introduced to the main character, a girl who’s just broken up with her saiyaan that morning, and she recites a quite interesting couplet, about how her boyfriend left her for a foreigner. And then, the tune that follows, is why I love Pritam so much! 😀 It is a very attractive tune that just lures you into the song right away. The mukhda is very catchy, and it plays entirely after every antara, too. The hookline is the best part of the song though. That tune!! The antara is a good continuation of the sweetness of the song, and keeps up the catchiness very well. There is a rap by Badshah in between the two antaras, and that, however, is so mediocre, that you don’t really pay attention to it. It seems like a forced addition into the song. The arrangements by Pritam are signature Pritam club song arrangements, with the EDM working its magic on you very strongly. The techno sounds become quite entrancing at certain points. The folk percussion is what infuses that wonderful desi feel to the arrangements, and Tapas Roy excels with that. The dholaks (Iqbal Azad & Yusuf Sheikh) are wonderful, and at places, wonderful jugalbandis of the dholaks and Techno sounds give birth to very impressive pieces of music. Amitabh Bhattacharya’s lyrics are funny, and give you a nice entertainment throughout the song. His clever Hinglish gives your brain something cool to chew on, after all those philosophical and emotional lyrics in the previous three songs. I personally loved the part where he writes “Kalti hua jo saiyaan stupid tera, jeevit hua hai phir se cupid tera!” 😀 Unfortunately, Badshah’s rap becomes the only vulgar (or on the border of vulgar and profane) stuff in what would have been a very clean club number! :\ Last but definitely not the least, the vocals. Jonita wonderfully carries herself throughout the song as a girl who’s happy telling the world about how she got over her breakup, while Arijit very cutely essays the role of the boy who was clearly waiting for this breakup to take place! 😀 The way Arijit sings “Humko bin bataye toone yeh kab kar liya“, girls and ladies will die for him all over again! Jonita, once again, shows a different side of her voice, this time, a very sweet voice that we would fall for anytime! A sweet melody carried very impressively by Jonita and Arijit, whose chemistry turns out to be just amazing! And Pritam, please don’t stop experimenting like this!! #5StarHotelSong!!

 

5. Cutiepie
Singers ~ Pardeep Singh Sran, Nakash Aziz, Meenal Jain & Antara Mitra, Backing Vocals ~ Neetu Bhalla, N.K. Deep Kaur, Bhabita, Sunny, Himanshu, Ashwin, Kaushik & Sachin

The next song of the album, at first listen, seems like your everyday, typical KJo, Punjabi wedding song. But it is so much more than just that, which I understood by listening to it again and again. Pritam uses the Punjabi bhangra style to make this the most templatized song of the album, but the way he has played with the notes, is just too entertaining, enjoyable and outright fun! The song starts wonderfully with very typical Punjabi beats, a very fun ukulele loop, couple with the beats of a dhadd-like instrument. The composition is a fun-filled, energetic one, that reminds you of the craziness that Pritam is capable of infusing into his songs and subsequently, into us. This composition too, is a successor to his earlier crazy songs like ‘Saree Ke Fall Sa’ (R… Rajkumar), ‘Dhating Naach’ (Phata Poster Nikhla Hero), ‘Badtameez Dil’ (Yeh Jawaani Hai Deewani), ‘Tukur Tukur’ (Dilwale), ‘Chor Bazaari’ (Love Aaj Kal) and sooo many others. The mukhda, which, as Pritam has generously written in the song credits, was based on a concept by the lyricist, Amitabh Bhattacharya, is very energetic and spunky, making a very effusive start to the song. The line just before the hookline, which goes “Boyfriend ki tujhe koi fikar nahin…” has been composed in such a fun way, that it will get you up and dancing. The Punjabi ladies sangeet that starts off the song, is so sweet and catchy, and also reminds me of two of Pritam’s earlier hits, ‘Saj Dhaj Ke’ (Mausam) and ‘Nagada’ (Jab We Met). The hookline is also very differently composed, but it doesn’t stand out in the song, rather it blend in with the rest of the song, and that is very good! The antara is a bit weak, but since it is so short, and works as the antara to a dance song, you ignore it, and the awesome cross line comes back to take you to the hookline. The arrangements by Pritam are top class, and the omnipresent Punjabi flavour brings a different kind of sweetness to the song. At the same time, some strong techno sounds help to enhance the quality of the sound, and the keys (Firoz Khan) tune is an awesome tune to catch onto. The guitars & ukulele (Mohit Dogra & Dev Arijit) help to bring the missing tumbi feel to the Punjabi song. The percussion, probably some electronic dholaks and dhadd, is fascinating. Towards the end, a very high-energy dhol rhythm supports the composition. There’s a part in the song when the dholak is played so rapidly, and beautifully (hear it at 1:22 and 2:56 in the song) that it just makes you go “Wow!” The main vocals by Pardeep, former ‘Raw Star’ contestant and singer of ‘Allah Hoo Allah’ (Dharam Sankat Mein) are very extravagant (Loved the way he sings “aaaye haaaye“), while Nakash supports him well (I don’t even know if Nakash has his solo portions or backing vocals, but I don’t think he has sung any solo portions, because it doesn’t sound like him). Pardeep is very vivacious in his treatment of the song, but it is at times like this, when I can’t help but wish that Labh Janjua was still here with us; he would ace the song! The additional backing vocals by Meenal Jain and Antara Mitra are awesome. (that’s the ladies sangeet!) Other backing vocalists Neetu Bhalla, N.K. Deep Kaur, Bhabita, Sunny, Himanshu, Ashwin, Kaushik and Sachin, do a good job with the “haay“s here and there in the song. Amitabh Bhattacharya’s lyrics are a laugh fest, right from the ladies sangeet, to the actual lyrics of the main body of the song. His quirkiness from ‘The Breakup Song’ just seems to have increased, and the DESI-ness in his lyrics perfectly complements the desi composition by Pritam. A song that will cater to the masses, but won’t be dismissed by the classes, either! Quirky! #5StarHotelSong!!

 

6. Alizeh
Singers ~ Arijit Singh, Ash King & Sashwat Singh

The last song of this much-awaited album, is a very sweet and divine-sounding romantic track, sung by three men whose voices sound more or less the same! 😀 The song starts off with a brilliant vintage Pritam electric guitar riff, and then progresses very seamlessly to the melody of the mukhda, which is opened by Ash King, but a wonderful relay is played between Ash and Arijit as Ash hands over the baton to Arijit after one line! Anyway, the composition is heavenly, and the mukhda wonderfully provides a start to the song. The hookline just brings that magic forward, and the way Pritam has broken the word ‘Alizeh’ (Which is Anushka’s character’s name in the movie) is spectacular! The composition instantly grabs you and you start humming it immediately. Pritam brings back his old-world charm, that we heard in so many of his songs (the most prominent coming to my mind right now being ‘Mere Bina’ from ‘Crook’). The antara wonderfully brings the song forward. The antara is very simple and sweet, but appeals to you very pleasantly. At the end of the antara, Sashwat does a wonderful vocal piece, and he can be distinguished from the other two with his bold and clear voice (kinda like Nikhil D’Souza’s voice). Towards the end of the song, he does a very interesting rap portion, which is very attractive, and finally, some rap that makes sense and fits into the song. Pritam’s arrangements are grand and match the grandeur of the rest of the album, this time, bringing a pleasant Western / European touch to the arrangements because of the wonderful sound of a church-flavoured organ instrument. The beats are digital, and very attractive. The drums too, are quite beautifully played, while Pritam uses his typical Western choir to enhance the sound of the hookline, complete with claps and a Western chorus. The guitars of course, play throughout and don’t fail to let you down. The vocals are very intriguing, and I must say, Ash King overshadows Arijit here, and that can be very well heard when they sing the same lines one after the other in the antara. On the other hand, Sashwat seems to say a lot with his two portions, one Hindi, and the other an English rap. The way Ash sings the lines in the hookline that go “Tera hun main, tujhe yaad hai naa” is just mind-blowing. His mellifluous voice really does a different kind of magic in the song. Amitabh writes perfect romantic lyrics, which are sweet and simple to understand. With this, the album ends of the same grand note as it began, with a very opulently arranged, melodious piece! Arijit, Ash and Sashwat complement each other very well, and Pritam makes the track a pleasant listen, full of love. #5StarHotelSong!!


Ae Dil Hai Mushkil turns out to be an album full of variety. The album has Pritam, the hit machine, showing his various sides of composing, and with two very emotional tracks, one high-energy romantic track, one dulcet romantic melody and two upbeat dance tracks, the album ends up being one of the best commercial albums of the year! With Arijit being the voice of Ranbir in the movie, I was expecting myself to get bored with his voice after the album would end, but Pritam’s wonderful melodies and the ways he made him sing differently in each song, didn’t make me do so. Also, the two songs that are sung by other male singers are fantastic respites from Arijit, while the last track where two other singers accompany Arijit, is also mind-blowing. So, all in all, this is an album which makes it difficult for you to choose your favourite song, and also makes it difficult not to love it! Pritam is truly back with a bang now!

 

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: Channa Mereya > Everything else 😀

 

Which is your favourite song from Ae Dil Hai Mushkil? Please vote for it below! Thanks! 🙂