Music Album Details
♪ Music by: Jeet Gannguli & Sandeep Shirodkar
♪ Lyrics by: Rashmi-Virag
♪ Music Label: T-Series
♪ Music Released On: 23rd January 2018
♪ Movie Released On: 15th January 2018

Phir Se… Album Cover


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

To buy this album on iTunes CLICK HERE

Phir Se… Is a Bollywood film starring Kunal Kohli and Jennifer Winget, directed by Kunal Kohli and Ajay Bhuyan, and produced by The Bombay Film Company. The film, originally slated for theatrical release in 2015, got postponed indefinitely due to legal issues, so the makes finally decided to release it this year directly in Netflix. The music is by Jeet Gannguli, who was quite active back in 2015, and so let’s see if the songs fall into his “superhit” category of songs or just sound dated!

The last time Jeet Gannguli composed in a Hindi film was so long ago, I can only guess and not tell with certainty (of course, without a quick search through my blog). So I guess it was ‘Raaz Reboot’ in September 2016. And I believe he composed only one song last year, in ‘Ranchi Diaries’. Now, this movie was slated to release in 2015, and ended up releasing on Netflix in 2018. So technically, he still hasn’t composed for a new film since ‘Raaz Reboot’, barring the single song he composed for ‘Ranchi Diaries’. It still makes me glad to hear his music again, for some reason, because it is always the same formula, but almost always works. So here goes!
The title track of Phir Se was released as a T-Series single sung by Amruta Fadnavis and Amitabh Bachchan. I immediately recognised the tune, But couldn’t place it and my friend (he knows who he is) immediately linked it to that song. Of course, this version is better, with Nikhil D’Souza and Shreya Ghoshal on vocals. The sultry tune, coupled with a saxophone arrangement makes it feel calming. A Remix by Sandeep Shirodkar, is passable, because I doubt it will be noticeable enough to be played in clubs and whatnot. The Sad Version too, wouldn’t have mattered even if it hadn’t been in the album.
The mukhda of the title track is used as the antara of Maine Socha Ke Chura Loon, a song whose delay probably led Jeet Gannguli to recycle it and use it as ‘Lo Maan Liya’ (Raaz Reboot). The composition is similar to that song at many places. Arijit does a great job, as he always does in a Gannguli composition, while Shreya barely gets time to make a difference. Arrangements are once again soothing.
The next half of the album consists of upbeat tracks, relatively. Mohit Chauhan leads both of them as the male vocalist, joined by Tulsi Kumar in one, and Monali Thakur and Shreya Ghoshal in the other. The Mohit-Tulsi combo works surprisingly well in Rozana, a song with a distinct early 2000s Kunal Kohli film sound. It would be be a surprise if Jatin-Lalit had composed this one. Jeet also uses the ‘Ladki Kyon’ guitar riff from ‘Hum Tum’ to hark back to the filmmaker’s film. The trio of Mohit, Monali and Shreya end up giving my favourite song of the soundtrack, Yeh Dil Jo Hai Badmaash Hai, an upbeat track with an amazingly catchy tune. Surprisingly enough, Monali is not overshadowed by Shreya as one would expect, but both get their part in the song. Mohit is wonderful as always in these types of songs.

Jeet’s three-year-old album still wouldn’t have changed if he would have tried to tweak it in 2017. I would expect the same thing from Jeet whether it is 2015 or 2020.


Total Points Scored by This Album: 7 + 5 + 6 + 7.5 + 7.5 + 8 = 41

Album Percentage: 68.33%

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: Yeh Dil Jo Hai Badmaash Hai > Maine Socha Ke Chura Loon = Rozana > Phir Se > Phir Se (Sad) > Phir Se (Remix)


Which is your favourite song from Phir SePlease vote for it below! Thanks! 🙂



Music Album Details
♪ Music by: Yo Yo Honey Singh, Rochak Kohli, Amaal Mallik, Zack Knight, Guru Randhawa, Rajat Nagpal, Saurabh-Vaibhav & Anand Raaj Anand
♪ Lyrics by: Yo Yo Honey Singh, Singhsta, Oye Sheraa, Kumaar, Zack Knight, Guru Randhawa, Swapnil Tiwari & Sham Balkar
♪ Music Label: T-Series
♪ Music Released On: 14th February 2018
♪ Movie Released On: 23rd February 2018

Sonu Ke Titu Ki Sweety Album Cover


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

To buy this album on iTunes CLICK HERE

Sonu Ke Titu Ki Sweety is a Bollywood comedy film starring Kartik Aaryan, Sunny Singh and Nushrat Bharucha in lead roles. The film is directed by Luv Ranjan, and produced by Bhushan Kumar, Krishan Kumar, Luv Ranjan and Ankur Garg. The film’s “success” (by which I only mean box office success) can be attributed to the hit music the album featured, by artists like Yo Yo Honey Singh (who is back after a long break), Rochak Kohli, Amaal Mallik, Zack Knight, Guru Randhawa and debutants Saurabh-Vaibhav. Let’s jump right into my review because there’s not much to say, three weeks after the film released! 😂

Yo Yo Honey Singh, after an I-don’t-know-how-long hiatus returns to Bollywood, with this album. What a surprise T-Series gives him only remakes to handle. And surprisingly, he too, handles them with care! Dil Chori, remake of Anand Raaj Anand composed and Hans Raj Hans sung pop single ‘Dil Chori Sada Ho Gaya’, becomes a catchy party number, and since the original song itself featured the words nasha and talli, Honey Singh needs no extra efforts in structuring his rap all around daaru. But the digital dhol rhythm really makes it lively. The female vocalist Simar Kaur also does well in a Kaala Doreya-esque cameo. It took a long time to grow on me though. His other song Chhote Chhote Peg is a remake of Anand Raaj Anand composed, Hans Raj Hans sung Bollywood Song ‘Tote Tote’ (Bichchoo), and this song too, sounds better than the original, if not good. The song is an ugly mishmash of a weird Neha Kakkar line that doesn’t match at all with the hook of the old song, though Navraj Hans sings the new hook better than his father had in the old song. Also, these lyrics fit into the tune more than “Tote Tote Ho Gaya Dil Tote Tote Ho Gaya“. 😆 Bt that doesn’t mean the lyrics themselves are exceptional — they’re quite the opposite. And they’re by people who call themselves weird names like Oye Sheraa and Singhsta. Again, Honey Singh steals the show with arrangements only. The trap music is catchy, as are the other techno sounds used. I can’t really say either of his songs are bad as such, but they’re just not good either.
Amaal Mallik returns with another ‘Sooraj Dooba Hai’ but this time it has tropical house vibes. Also this time the “Sooraj Dooba Hai” actually happens Subah Subah. 😂 Arijit doesn’t sound as fresh as he sounded in ‘Sooraj Dooba Hai’, probably because he sang so many such songs after that. And Prakriti sounds functional, but then nobody else could’ve sung her parts better, either. Overall, a good song, but could have been better.
The next song is by a composer who is quite on the rise these days, Guru Randhawa, being helped by T-Series to get his songs into any movie where there’s the scope of a clubbish number with Punjabi lyrics. Of course, ‘Sonu Ke Titu Ki Sweety’ was the obvious film that his song Kaun Nachdi was made for. The Punjabi sound is merged well with the electronic sound, giving it a fresh and enjoyable groove. The surprise element here is Neeti Mohan, getting back to back songs, where she aces her portions with amazing vocals. Her high-pitched voice sounds so good! And Guru himself sings and writes the song entertainingly, befitting to the movie’s theme.
Rochak Kohli, another composer who seems to be getting a lot of movies one after the other, but still hasn’t done a complete album (at least as far as I can recall), enters the album next, with two songs that are quite templatised with respect to the sound they carry. Lakk Mera Hit is a typical Punjabi ladies’ sangeet number, with Sukriti Kakar not doing her best behind the mic, but Rochak’s arrangements are entertaining, even though they have nothing new in them. The composition is such a heard-before one, it is hard to like it, especially in 2018.
Tera Yaar Hoon Main fares better, the melancholia channeled this time not for a breakup between lovers, but for a rift between best friends. The lyrics here (Kumaar) are the best lyrics of any song on the album, obviously, and Arijit delivers yet another beautiful rendition. The composition, though again not very fresh, does create an impact with its stretched notes and abrupt hookline. The Punjabi intermission towards the end was unexpected, but amazing. The arrangements are soulful, with great use of guitar and piano.
The seemingly debutant duo Saurabh-Vaibhav come up with a song tailor-made for Mika, Sweety Slowly Slowly, but I must say, the song itself isn’t bad. Though Mika, as is his habit, eats up half of each word in the lyrics, the entertaining composition coupled with the nice groovy beats makes for an entertaining but situational listen! I don’t understand why Mika drops the “z” from “badtameez“, the “se” from “Please” and so on, in the antara, though!
Probably the grooviest of the groovy numbers is what I’ve saved for the end — Bom Diggy Diggy. Now, this isn’t the kind of song I usually like. But I’ve got to admit, Zack Knight has churned up something really catchy here! Sounding a lot like those English pop songs until the Punjabi/Rajasthani interruption in the middle, the song really holds your attention from the initial harmonium portion. Of course, T-Series must’ve had to buy rights to Zack Knight’s single from 2017 ‘Bom Diggy’, but it has turned out to be worth the deal. Jasmin Walia’s voice is cute, despite the numerous mispronunciations.

Overall, this is an album full of club numbers, each one different from the rest, but it is the soulful song that stands out of the bunch of club songs, and a well-made club song adapted from a pop song by an independent artist, steals the show.


Total Points Scored by This Album: 7 + 6 + 7.5 + 7.5 + 7 + 8.5 + 7 + 8.5 = 59.5

Album Percentage: 74.38%

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: Tera Yaar Hoon Main = Bom Diggy Diggy > Subah Subah = Kaun Nachdi > Sweety Slowly Slowly = Dil Chori = Lakk Mera Hit > Chhote Chhote Peg


Which is your favourite song from Sonu Ke Titu Ki Sweety? Please vote for it below! Thanks! 🙂


Remake Counter:
No. Of Remakes: 02 (from previous albums) + 03 (from Sonu Ke Titu Ki Sweety) = 05


Music Album Details
♪ Music by: Sanjay Leela Bhansali
♪ Lyrics by: A.M. Turaz, Siddharth-Garima & Swaroop Khan
♪ Music Label: T-Series
♪ Music Released On: 21st January 2018
♪ Movie Releases On: 25th January 2018

Padmaavat Album Cover


Listen to the album: Saavn

Buy the album: iTunes

Padmaavat is an upcoming Bollywood period film starring Deepika Padukone, Shahid Kapoor and Ranveer Singh in lead roles, and Aditi Rao Hydari, Jim Sarbh, Raza Murad and Anupriya Goenka in supporting roles. The film is directed by Sanjay Leela Bhansali and produced by himself along with Sudhanshu Vats and Ajit Andhare. So the film has been in the news for the past three months and so, and as happy as I am that it is finally releasing, I can’t stop wondering what Bhansali himself must have gone through during all this. Anyway, on to the music. Bhansali had started off in ‘Khamoshi’ with a composer duo that was quite famous back then — Jatin-Lalit. With his next film though, he started to push debutants, and we got Ismail Darbar and Monty Sharma. However, with “Guzaarish”, he started composing his films’ music himself, and that tradition has carried on to his fourth film after “Guzaarish”. The results were phenomenal everytime he composed for a film himself, and I’m expecting, of course, this one to be no less!!

Before going into the songs, two things I notice immediately are how late the music has released, since music plays such an integral part of Bhansali’s films, and the second thing I notice is corollary to that — it has only six songs, breaking the usual Bhansali tradition of ten songs — it seems this movie hinges more on its script than its music. That being said though, the album is a treat for lovers of music from different regions! Now, let’s see how the songs fared for me.
The minor blemishes in Ghoomar (will get to them) are wisely covered up by an enticing Rajasthani folk chorus and arrangement, which doesn’t make it necessary to delve deeper into the song for any criticism. The starting and end chorus portions let by Swaroop Khan, complemented by the wonderful female chorus — Aditi Paul, Tarannum Mallik, Pratibha Baghel & Kalpana Gandharv, are brilliant and rich in their sound, grand as an SLB song can only be. The blemishes referred to earlier are mainly whenever Shreya goes into ultra-high pitch, as in the antara. Percussions are delightful, with the dhols and khartals stealing the show, and the subtle sarangi and shehnaai too, make their presence felt. The only other song on the album that sounds Rajasthan-based is Holi, a folk song of the Manganiyar and Langa communities. Richa Sharma’s stupendous rendition figures well amidst the Mughal-e-Azam-esque music, with Shail Hada’s wonderful Aalaaps making the Mughal-e-Azam-esque feeling stronger! The tablas and all other percussions too, for that matter, are wonderful here, as is the sitar, and even the wonderful peacock sounds.
The next part of the album sounds wholly and solely Middle-Eastern, in keeping with the Khilji Dynasty sound. Khalibali seems to be a celebratory number in the villain’s lair, where the villain is lovestruck at first sight of you-know-who. And if the film had been produced by Disney, the song would not have been out of place. Not that it is out of place here too, but can’t imagine Khilji dancing to this just as I couldn’t imagine Bajirao dancing to ‘Malhari’ until I saw it. The song itself is quite enjoyable, with an overbearing Balkan touch, and nice Arabic warbling in the backing chorus. Shivam Pathak has a nice time crooning the song, and gets the evilness of Khilji quite perfect. Shail Hada complements him well. I just don’t know why it starts like a song from a movie like “Robot”. The arrangements are great — the Arabic violins, percussions give it an enjoyable touch.
More enjoyable as a Middle-Eastern themed song is Binte Dil by Arijit, breaking the usual Arijit-SLB song stereotype. The warbling by Arijit here is amazing, but gets awkward after a point. The oud and percussions are well done. The song starts promisingly but slows down in the middle portions, where Arijit sounds strained. The compositions of both these Khilji songs are quite ho-hum too, frankly.
The other two songs fit neither in the Rajasthan category nor the Middle-Eastern themed category. That being said, Ek Dil Ek Jaan is a wonderful Sufi romantic number, sung wonderfully by Shivam Pathak, the lucky man who gets to sing for both the male leads. The song is highly propped on his vocals, because otherwise it is a typical SLB Raag yaman number, almost a mix of ‘Laal Ishq’ (Ram-Leela) and ‘Aayat’ (Bajirao Mastani) in equal proportions. The best of the album also features here; Nainowale Ne by Neeti Mohan is a wonderful romantic number, which is heavily inspired by classical music. Neeti’s rendition is one of her most cute yet mature renditions yet. Bhansali increases the song’s richness by adding wonderful musical arrangements like the sitar, santoor, peacocks (again), matka, and the beautiful backing chorus towards the end and in the interlude. The song is way too short, and I wish it were much, much longer!! Siddharth-Garima’s lyrics are beautiful too, with a mix of innocence and sensuousness.

On a concluding note, you might have noticed I wrote almost nothing  about the lyrics in the album — thats because barring Siddharth-Garima’s ‘Nainowale Ne’, the lyrics are nothing but the usual, run-of-the-mill material.

Not as intriguing as Bhansali’s other albums, but definitely has a place of its own, with so much musical richness in the arrangements!


Total Points Scored by This Album:8.5 + 8.5 + 8 + 8 + 8 + 9.5 = 50.5

Album Percentage: 84.17%

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:  Nainowale Ne > Holi = Ghoomar > Khalibali = Ek Dil Ek Jaan = Binte Dil


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


Music Album Details
♪ Music by: Amit Trivedi
♪ Lyrics by: Kausar Munir
♪ Music Label: Zee Music Company
♪ Music Released On: 26th December 2017
♪ Movie Releases On: 25th January 2018

Padman Album Cover


Listen to the album: Saavn

Buy the album: iTunes

Pad Man is an upcoming Bollywood social drama directed by R. Balki, starring Akshay Kumar, Radhika Apte and Sonam Kapoor. The film is produced by Twinkle Khanna, SPE Films India, Cape Of Good Films, KriArj Entertainment and Hope Productions. The film revolves around the story of Arunachalam Muruganantham, a social activist from Tamil Nadu. The film is set to release a day prior to Republic Day, a day that is by default reserved for Akshay Kumar films. This time, Balki does not rely on his frequent collaborator Ilaiyaraaja to score music, but instead borrows his wife, Gauri Shinde’s go-to composer Amit Trivedi, who had scored for both of her films, ‘English Vinglish’ and ‘Dear Zindagi’. This is the first time he will compose for Balki and I believe, for Akshay Kumar too. I expect a lot from him after his successful ‘Qaidi Band’, ‘Secret Superstar’ and ‘Rukh’ last year! Let’s see how the music album for this film turns out!

After completing three albums last year, and using Arijit’s voice in two of them, Amit returns in the new year with his first song being an Arijit song. Aaj Se Teri is a heavenly romantic post-marriage number, whose lyrics by Kausar Munir (2017 is over but she’s still impressing us with her lyrics!) make it even better; the composition is a sweet 90s-ish tune, and Arijit sounding like Kumar Sanu in some parts makes it even better. The amazing arrangements include wonderful shehnaai (Omkar Dhumal) and Ethnic strings by Tapas Roy. The Pad Man Song shows that Amit really enjoys working with Mika, after ‘Sexy Baliye’ in ‘Secret Superstar’, and the result shows itself in an upbeat desi number, with an amazing ladies’ chorus (Deepti Rege, Mayuri Kudalkar & Pragati Joshi). The ladies’ chorus is in Trivedi’s ‘Ghanchakkar Babu’ (Ghanchakkar) zone, especially with the weird Chinese-sounding interruptions. The interlude is owned by the chorus though. The percussions in the song are amazing, and the harmonium (Akhlak Hussain Varsi) gives it a delightful U.P.-Bihar vibe, though Trivedi’s composition itself falls flat in places. The lyrics though, are a great subversion of the conventional image if a ‘superhero’, and make me believe that a ‘real superhero’ is nothing like that. Hu Ba Hu is a clubbish number that makes you wonder where the makers intend to place it in the film, but the signature Amit tune, vocals and arrangements (especially the mandolin, rabaab et al by Tapas Roy) hark back to ‘Queen’s ‘Badra Bahaar’ and ‘O Gujariya’ at the same time, and make it a very enjoyable listen. The onomatopoeia at the beginning is really catchy too, and works properly to suck you into the song. Also amazing are Munir’s lyrics, about two individuals striving to accomplish a joint mission, probably referring to the characters essayed by Akshay and Sonam.
Sayaani is the ‘Pad Man’ equivalent to ‘Dangal’s ‘Idiot Banna’, this time with four leading singers, including Yashita Sharma, Jonita Gandhi, Yashika Sikka and Rani Kaur. The backing vocalists also include Meghna Mishra, the young lead singer of “Secret Superstar”! The song itself seems like a mishmash of many wedding songs of Bollywood, and at one point it sounds exactly like a certain song, which I cant remember now! The ladies do sing amazingly though, and Trivedi’s arrangements make it more enjoyable, with the percussions yet again taking centre stage. Also enjoyable are the strings by Tapas Roy. The last song Saale Sapne is another trademark Trivedi affair, has shades of songs from “Queen” and the drums from ‘Gudgudi’ from “Secret Superstar” appear here too. Mohit Chauhan sings well, but the song seems too long to enjoy completely, and too typical. When the second antara starts, it starts to get tedious! Kausar’s lyrics are the only highlight of the song.

Amit continues to play safe, and stays in his comfort zone.


Total Points Scored by This Album: 8.5 + 7.5 + 8 + 7 + 6.5 = 37.5

Album Percentage: 75%

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

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

Recommended Listening Order: Aaj Se Teri > Hu Ba Hu > The Pad Man Song > Sayaani > Saale Sapne


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

IF THE BHATTS MADE FILMS IN 1921… (1921 – Music Review)

Music Album Details
♪ Music by: Harish Sagane, Asad Khan & Pranit Mawale
♪ Lyrics by: Shakeel Azmi
♪ Music Label: Zee Music Company
♪ Music Released On: 22nd December 2017
♪ Movie Releases On: 12th January 2018

1921 Music Review


Listen to the album: Saavn

Buy the album: iTunes

1921 is an upcoming Bollywood horror (read romantic comedy) film, directed by Vikram Bhatt, and starring Zarine Khan and Karan Kundrra. The Bhatts have decided to start a new horror franchise with the new year, after the ‘1920’ franchise did well (barring the last film). With every film of the franchise, the music had gone more and more down hill, and maybe this was what makes Bhatt go with two debutants and a relative new talent for this one. Harish Sagane is the lucky boy who gets seven tracks in the film, while Pranit Mawale and Asad Khan get one each. So without any further ado, let’s see whether, first of all, the music suits the time period in which the film is set, and secondly, whether the music manages to spook you or make you doze off!

Now the music of ‘1921’ isn’t as bad as that of ‘1920 London’ was, but at the end of my second time listening to the album, I’m in a fix as to how I’m going to review this one, given that all the songs sound utterly the same! Let’s try this, though — hang in there!
The album has five actual songs, and four piano themes. At the beginning itself, I must say, that all the four piano themes are marvellous, actually taking us back to 1921 and further back. Three of them have been composed by the album’s lead composer, debutant Harish Sagane, and the other one is by Pranit Mawale. I don’t really know how to review them, but here goes:
Piano – Theme is a nice and calming piece, with the arpeggio working fantabulously in the background. The ominous sound that should accompany a horror movie is there, but never going over-the-top. Next comes something called Main Piano – Theme, which is more sinister than the previous one, both in composition and sound, thanks to the composer having used the low octaves gratuitously for the bass portions. The treble continues to play a lilting melody, as Bollywood is fond of adding into ghost songs. Crowd Gathering is another one based on a beautiful arpeggio (the loop heard in the background is called an arpeggio), and sounds very Beethoven-ish and symphonic. Pranit’s Aggressive Piano – Theme, has quite a weird name, because if the piano went aggressive, it would cause widespread devastation. The piece itself is not really “aggressive”; I guess they wanted to say “sinister”. It is the weakest of the piano solos.
Out of the five actual songs, out of which one is by guest composer Asad Khan, the best can’t be chosen, since, as I mentioned before, they’re all so similar! Sunn Le Zara as an audio song isn’t as interesting as its video, which, quite funnily, starts with a shot of Zareen Khan about to drink poison, until she hears (from kilometres away, through the glass windows of the mansion) the lead male actor sing “Jeene Ki Koi, Tu Wajah Dhoondh Le“, an advice which she seems to have taken quite seriously, because the next thing we see is that she has somehow entered the mansion to watch the man at his piano recital. The best part is when, at the end of the video, she throws away the bottle of poison into the lake, for the fish to choke upon. The look on her face is something like the look on one’s face when they throw a flying disc for their pet dog to fetch. Of course, the audio can’t be as entertaining as that!! The audio does have shades of “Ae Dil Hai Mushkil”s title track, in its high notes, piano and strings portions, and is on the whole, quite depressing. Kuch Iss Tarah, too, borrows heavily from the intense strings of the ‘Ae Dil Hai Mushkil’ title track. Newcomer singer Arnab Dutta is good, but his voice isn’t magnetic and attractive enough to bear it in three songs of the album. That said, Yaara, his third song, is another sleepytime song, spanning over six minutes, this time, sounding like a Jeet Gannguli meets Mithoon meets Ankit Tiwari song, if you can digest that! Aanewaale Kal fares best among Harish’s songs, only because its composition is not as dreadful and depressing as the others, and its singer, Rahul Jain, does a good job of not sounding like Arijit.
Arijit himself gets to sing Tere Bina for the guest composer Asad Khan, alongside an Aakanksha Sharma who is definitely not sounding her best. Of course, Arijit sings well, but what strikes me immediately as an oddity is the rock base of the song. It seems like a forced addition in the album, which, till now, was strictly confined to musical styles that were prevalent in 1921. Asad’s composition though, is refreshing!

And that’s why the musicians of 1921 are smarter than those of the last two 1920 movies (Adnan Sami had done a good job for the first one) — there’s no forced Bhatt-ish rock.. not that it produced amazing results, really, other than the piano pieces.


Total Points Scored by This Album: 7 + 7 + 7 + 6.5 + 5.5 + 5.5 + 5 + 6 + 6 = 55.5

Album Percentage: 61.67%

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: Piano Theme = Main Piano Theme = Crowd Gathering > Aggressive Piano Theme > Tere Bina = Aanewale Kal > Sunn Le Zara = Kuch Iss Tarah > Yaara


Which is your favourite song from 1921? Please vote for it below! Thanks! 🙂

P.S. I’ve not included the piano solos for you. 😛


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

December 2017 Round-Up

This Round-Up includes the following music reviews:

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

2) Firangi – Jatinder Shah

3) Tera Intezaar – Raaj Aashoo

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

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

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

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


Listen to the songs: Saavn

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

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


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

Album Percentage: 68.75%

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

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

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

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

♦ Quite A Desi Album! : FIRANGI Music Review

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


Listen to the songs: Saavn

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

A very desi album to the film ‘Firangi!’


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

Album Percentage: 76.67%

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

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

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

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

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


Listen to the songs: Saavn

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

This is not an album anyone would have waited for. 


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

Album Percentage: 53.75%

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

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

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

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

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


Listen to the songs: Saavn

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

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


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

Album Percentage: 70%

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

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

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

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



November 2017 Round-Up #2

This Round-Up covers the rest of the albums of the November 2017 releases. Due to ‘Padmavati’s withdrawal from the 1st December release date, ‘Firangi’ and ‘Tera Intezaar’, have moved their dates to 1st December, so they will be included in the December Round-Up. The albums featured in this post are:

1) Qarib Qarib Singlle – (Music: Vishal Mishra & Rochak Kohli)
2) Tumhari Sulu – (Music: Tanishk Bagchi, Guru Randhawa, Rajat Nagpal, Amartya Rahut & Santanu Ghatak)
3) Aksar 2 – (Music: Mithoon)
4) Dil Jo Na Keh Saka – (Music: Shail-Pritesh)

♦ Qarib Qarib Perrfect: QARIB QARIB SINGLLE Music Review

♪ Music by: Vishal Mishra, Rochak Kohli & Ali Merchant
♪ Lyrics by: Raj Shekhar & Hussain Haidry
♪ Music Label: Zee Music Company
♪ Music Released On: 10th November 2017
♪ Movie Released On: 10th November 2017

Listen to the songs: Saavn
Buy the songs: iTunes

Relative newcomer Vishal Mishra gets two songs in the film, and I must say, these two songs are definitely going to consolidate his place in the industry, even though I think it had been consolidated right from the moment he debuted (that spark that a good debutant possesses is always discernible). I say so because both his songs can be counted as his Bollywood career’s best music as yet. The opening track, Khatam Kahani, is outright hilarious, putting to great use the Nooran Sisters’ folksy voices to concoct a song with a strong Rajasthani folk element, and still having an amazing melody. Harmonium, khartals and dholaks provide us with the required expense to travel to the land of kings. Raj Shekhar’s comic lyrics enhance the listening experience, and they are quite comparable to the lyrics of ‘Haanikaarak Bapu’ (Dangal), when the lovers agree to kill each other. 😃 After the delightful and upbeat folksy number, Vishal puts in extra effort to create a sad song that is just as soulful as the first song is peppy. Jaane De, though nothing that we’ve not heard before — the seven-beat rhythm, on Atif’s sugar-sweet vocals — is a treat to listen to, mostly thanks to Mishra’s amazing composition, not to mention Raj Shekhar’s excellence that reflects in the lyrics. The words have such a poetic twinge to them, it just calms the soul. Arrangements are soulful too — the guitars and tabla being most prominently beautiful. A nice Spanish guitar interlude is a perfect interval from the melancholia.
Rochak Kohli also gets to present two songs, the first a journey-based one, again with amazing lyrics by Hussain Haidry. The unexpected twist midway through the song really puts one off guard, but it is really innovative. The composition of the rest is quite pleasant, with a nice and groovy lilt to it, and Rochak Kohli presents it with a nice drumbeat. {He is quite good with drum beats — ‘Rozana’ from ‘Naam Shabana’ earlier this year was another song where he presented great drum work!} Papon’s feathery voice is perfect for the song. Rochak’s second song Tanha Begum, is at the peak of experimentation, and is probably the most experimental song I’ve heard this year so far, which is at the same time so entertaining. It is a clever take on Nawab Wajid Ali Khan’s classical song, ‘Baabul Mora’, which was also remade earlier this year in ‘Poorna’ by Salim-Sulaiman. This time though, Hussain Haidry’s lyrics give it a modern twist. Actually, the modern lyrics are interspersed with some very old-school lyrics, and the contrast is brought out even better with Antara Mitra handling the old-school parts with an amazing imitation of Suraiya, while Neeti Mohan handles the modern portions with an amazing rock template supporting her. Rochak’s composition for the whole song is different, and quote innovative: only the lyrics of the hook from the Nawab’s old song have been taken.
Ali Merchant steps in last moment to make a hastily-made Qarib Qarib Singlle Mashup, which is probably the worst track on the album. Also, it is just a mashup of ‘Khatam Kahani’ and ‘Tanha Begum’. The beats are mismatching and don’t fit in with the folksy vibe of the songs. These two songs don’t even REQUIRE a remix!

An enjoyable album from two young composers, where both of them bring out the best in them! The album is (barring the mashup) Qarib Qarib Perrfect!


Total Points Scored by This Album: 4.5 + 5 + 4 + 4.5 + 1 = 19

Album Percentage: 76%

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: Jaane De > Khatam Kahani = Tanha Begum > Tu Chale Toh > Qarib Qarib Singlle Mashup


Remake Counter:
No. Of Remakes: 40 (from previous albums) + 01 (from Qarib Qarib Singlle) = 41

{Will have to count ‘Tanha Begum’ as a remake since I had counted ‘Baabul Mora’ (Poorna) as one}

♦ Light-Hearted Album Where the Mellow Song Scores High! : TUMHARI SULU Music Review

♪ Music by: Tanishk Bagchi, Guru Randhawa, Rajat Nagpal, Amartya Rahut, Santanu Ghatak, Laxmikant-Pyarelal & Haji Springer
♪ Lyrics by: Guru Randhawa, Javed Akhtar, Vayu Srivastava, Siddhant Kaushal & Santanu Ghatak
♪ Music Label: T-Series
♪ Music Released On: 4th November 2017
♪ Movie Released On: 17th November 2017

Listen to the songs: Saavn
Buy the songs: iTunes

Remake specialist Tanishk Bagchi leads the album, with two out of the five songs. Since he is the currently in-demand remake specialist, it would be treason not to demand yet another rehash from him. This time, the song chosen is Mr. India’s ‘Hawa Hawai’, which has been named Hawa Hawai 2.0. If I’m not wrong though, this is Hawa Hawai 3.0 because Mikey McCleary remade it already in 2011. 😆 The song itself is peppy, and a perfect celebratory number. Kavita’s vocals being retained is the best part of the song, while I can’t figure out where Shashaa’s voice is. The composer plays around with technology and cleverly copies and pastes the gibberish bits into different parts in the song, creating an overall whimsical and enjoyable effect. His second song too, is, coincidentally, based on the metaphorical flying. Manva Likes To Fly is the standard Tanishk experimental song, where the composer plays around with technology to merge electronic sounds and Indian classical sounds. The classical instruments in particular here, sounds beautiful. Shalmali’s voice is perfect for the uplifting nature of the song, and Vayu Srivastava as usual writes positive lyrics that make you smile by default.
Next up is the much overrated, in my opinion, Ban Ja Rani, in which Guru Randhawa represents his pop song composed by Haji Springer, in a way that it doesn’t fit into the movie’s setting at all — but since when has that mattered? The whistling is the catchiest part in this song. Amartya Rahut too, in his song, Farrata, tries to create a nice and upbeat song complete with a children’s chorus (Adithyan leads and sounds very cute) and enjoyable ukuleles. However, the song fails to create an impact. Armaan Malik fails to make the song sound better, and the composition is many notches lower than what Amartya offered in the recent ‘Tu Hai Mera Sunday’.
What really grabbed my attention is newcomer Santanu Ghatak’s Rafu, a beautiful semiclassical number, which really gave me the goosebumps. Written as soulfully as it has been composed, and sung just as beautifully by Ronkini Gupta, who has sung previously in ‘Aankhon Dekhi’ under the music direction of Sagar Desai. She is a voice to counter Kaushiki Chakraborty’s classical singing prowess.

This blend of music directors manages to provide the film it’s required happy-go-lucky touch, although very superficial. It is ironically the most mellow song, by debutant Santanu, that steals the show.


Total Points Scored by This Album: 3.5 + 4 + 3 + 3 + 4.5 = 18

Album Percentage: 72%

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: Rafu > Manva Likes To Fly > Hawa Hawai 2.0 > Ban Ja Rani = Farrata


Remake Counter:
No. Of Remakes: 41 (from previous albums) + 01 (from Tumhari Sulu) = 42

♦ Aksar Sune Huye Gaane: AKSAR 2 Music Review

♪ Music by: Mithoon
♪ Lyrics by: Sayeed Quadri
♪ Music Label: Tips Music
♪ Music Released On: 7th November 2017
♪ Movie Released On: 17th November 2017

Listen to the songs: Saavn
Buy the songs: iTunes

The only song from the album that stands out right away is Aaj Zid, a wonderful romantic song with a groovy techno rhythm. Mithoon proves he is not only able to just make addictive romantic songs, but also club numbers. Well we knew that if you remember ‘Woh Ajnabee’ from his earlier days. Arijit sings wonderfully, and it is all in all a very nice and upbeat song, without letting go of the sensuality that should be a part of such a film’s music. The other two songs are the usual pathos-filled Bhatt-ish songs I have started to get afraid of hearing nowadays. Jaana Ve is so crybaby-ish, it is sad, and Arijit’s voice being auto tuned in the hookline is sad too, because he is a singer who doesn’t need autotuning! The antara of the song gives signature Mithoon goosebumps though! About Tanhaiyaan, the lesser said, the better. Pakistani pop is one genre which composers never experiment with, and present it as it is every single time. Here too, the fake emotions fail to penetrate our eardrums and touch the heart. The album is not even magnificent lyrically, which I would usually expect from a Sayeed Quadri-written album! But he seems to have moulded in with the stereotypical Bhatt setting as well.

An album which we have ‘Aksar’ heard. Definitely not as good as Himesh’s album to the first film.

Total Points Scored by This Album: 4 + 3 + 2 = 9

Album Percentage: 60%

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: Aaj Zid > Jaana Ve > Tanhaiyaan

♦ Shail-Pritesh Sarbjit Mein Jo Kar Sake, Yahaan Nahin Kar Sake!: DIL JO NA KEH SAKA Music Review

♪ Music by: Shail-Pritesh
♪ Lyrics by: A.M. Turaz, Devshi Khanduri & Sandeep Singh Kamboj
♪ Music Label: T-Series
♪ Music Released On: 7th November 2017
♪ Movie Released On: 17th November 2017

Listen to the songs: Saavn
Buy the songs: iTunes

With the title track of Dil Jo Na Keh Saka, I find that Shail Hada has lost that magic touch that used to be present in his voice until ‘Sarbjit’; he sounds terribly off tune in some places, while his co-singer, Shreya Ghoshal has been terribly miscast, and tries to fit into the mould of the song but fails. Shail-Pritesh’s composition is quite the typical 90s romantic song, and so fails to create much impact. However, the duo gets it amazingly right in the much more breezy and pleasant Bandh Khwabon Ki, in which Shail Hada thankfully returns to normal, barring some places. The composition here is thankfully, more contemporary and relatable. The finger snaps are really enjoyable, and the guitars are refreshing too.
Going to the retro portion of the album, Khwabon Ko Ankhon Mein is an enjoyable jazz number, and soulful too. The piano is splendid, as is the brass portion, because if the brass in jazz is bad, then it isn’t jazz. Aditi Paul sings beautifully too, touching the high notes effortlessly. The last romantic song on the album, Tanha Tanha Ghum Ke Dhunde Dil, is a pleasant and breezy love ballad, again, a bit more inclined towards the previous decade than the current. Nevertheless, it provides for a fun couple of listens, after which its beauty kind of wears off. Jubin handles the vocals well, and with the 90s-ish composition and his voice, it sounds like a runaway song from ‘Kaabil’. The guitars are good here too, and very simple. Aditi Paul has less to do here, so she pales in comparison to Jubin. Obviously.
Out of the upbeat songs, Band Viyah Da Baje, builds on Shail-Pritesh’s earlier ‘Tung Lak’ (Sarbjit), but still manages to turn out enjoyable — Divya Kumar & Pratibha Baghel with their energetic voices infuse life into the complicated composition — surprisingly the first really complicated tune on the album, and intricacy is the thing Shail-Pritesh and their mentor Sanjay Leela Bhansali are known for! The ‘Tung Lak’ hangover stays till the end though, especially in the female portions. The second upbeat song, Nadaniyan Kar Jaati Hai, is a youthful club song with a very avoidable composition and just as avoidable vocals. It turns out to be the worst on the album!

Shail-Pritesh can do much better than this, but I guess they are much, much better at those classical melodies like they presented in ‘Sarbjit’, and they must stick to that!


Total Points Scored by This Album: 2.5 + 3.5 + 3.5 + 3 + 3.5 + 1.5 = 17.5

Album Percentage: 58.33%

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: Bandh Khwabon ki = Band Viyah Da Baje = Khwabon ko Aankhon Mein > Tanha Tanha Ghum Ke Dhundhe Dil > Dil Jo Na Keh Saka > Nadaniyan Kar Jaati Hai

So that’s it for November, stay tuned for the Monthly Awards, which will be up in a moment!