JAB IMTIAZ MET PRITAM — AGAIN!! (JAB HARRY MET SEJAL – Music Review)

Music Album Details
♪ Music by: Pritam Chakraborty, Diplo (Thomas Wesley Pentz) & Rocky Wellstack
♪ Lyrics by: Irshad Kamil
♪ Music Label: Sony Music
♪ Music Released On: 3rd August 2017, 10:30 pm
♪ Movie Released On: 4th August 2017

Jab Harry Met Sejal Album Cover

 

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

To buy this album on iTunes CLICK HERE


Jab Harry Met Sejal is a Bollywood rom-com film, starring Anushka Sharma and Shah Rukh Khan, directed by Imtiaz Ali, and produced by Gauri Khan. The film is about two strangers who meet in Europe, and try to find the engagement ring of Sejal (Sharma’s character). Obviously, as is the main theme in an Imtiaz film, they discover themselves through the journey. I think even more exciting than the movie itself, is the music. Imtiaz has said in many interviews that he enjoyed doing the music of this film, and that’s showing in the final outcome. The film is a musical (not full-fledged like ‘Jagga Jasoos’) and has 13 songs, by Pritam, who was Imtiaz’s go-to music composer before Rahman. With this film, they reunite, and after ‘Jab We Met’ and ‘Love Aaj Kal’, two super-hit soundtracks by both of them, this is their third collaboration! Expecting just as much variety in this album, and also expecting the elements of whatever Imtiaz has picked up from Rahman while doing the music of those films (namely ‘Rockstar’, ‘Tamasha’ and ‘Highway’)! So I hope this album will be like a blend of Pritamish Imtiaz and Rahmanish Imtiaz! Plunging into the album very positively, hoping it will astound me!!

P.S. Thanks to my friend Chiranjeev Gorur for acquiring and sharing the full musician credits to the album! 🙂


1. Radha

Singers ~ Sunidhi Chauhan & Shahid Mallya

“Main bani teri Radha, maine sakhiyon se, ankhiyon mein rakhna hai tujhko piya, thoda zyaada zyaada!
Main bani teri Radha, tuney sapnon tadapnon mein rakhna hai mujhko piya thoda zyaada zyaada!
Main bani teri Radha!”

Pritam starts off the album with an amazingly energetic song that makes you want to dance right along to its tune, right away. Now I know everyone has heard this song many times by now, and it’s a huge hit across the nation. It is essentially a Punjabi folk-plus-EDM fusion track, and the way Pritam employs these genres, is spellbinding. The composition itself follows a very desi compositional format, in that it appeals to us Bollywood music listeners right away with its inherent catchiness and energetic vibe. The hook, especially, leads the song, as it should. But it is the mesmerizing antara that was the best part for me. Pritam gives it this rapid tune that you are only able to sing after repeated listening, and that’s how it grows on you eventually. A very amazing Punjabi flavour has been given to the Punjabi portions sung by the male singer. The high pitch might bother some, but it is way more comfortable than listening to a high pitch song by Arijit Singh like the recent ‘Ik Vaari Aa’ (Raabta). And if the first antara takes you by surprise, the second antara, which just released with the album version of the song, is pure bliss. The harmony between the two singers is blissful! The arrangements follow suit and Pritam fuses folk and EDM, like I mentioned above. The flute and khartal (which is a Rajasthan folk instrument, but apparently being used in a Punjabi song) open the song in a very light-hearted and feel-good way. Throughout the mukhda, it’s the flute and khartals that play. Until Pritam introduces the mandatory dhol (Sukanto Singha & Sunny M.R.) in the hookline, you won’t be able to even tell that the song is a Punjab-based song. (Because even the lyrics aren’t proper Punjabi; they’re kind of like a mix between Punjabi and Hindi). Another awesome folksy instance in the song is the second interlude where the sarangi is played, and muffled by the programming! The EDM programming by Sunny MR, and Rohan Chatham’s vocal cuts during the “Raa-aa-aa-aaa” portion, serves for a wonderful catchy hook, which would definitely make people hit the repeat button! The coexistence of the dhols and EDM sounds so good. The vocals are a class apart. Pritam reverts to a singer that used to sing many songs for him back in the day, Sunidhi. This is her first song for Pritam after ‘Dhoom 3’, and we know how much Pritam’s music has boosted after that! She sings it so mellifluously, you don’t even realise the rapidity of the tune. Especially the antara, for which she should get standing ovations from all of us listeners! Shahid is top-notch too, his heavy Punjabi accent reflecting through his singing and making the folksy portions of the song what they are. Irshad Kamil’s lyrics are cute too, but there’s a certain Panipat line that had me surprised and worried and disappointed at the same time! 😂 It doesn’t even fit with the rest of the song! Anyway, overall he has written a cute little romantic song. Pritam’s experimentations almost never fail, do they?
Rating: 5/5

 

2. Beech Beech Mein

Singers ~ Arijit Singh, Shalmali Kholgade & Shefali Alvares, Backing Vocals ~ Arjun Chandy & Akashdeep Sengupta

“Hai safar mein zameen, chal raha aasmaan,
Dono ki jo kahaani, ho ki na ho bayaan,
Begaani jagah mein nadaani, karein na, karein toh kahaan?
Jal dheeme, yeh pal dheeme, kyun hai jalte hua?”

The next song on the album falls under a genre that I feel Pritam always aces. A club song. However, this time it is different. The club song isn’t the normal Pritam club you would expect, with heavy EDM and Benny Dayal. Instead, it has a completely retro feel to it, and has been composed as a retro funk song! I can’t remember the last time Pritam composed a retro funk number, because it’s always EDM when he does club songs. So this seems like a very new thing from him. The composition is instantly catchy, and the unconventionality of it all makes it even more appealing! It starts with a very insanely catchy vocal loop repeating the name of the song over and over again, and it is from there that your interest increases. The mukhda (which is the hookline too), is cool, and so is the ‘Shola Shola..’ line! The hook repeats many times throughout the song, but it doesn’t sound repetitive. The crux of the song’s composition lies in the antara, though, where Pritam makes a disco song, melodious! And the cross line which it takes to get back to the refrain, is extra cool!! That’s that about the composition. But it is the arrangements, as always, that really suck you into the song. A groovy guitar (Warren Mendonsa & Ernest Tibbs) riff starts the song off, behind the “beech beech mein” repetitions. The fun arrives, however, only when the drums enter, because they’re so amazing! The drums in this song are really some of the best drums I’ve heard (in non-rock songs) this year! The brass instruments (Trombone by Andrew Lippman, Trumpet & Flugelhorn by Ludo Louis) do their thing by fascinating us in the interludes, and in the antara, they have a really special role to play, when things get a bit melodious. Their harmony is just so enchanting. So now you get why the song can be called retro! 😀 For the vocals, Pritam uses his go-to female singers for club songs, Shalmali and Shefali, both. Of course the male portions are by Arijit. All three sing well; Arijit leads the way while each of the female singers are relegated to the background except for one or two lines. Irshad Kamil’s lyrics are fun. A song that should change the way we think about club songs in Bollywood!
Rating: 4.5/5

 

3. Safar

Singer ~ Arijit Singh

“Iss yaqeen se main yahaan hoon,
Ki zamaana ye bhala hai, Aur jo raah mein mila hai,
Thodi door jo chala hai, Woh bhi aadmi bhala hai,
Pata tha, zara bas khafa tha!
Woh bhatka sa rahi, mere gaanv ka hi,
Woh rasta puraana jise yaad aana,
Zaroori tha lekin, jo roya mere bin,
Woh ek mera ghar tha,
Puraana sa darr tha,
Magar ab main na apne ghar ka raha…
Safar ka hi tha main, Safar ka raha!!!”

Imtiaz’s favourite theme, travel, makes itself prominent right from the title of the next song, and all throughout it as well. The song is titled ‘Safar’ (meaning Journey), and it is a journey in itself for music lovers. Pritam’s composition is a slow and lilting composition that grows on you slowly surely. The mukhda is very beautiful and soulful, and sets off the song on a very jazzy and slow rhythm that is magically appealing. The hook is simple but sweet, and effective in the song. The antara is an amazing high-pitched portion where Pritam’s lines flow into each other so seamlessly, you can’t tell where one ends and the other starts! Towards the end, there’s almost a half-minute musical portion, where I feel Pritam could have added a small conclusion stanza, like he usually does in songs. The arrangements are very beautiful and impressive, with a very urban touch — acoustic and electric guitars (Arijit Singh & Aditya Benia), being the main instrumentation! The guitar riffs are wonderful throughout the song. Arijit’s vocals are very raw and rustic, with the gritty texture standing out very prominently; it actually gives the song a wonderful travel-esque feel. The places where his voice cracks, are actually some of the most brilliant parts of the song! Irshad Kamil’s lyrics are high on food for thought, and each and every line makes you think, connect and relate! The whole song is like a story that is being told about the character’s change of lifestyle. An unconventional song, which won’t be loved by one and all, but should be loved by the music lovers!
Rating: 5/5

 

4. Butterfly

Singers ~ Dev Negi, Jyoti Nooran, Sultana Nooran, Sunidhi Chauhan & Aman Trikha, Backing Vocals ~ Laddi Dhaliwal, Jelly Manjitpuri, Neetu Bhalla, Babita, Asa Singh, Amit, Tushar, Akashdeep, Abhishek, Manoj, Shubham

“Mujhmein ishq ya ishq mein hoon main,
Hua mujhe ehsaas re,
Khel raha hoon saath yaar ke,
Main khwaabon ki taash re,
Tu hi usko khoj raha hai, ae dil mere, yeh na soch,
Woh bhi tujhko dhoondh raha hai jiski tujhe talaash re!!”

This song starts right off with the boisterous Punjabi-ness that an Imtiaz Ali-Pritam combo always consists of. The song is a happy-go-lucky and cute Bhangra tune that really has you dancing to it right away. Pritam’s composition is very earthy and raw, and not superficial and hollow like most other Punjabi songs that release these days. The mukhda especially, starts the song off very beautifully, and you can imagine a village romance getting conjured before your eyes. The hook is the cutest part of the song, but catchy too. In the antara, things go haywire though, and you take time to understand the tune of those lines soon. The tune fluctuates so much, that it is quite difficult to grasp. However, both the parts of the Nooran Sisters, have been composed wonderfully, the one at the beginning, and the one that concludes the song on a very nice note. Both parts are heavy on the earthiness quotient and transport you to the fields of Punjab, with its melodious composition. The arrangements are the run-of-the-mill 2006-2009 era Pritam Punjabi arrangements, with loud dhols (Naseeb Singh), effervescent tumbi (Jelly Manjitpuri), a folksy alghoza (Gurpreet Singh) and of course, a nice technical production. The vocals are energetic, and Dev Negi as the forerunner makes things easier for the audience by not singing too loud, and keeping a gentle yet steady voice constant. Sunidhi disappoints, singing in such a high pitch that I can’t fathom. Nooran Sisters are the stars of the song, starting and ending it with a bang. Irshad Kamil’s lyrics are quite staid for the majority of the song, but again, the Nooran portions have been written very well, with the “Woh Bhi Tujhko Dhoondh Raha Hai Jiski Tujhe Talaash Re” line translating the film’s tagline ‘What you seek is seeking you’, very efficiently. A fun and cute Punjabi song, but falls flat in places where it tries to do too much.
Rating: 4/5

 

5. Hawayein / Hawayein (Film Version)

Singer ~ Arijit Singh

“Banaati hai jo tu, woh yaadein jaane sang mere kab tak chale,
Inhi mein toh meri, subah bhi dhale, shaamein dhalein, mausam dhale!
Khayalon ka safar, tu jaane tere hone se hi aabaad hai,
Hawayein haq mein, wohi hai aate jaate jo tera naam le,
Deti hai jo sadaayein, hawayein, hawayein,
Na jaane kya bataaye, hawayein, hawayein,
Le jaaye tujhe kahaan, hawayein, hawayein,
Le jaaye mujhe kahaan, hawayein, hawayein,
Le jaaye jaane kahaan, na mujhko khabar, na tujhko pata!”

The next song took my breath away, the first time I listened to it. It is just so marvellous and so ideal and so dreamy. It is the ideal romantic song. A trademark Pritam tune, with the trademark Pritam guitars and Sufi template, and the legendary Arijit Singh singing it. What more can you ask for, to obtain a wholesome and pleasant romantic song? Well, I know, I can’t ask for anything more! The composition by Pritam is utterly fascinating, and hooks you right from the first listen. The mukhda starts off quite slowly, but as soon as the hookline plays, you know that the song is one of the best songs of the year! The hookline is something that conforms to every Bollywood music lover’s music sensibilities! There are two antaras; one with a new tune, which is beautiful too, and one with the same tune as the mukhda. The first antara has a wonderful line that goes on and on, and merges with the hookline so seamlessly. The part where the backing vocalists go “Hawayein, Hawayein” has been structured and placed so beautifully. It reminded me of ‘Daayre’ (Dilwale). Overall, Pritam’s composition here is so much close to his usual style of composition, but still so lilting and dreamy! The vocals by Arijit are top-notch, and he repeats the magic of many previous Pritam-Arijit collabs, in one song. The vocals have shades of ‘Gerua’, ‘Channa Mereya’, ‘Daayre’ and ‘Saware’, and it just helps you love the song even more. Irshad Kamil’s lyrics are soothing too, and so poetic! Read out as a poem too, they will be just as impactful. In fact here, Pritam’s strong tune is overbearing. The song appears in two versions — an original, and a film version. Both have splendid arrangements. The first version sticks to Pritam’s trademark arrangement style, with the guitars strongly dominating the arrangements. The Acoustic guitars (Roland Fernandes) are relegated to the background as the electric guitars (also by Fernandes), do that wonderful neverending loop thing that they love to do in Pritam songs! 😄 The ethnic strings (Tapas Roy) provide an amazing first interlude that brings in the earthiness into the beautiful composition. Increasing the Indian-ness of the song, is the nice Sufi template employed in the hook portions, with the Duff and tablas sounding very appealing. The film version has a slightly more haunting arrangement, and sounds straight out of Coke Studio, with a beautiful Hang drum (Sunny MR), and ethnic strings (Tapas Roy) setting up a wonderfully haunting sound that sounds least like it is by Pritam. The Pritamish tune and the haunting Rahmanish arrangements really complement each other, though I never thought they could! A nice and charming wind instrument keeps playing throughout the song, and the guitars (Roland Fernandes) are amazing. All in all, both versions of this song are just as beautiful!!
Rating: 5/5 for Original, 5/5 for Film Version

 

6. Parinda / Parinda (Search)

Singers ~ Pardeep Singh Sran / Tochi Raina & Nikhil D’Souza

“Ikk pardesi, oh yaar banaya,
Main usnu dil de takht bithaya,
O seene de naal usnu laaya,
O apne dil da haal sunaaya,
O maar udaari kithe nikal gaya,
Maar udaari kithe nikal gaya,
Kade bigad gaya, kade machal gaya,
Kade nikal gaya ni hun taan,
Dhoondhan nain bichaare, ni aaj parinda maahi!”

Pritam ups the ante with the next song, a pulsating rock song that is really foot tapping. The composition is a nice, folksy, Punjabi-flavoured composition, that immediately grows on you. The hookline in particular is just beautiful, what with the amazing high notes. The mukhda and antara both have the same tune, and I love the fluctuations in the tune. The arrangements are high-octane rock arrangements, and it is probably the first time in a long time that I’ve enjoyed rock so much, in the first go! The drums by Alan Hertz are very, very exciting, and of course the guitars (Electric and Acoustic by Josh Smith & Nyzel D’Lima; Bass Guitars by Ernest Tibbs) complement the drums very well, as they always do! The lyrics by Kamil are completely in Punjabi, but very interesting, and I loved them. The two versions of the song only differ much in their vocals. Pardeep Sran in the first version oozes the Punjabi energy that should accompany such a high-energy song, and does an electrifying job! Tochi Raina, however, in the second version, brings a more toned-down version of the same, but still, it isn’t low in energy at all! Nikhil D’Souza has an English portion in this version, which sounds AMAZING! It also has an extra stanza at the end, which has a very energetic composition. Both these singers have worked with Pritam many times in the past, but this song marks them working with him after a long, long time, so I’m very happy!! The backing chorus in both versions is spot-on! Kamil’s lyrics actually contradict the upbeat nature of the song, and give a hint of emotion — the song is actually much more meaningful than it seems! A rock song that shows how fusion between Punjabi folk and Rock should be done!
Rating: 4.5/5 for the Original, 5/5 for the Second Version

 

7. Ghar

Singers ~ Nikhita Gandhi & Mohit Chauhan

“Khaali hai jo tere bina, main woh ghar hoon tera,
Ghoome phire, tu chaahe sab shehar, tu hai mera!”

The next song is what Pritam is all about. This is why people love his music so much. These kind of songs is why he has become so popular. It is a very soothing and calm, semi-classical kind of song, that depends solely on acoustics to propel it. The composition kind of resembles that of Pritam’s own ‘Tu Jaane Na’ (Ajab Prem Ki Ghazab Kahani) and ‘Daayre’ (Dilwale) and even the recent ‘Main Agar’ (Tubelight). The hook is what makes you get sucked into the song right away; it sounds so pleasing, that you just get lost in it. The first antara is the peak of the song, and the second one by Mohit is no less. The arrangements are very soothing too, with a lounge-ish treatment, complete with amazing electric and acoustic guitars (Warren Mendonsa) which give off the trademark Pritam touch, and a wonderful tabla (Jeetu Shankar) to complement that. The vocals are just too impressive. I think this is Nikhita’s career best, and after two hit songs from Pritam albums, she finally gets a huge portion in a mind blowing song! The way she introduces variations in the same line each time, shows her versatility, and hints at her classical training, if she has had any! Mohit, again, with Pritam after a long time (maybe because of the Imtiaz connection), does spectacularly in his high-pitched portions. Irshad’s lyrics are amazing, romantic lyrics with a thought-provoking concept. A soothing lounge-ish song that manages to touch your soul! The best of the album till now!
Rating: 5/5

 

8. Yaadon Mein

Singers ~ Jonita Gandhi, Mohammed Irfan & Cuca Roseta, Portuguese Lyrics by ~ Mario Pacheco

“Yaadon mein, jalte rehna, hai tera mera,
Yaadon mein, jalte rehne ko, miley hain kya?
Yaadon mein jeena toh sabse badi sazaa lagey,
Yaadon se, jaana ki faasley hain kya!”

A strong Latino vibe hits you right from the beginning of this next song, which happens to be a kind of Portuguese folk song kind of musical genre called “Fado”, and you get sucked in right away. The composition starts with a melancholic portion that sounds very similar to many Spanish/Portuguese folk songs we have come across in pop culture and other sources. And what a wonderful feeling it gives, to actually see a song like this being made for a Bollywood movie. Usually, whenever European or Portuguese styled music is used in Bollywood, it is for those dance numbers a la ‘Senorita’ (Zindagi Na Milegi Dobara), ‘Hawaa Hawaa’ (Rockstar), ‘Udi’ (Guzaarish), and though these were beautiful, too, the unexplored and soothing side of that compositional style really comes across beautifully here, and it sounds oh-so-operatic and chilling! The composition is beautiful, though it is mostly the hook repeating most of the time, but those variations in the hook just kill you then and there. The antaras are nice, especially the female one, and the Portuguese portion by Roseta is wonderful as well. That’s that for the composition. The arrangements by Pritam go beyond what Bollywood has tried in Portuguese music thus far, and goes to a more spine-chilling mixture of the traditional Portuguese guitars (by local guitarist Mario Pacheco) and Pritam’s wonderful strings. The beats get very Pritam-ish in Mohd. Irfan’s antara, but it is a refreshing turn of events. The Portuguese guitar obviously keeps us entertained throughout the songs, and instances of harmonicas are heard as well. The vocals are spot-on. Jonita starts off with a booming introduction, which I would never have believed was sung by her, if it weren’t for the credits! She has changed her voice so beautifully, to make it actually sound like a Portuguese singer. Sure enough, the actual Portuguese singer, Cuca Roseta, sounds very similar to Jonita, but gets a way smaller portion than her. Irfan does well in his parts, in what is also his first song for Pritam too! However, somehow, I felt a lack of connect during his part. The ladies bring that connect back. Irshad Kamil’s lyrics are heart-wrenching. Mario Pacheco, the guitarist, has written the Portuguese lyrics. All in all, a wonderful song that mixes up the pathos of a typical Bollywood song, and the richness of Portuguese folk.
Rating: 4.5/5

 

9. Raula

Singers ~ Diljit Dosanjh & Neeti Mohan

“Aankhon ne khwaabon pe aise hai aitbaar kiya,
Jaise do anjaanon ne khulke ho pyaar kiya,
Hota tha pehle jo door kabhi,
Abb woh mujhe paas lage,
Jaane kyun achha sa lagey,
Dil ne jo iss baar kiya!”

A very trademark Pritam feel-good vibe sets in as the next song rolls in, after that poignant melody. This is another song to go with Shah Rukh’s Punjabi character in the movie — a fun and upbeat Punjabi wedding song. The composition is one of the cutest I’ve heard this year, and instantly has you hooked. The hookline itself is so cute, that everything starts sounding beautiful due to it. The first antara, is something straight out of a 90s Bollywood album, with a noticeable Jatin-Lalit vibe. The bridge from the first antara to the hook is kind of bumpy, but things are great from there. Neeti has the second antara all to herself, and it is pure bliss. Pritam composed that one in trademark 90s Rahman style, and I can’t believe it is by Pritam; the variations in tune sound like the Rahman of the 90s has composed it! It was a pleasant surprise to see Pritam in that form. The vocalists have fun themselves and transmit the energy and boisterous nature of the song to us through the earphones. Diljit is clearly having the time of his life, and his additions like “chak de phatte naap de killi“, are so fun to listen to. Neeti sounds amazing, especially in her solo portion. The arrangements are fun as well, and in a traditional Imtiaz Ali pattern, they are high on dhols, and very interestingly, also have beautiful brass instruments interjecting, with a trademark Laxmikant-Pyarelal vibe. Flamenco Guitars (Josete Ordoñez) are audible in the second interlude. The dhadd and Plucked instruments (Tapas Roy) in Neeti’s solo portion, are so cute! The repetition of the hookline’s tune on those plucked instruments is too cute as well! Irshad Kamil’s lyrics are again, high on the fun quotient, and quirky as well, Especially with those “sangya” (noun), “visheshan” (adjective) and “sarvanaam” (pronoun) additions in Neeti’s parts. One of the most catchy Punjabi songs I’ve heard after ‘Nachde Ne Saare’ (Baar Baar Dekho).
Rating: 4.5/5

 

10. Jee Ve Sohaneya

Singers ~ Jyoti Nooran & Sultana Nooran, Music and A Portion of the Lyrics Traditional

“Kabhi kabhaar sandesa de de, Kya hai tera haal,
Rut pardesi rakhti hogi, shaayad tera khayaal,
Yahaan tere bin patjhad sa hai, har ek mausam hi..
Jee ve sohneya jee, chaahe kisi ka hokar ji!
Maana ke tu ab nahi mera, kabhi tha mera bhi!!”

The singers who enhanced ‘Butterfly’ manifold, Nooran Sisters, get a song all to themselves now, and coincidentally, the song is a built-up on their portion in that song. They sang “Jee Ve Sohneya Jee..”, in that song; here, the rest of the lines follow to make an entire song. The composition is traditional, but Pritam enhances it with his trademark Electric guitars (Roland Fernandes) and digital beats. That’s pretty much all for the arrangements. The stars of the song are actually its lyrics. Irshad Kamil takes the traditional lyrics as a basis to weave a poetic song that is about the relatives of a person who has gone and settled in a foreign land, pleading for him to come back. The lyrics just tug at your heartstrings and remind you of the iconic ‘Ghar Aaja Pardesi’ (Dilwale Dulhania Le Jayenge), which was also sung in an earthy manner. This song has increased the earthiness and rustic nature a lot, by having Nooran Sisters sing it. Their amazing voices really bring out the song’s essence even better! A song whose lyrics and vocals are what will help it to make its way into the hearts of everyone who listens to it!
Rating: 5/5

 

11. Phurrr (Film Version)

Singers ~ Mohit Chauhan & Tushar Joshi, All Hindi Melodic Compositions by ~ Pritam, Music Programming by ~ Diplo & Rocky Wellstack

NOTE: There was another version of this song which Sony Music released a day before the album. That one was a mix by Diplo, which was terrible compared to the ‘Film Version’. You can listen to it HERE. The one included in the album is actually Pritam’s mix, with Diplo’s drop used from the remix of ‘Agony’ by Pinchers.

“Teri hasrat ho, ya ibaadat ho,
Tujhko paana hai, jo bhi soorat ho,
Har taraf sach mein, sach ki chaahat ho,
Lafz na ho pyaar, balki aadat ho!”

The album finally sheds itself of all the folksiness it had built up for itself (almost every song had some Indian-ness to it) and goes outright Western for this finale. The only thing in this song that is remotely and typically ‘Indian’ is how they say “Phurrrrrrr” to signify a bird’s flying. The song is actually very cool and it is an effort that should be appreciated! The composition is by Pritam, and half of the production by Pritam’s team, and the rest by Diplo. The composition itself is very paltry, but still sounds amazing with the whole Western treatment. It is trippy, no doubt. I mean, if people can withstand trash like “Swalla”, they can go through this without flinching! The drop by Diplo suits here very well, and sounds like it was always meant to be for this song. The entire digital treatment is something Pritam rarely does; he usually takes the help of guitars and live instruments, but it actually turned out pretty good. I loved those electronic tablas sounds. And the programming between 2:02 to 2:24 in the song, is just rad! I would like to appreciate the idea of a collaboration too, however good or bad it has turned out. You like the drop of some song, you contact that person and get him on board — that’s the professional way of doing things! A round of applause for Pritam and Imtiaz here! The vocals are good too. Mohit Chauhan is back for the second time in one album, and he renders the fun song with a swag that is unmatched. Tushar Joshi, Pritam’s new blue-eyed boy, does well too! Irshad Kamil’s lyrics are very conveniently sidelined in the song, thanks to all that’s going on. If one were to still make a conscious effort to listen to them though, he wouldn’t find any hidden gem. A song that isn’t really enough to start a new collaboration wave in Bollywood, but will be remembered for its braveness.
Rating: 4/5


Jab Harry Met Sejal, no matter how late the album released, no matter how badly the film tanked, no matter how much Imtiaz disappointed everyone with the film, no matter how many people actually liked it, and no matter how late this review is going up, is really an album that should be applauded first of all, solely for the makers’ interest in creating an album that’ll cater to music lovers and music listeners. The amazing mix of world music and Punjabi music in this album, is spellbinding. It is such an excitement to listen to the album again and again, because every time, something new that we didn’t get before, pops up. The album also marks Pritam and Imtiaz’s reunion after eight years, and evidently, both Imtiaz and Pritam have evolved over the years. The knowledge Imtiaz got from Rahman’s style of work, has reflected in the album, and the sound that Pritam has developed for himself over the 2013-2017 phase of his career, also shows in the album. It is probably only “Butterfly” that smells of old Pritam and old Imtiaz. But in conclusion, I’m happy that Imtiaz met Pritam (Again)!!

 

Total Points Scored by This Album: 5 + 4.5 + 5 + 4 + 5 + 5 + 4.5 + 5 + 5 + 4.5 + 4.5 + 5 + 4 = 61

Album Percentage: 93.84% {Making it surpass ‘Meri Pyaari Bindu’ and making it secure the top rank 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: From Track 1 to Track 13 nonstop 🙂

 

 

Which is your favourite song from Jab Harry Met Sejal? Please vote for it below! Thanks! 🙂

KAATRU VELIYIDAI (MUSIC REVIEW) : Southern Spice – Tamil (Tamil Special)

Music Album Details
♪ Music by: A.R. Rahman
♪ Lyrics by: Vairamuthu, Madhan Karky, Navneet Virk & Shellee
♪ Music Label: Sony Music
♪ Music Released On: 20th March 2017
♪ Movie Releases On: 7th April 2017

Kaatru Veliyidai Album Cover

 

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

To buy this album on iTunes CLICK HERE


Kaatru Veliyidai is an upcoming Tamil language drama/romantic thriller which stars Karthi and Aditi Rao Hydari in the lead roles, and written, directed and produced by Mani Ratnam. The film is a romance between a military pilot and a doctor. Since I do not know Tamil, I cannot make out anything else about it, but I can make out that the film is a Mani Ratnam directorial and that means that it is also an A.R. Rahman musical. Scoring six songs for this movie, Rahman is expected to have taken the magic of the Ratnam-Rahman combo even further. So let’s see how far this album sticks to that!


1. Nallai Allai

Singers ~ Sathya Prakash & Chinmayi, Backing Vocals ~ Arjun Chandy, Lyrics by ~ Vairamuthu

Rahman starts off the album with a charming love song, that will surely please your senses. The composition is a breezy romantic one, with all the elements of a successful romantic song included in it. The mukhda is an apt introduction into the song, with a very soft and soothing sound, and very minimal arrangements. The hookline, when it comes, blows your mind. It is vintage Rahmanish magic — the kind where he gives something utterly simple (and which fake Rahman fans will call ‘Rahman being out of form’) and making it extremely catchy and soothing at the same time. The antara is wonderful, with its low and sombre notes. One bar of notes in that stanza sounds a lot like a bar from ‘Tu Hai’ (Mohenjo Daro). There are two antaras, composed in the same way, something we find Rahman doing very less — sticking to this convention. The arrangements are just as breezy and soothing as the composition, especially the guitars (Keba Jeremiah) which are the highlight of the arrangements. The first interlude has that guitar piece, which resembles the guitar piece in the interlude of ‘Enna Sona’ (Ok Jaanu) so much! Again, I’m not complaining. The vocals are amazing, Sathya Prakash hits the nail right on the head, and his variations and nuances are amazing. Chinmayi, though having no words as such to sing, hums a beautiful tune in the second interlude once, and once at the end of the song. Both times, her voice gives you the goosebumps very efficiently. As I’m not well-versed (what well-versed? I’m not even versed) in Tamil, I cannot comment on the lyrics, but I’ve heard from many people that Vairamuthu has used very archaic Tamil, from the Sangam Age, in this song. That is interesting, Tamil being one of the oldest languages of the world. 🙂 A breezy, love ballad that will soak you with its sweetness.

Rating: 5/5

 

2. Azhagiye

Singers ~ Haricharan, Arjun Chandy & Jonita Gandhi, Backing Vocals ~ Sid Sriram, Bawa Sahni & Keerthi Sagathia, Lyrics by ~ Madhan Karky, Punjabi Lyrics by ~ Navneet Virk

After the breezy romantic track, we have an upbeat youthful romantic song, and whatever Tamil albums I’ve heard, I’ve heard atleast one such song in each of them. And yeah, most (maybe even all) of them were by Rahman, so I guess Rahman loves to add such songs in his Tamil albums. Anyway, the composition redefines the meaning of ‘fresh’. A breeze of fresh air blows over you as you immerse yourself in this youthfully magical song. The hook composition is insanely catchy, and without understanding it, I loved it more than a lot! The way Rahman seems to have composed separate, individual mini-songs and put them all together into one song, is amazing. The seamless flow from Tamil to Punjabi and back, is something that I’ve experienced for the first time! (Yes, my mother tongue, Marathi, does have songs where Marathi and Hindi are mixed into one song, and it sounds horrible!) The humming portions by Jonita have been composed so majestically! She provides a splash of water in the fresh air that the song is. (Sorry if that was cheesy, but get my feelings!) The composition isn’t all-in-your-ears and determined to be on top of the charts, and that’s what I appreciate about it. Rahman has very humbly put a very medium-sized guitar riff (Keba Jeremiah) in the background, and decorates the rest of the composition with amazing strings (Murali, Mohan, Basker, John). The digital beats too, sound great. The harmonium and dholaks in the Punjabi interlude sound amazing, and I wish Rahman had composed such a song (I mean a whole song out of the Punjabi part) in Bollywood before the Tamil industry! The a capella backing vocals are amazing, and I wish more of it would’ve been there. The vocals are simply awesome. Arjun Chandy is in charge of the hookline, and he renders that beautifully, and charmingly. Haricharan does well in the Tamil portions, while Jonita hums her part impeccably well! Those nuances!! 💘 I wish she had more portions! (I guess I just wish everything was of more quantity in this song!!) A song effervescing youthfulness from every note.

Rating: 5/5

 

3. Vaan

Singer ~ Shashaa Tirupati, Backing Vocals ~ Arjun Chandy & Poorvi Koutish, Lyrics by ~ Vairamuthu

After two breezy romantic songs, it is time to get more intense, because here comes the vintage Rahmanish heavy composition, that just manages to find its way into every one of his albums. This composition is surreal, something that you just can’t ignore or dismiss as boring. It has some divine energy in it, which makes it universally appealing. The song has been composed on a very slow pace, and that makes it grow like slow poison. It starts with repetitions of “vaan varuvaan varuvaan…” which fade off. The sultry composition picks up even more at the “kadhal vandhaal..” part. The antara is just more entrancing. The magic is just unbelievable; it soothes you from head to toe. The arrangements are a masterpiece. There are no live instruments, except the flute (Kiran) and the piano, and the rest is digitally produced sound, which sounds amazing. I like the reverse sound effect that Rahman has added at olaces, where the sound seems to be sucked in towards the end. Sparkling, heavenly sounds accompanying the melody are just beautiful ‘tune-side’ attractions. The interlude with the vocal “ta ta ra…“, Sounds odd at first, but sets in later. The vocals by Shashaa are amazing; she has sung it very soulfully. An amazingly intense romantic song, that will leave the listeners in a trance.

Rating: 5/5

 

4. Saarattu Vandiyila

Singers ~ A.R. Raihanna, Tipu & Nikhita Gandhi, Backing Vocals ~ Arjun Chandy, Nivas, Santhosh, Aparna, Deepti Suresh, Abhay Jodhpurkar, Lyrics by ~ Vairamuthu

A traditional Tamil wedding song is up next on the soundtrack, and this is something I’ve never heard before. It is so beautiful to drown into some other wedding song, than the typical Punjabi wedding songs we hear in Bollywood. The composition is aptly upbeat, and trademark Rahman composition styles find their way into this one too. The hookline is really catchy, and the folksy beat really makes you dance hard. The arrangements are really vast, and awe-inspiring. The percussions (T.Raja, Yash, Kumar) are what stand out right away, the thavil resounding beautifully. Right from the beginning,the percussions are present. The santoor (Subhani) enters next, and its folksy sound makes everything sound even more beautiful. The flute (Kamlakar) is really sweet, and the solo interlude on the flute is amazing, where the ukulele (Lokesh) joins it. Again the guitar (Keba Jeremiah, Chris Jason) plays an important part in the arrangements. The vocals are really energetic, and the way the female singers, A.R. Raihanna and Nikita Gandhi, bring that sharp edge to their song, to sound more rustic, is really commendable! Tipu is great as the male singer. Backing vocalists play an integral role in the song too. A nice trip to a traditional Tamil wedding.

Rating: 5/5

 

5. Tango Kelaayo

Singers ~ Haricharan & Diwakar, Lyrics by ~ Vairamuthu

Now, from here, I felt the album slipping out of my hands. (Or ears.) The next song is a Tango, named ‘Kelaayo’. Rahman has provided a very efficient tango song, and the composition is aptly sensuous, and sultry. The sharp pauses and smoothly flowing notes, that usually define Tangos, are all present, yet I felt some barrier preventing me from loving the song to infinity, like I did the previous ones. Might be because of the composition, which is a quite typical one, if you compare it with other Tangos. The “unnai pirindhaal” effect has increased the song’s viability, without which it might just have become staid. The antara is a bit below expectations too, but that crescendo taken by Haricharan is beautiful. The arrangements are heavenly, getting the Spanish theme right. The accordions (Karthik Devaraj) and the strings hit the bullseye. The jingles and castanets too, are intriguing. There is one complete musical piece at the end which is basically a Spanish music showcase, and it provides a hard-hitting end to the song. Haricharan sings it well, and as Rahman cleared in one of his Facebook replies to a fan, Haricharan’s voice itself has been tweaked and pitch modulated to sound like that female voice you can hear in the song. Interesting fact! A song that is good, but you connect to it only partly.

Rating: 4/5

 

6. Jugni

Singers ~ A.R. Rahman & Tejinder Singh, Rap Vocals ~ Rajakumari, Shikara, Lyrics by ~ Shellee

The last song is the song I liked the least, from the album. Yes, it is also the only song from the album I totally understood as far as language goes. However, I guess I didn’t understand it as far as its composition and arrangements go. The song is such a typical Punjabi affair, that I am confused whether I like it or not! The composition is very, very monotonous, and that “JUGNI! JUGNI OH!” hook sounded quite irritating. The beats are groovy, but that didn’t make up for the flawed composition, which I just couldn’t catch up with. It goes all over the place, in the usual Rahman way of composition, but this time, I couldn’t grasp any of the tunes, except the aforementioned one, because it was irritatingly catchy. The arrangements consist of gratuitous bass, which sounds good for some time, and gets boring later on. The stereotypical “oye oye” which has been added in many places, is weird. But Rahman has used more great flute work here, and an entrancing sound. The arrangements on the most part are intriguing, but the composition is at fault. Tejinder Singh, “Voice India 2” finalist, excels with his rendition, but again, the composition doesn’t let him marvel too much. Rahman’s parts are those irritating outbursts of “jugni!“. Shellee’s lyrics make it out to be some kind of introductory song for the female lead, where she’ll be shown as a badass main character. A song where the composition plays the spoilsport, and how!

Rating: 3/5


Kaatru Veliyidai is an album that radiates the Rahman-Ratnam combo’s magic out-and-out. With the exception of one and a half songs, all songs are something that will go down in Tamil music industry’s history. Rahman has tried to finish up that small link which was missing in his last album for Mani Ratnam, ‘O Kadhal Kanmani’, and covers it up beautifully with this, which definitely supersedes ‘OKK’. For me, as a Hindi music listener, I found this album an intriguing mix of Western tunes, Tamil folk rhythms, romantic tunes and mixes of world music. Another masterstroke from the Mozart of Madras! 

 

Total Points Scored by This Album: 5 + 5 + 5 + 5 + 4 + 3 = 27

Album Percentage: 90%

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: Nallai Allai = Azhagiye = Vaan = Saarattu Vandiyila > Tango Kelaayo > Jugni

 

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

NOT JUST ‘OK’, BUT FANTASTIC! (OK JAANU – Music Review)

Music Album Details
♪ Music by: A.R. Rahman, Tanishk Bagchi & Badshah
♪ Lyrics by: Gulzar, Hard Kaur, Navneet Virk, Aaryan Dinesh Kanagaratnam, Kaly, Mehboob & Badshah
♪ Music Label: Sony Music
♪ Music Released On: 4th January 2017
♪ Movie Releases On: 13th January 2017

Ok Jaanu Album Cover

Ok Jaanu Album Cover

 

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

To buy this album on iTunes CLICK HERE


Ok Jaanu is an upcoming Bollywood rom-com / drama, starring Shraddha Kapoor, Aditya Roy Kapur, Naseeruddin Shah and Leela Samson. The movie has been directed by Shaad Ali, and produced by Mani Ratnam, Karan Johar, Apoorva Mehta and Hiroo Yash Johar. The movie is a remake of Tamil film ‘O Kadhal Kanmani’ directed by Mani Ratnam, and like ‘Saathiya’ (which was a remake of Ratnam’s ‘Alaipayuthey’) Shaad Ali has taken it upon himself to successfully tell the story to the Hindi audience. The music of the film has been composed by A.R. Rahman, and it is primarily a dubed version of the ‘O Kadhal Kanmani’ soundtrack minus a few tracks and plus some new songs to fill in their places. Young talent Tanishk Bagchi, along with Badshah, has recreated one of Rahman’s own 90s hits, ‘Hamma Hamma’ (Bombay) for the film. Skeptical as I am about this, I really hope that the makers have made a good decision about that. Rahman last composed ‘Mohenjo Daro’s Album, which, as good as it was, was a bit underwhelming. Also, the last time he could oosed for a rom-com like this in Bollywood was ‘Tamasha’ and before that ‘Lekar Hum Deewana Dil’, both of which were awesome. I have heard the Tamil album when it released in 2015 itself, and it was good, but I didn’t really hear it much afterwards, because of the language. I just hope the dubbing has been done good!! Rahman has used 5 tracks from that album, and composed two new songs, and then Tanishk-Badshah’s one song, make this album an eight-song album! Just right!

{The names of the original Tamil songs from the Tamil album have been written below the respective song’s name}


1. OK Jaanu

(‘Mental Manadhil’ from ‘O Kadhal Kanmani’)

Singers ~ A.R. Rahman & Srinidhi Venkatesh, Music by ~ A.R. Rahman, Lyrics by ~ Gulzar

“Dheere dheere zara dum le naa,
Pyaar se jo mile gham le naa,
Dil pe zara woh kam le naa,
Ok jaanu, tu dhin dhin na! Hey!”

– Gulzar

One of my favourites from the Tamil album, ‘Mental Manadhil’ gets redone as the title track of this movie, and I cant tell you how happy that made me! 😀 The song is a wonderful mocktail of techno sounds from Rahman, something that will drive you crazy, in a positive way. The composition is something that instantly grabs you and needs no time to invade your mind. It starts off with a nice ‘Jaanuuuu’ (and I know that sounds a bit cheap compared to the awesome ‘Lailaaaa’ from the Tamil song) and then transcends into an entrancing, but catchy tune that gets you grooving right away. The tune has been tweaked a bit from the original Tamil tune, which had this jumpy feel to it, especially in the “Mana mana mana” parts, which have been strung together to make a continuous tune in this version. However, after a couple of listens, this starts incorporating itself in your brain. (Read: my brain, and others who care about listening to music that isn’t in either their mother tongue, their national language or English) So I’m probably one in a ten-thousand people in North India who have heard the Tamil album. Yay me. Anyway. The antara is as catchy as the song is, and acts as a nice filler. Most of the song is composed on the same lines that constitute the mukhda, and I don’t know how many times the hook repeats. But it never gets boring! The arrangements are what make it more interesting than anything else does. That techno backdrop really makes the song sound pacy and makes it an apt song for a ‘carefree-and-youthful-couple-roaming-the-streets-of-Mumbai-on-a-motorbike-as-if-there’s-no-tomorrow’ situation. The interesting sounds that Rahman throws at you over the three-and-a-half-minute time span of the song, is enough to make you trip over the song. Especially that loop at the beginning!! The beats are so trippy, that it’s hard to explain in words. What does play a bit of a spoilsport in the song, are two things. First of all, Rahman’s vocals. I know they have a different kind of twang to them, and nobody else could have sung it like that, but some of the words have been mailed by his diction. (“Badi na tu kisi se” sounds like “Baaadiii na tuksi se”!) Srinidhi replaces Jonita from the original, to no actual effect — Jonita sounded much (!!!) better. (Which reminds me, there’s no female version!! The female version of ‘Mental Manadhil’ was awesome!!! Jonita’s nuances were to die for!) Also, Srinidhi has only one line that comes like two times in the whole song. The second spoilsport is (surprisingly!) Gulzar’s lyrics. The words in the antara (‘aayu-vaayu’, ‘mangal-dangal’) have merely been penned down to make them rhyme. And who addresses their friend as ‘kanya’? The lyrics were a big letdown, especially after Gulzar wrote the spectacular lyrics to ‘Mirzya’! I would’ve thought he would dub better! Nevertheless, a major portion of this song is awesome, as the tune and music is what matters the most. Some damage done by the lyrics can be overlooked by listeners.

Rating: 4/5

 

2. Enna Sona

(Newly composed song, replacement for ‘Aye Sinamika’ from ‘O Kadhal Kanmani’)

Singer ~ Arijit Singh, Music by ~ A.R. Rahman, Lyrics by ~ Gulzar

“Kol hove te sekh lagda ae,
Door jaave te dil jalda ae,
Kedi agg naal, rab ne banaaya,
Rab ne banaaya, rab ne banaaya!
Enna sona kyun rab ne banaaya?”

– Gulzar

Next up, we get a fresh song, by which I mean that it isn’t a song from the Tamil album. And I must say, how thankful I am that ‘Aye Sinamika’ was dropped! 😛 I say this because what Rahman has produced in the bargain proves to be a spectacularly dulcet romantic ballad, that you just start loving instantly. Though I didn’t at first. Here’s my journey to liking this song: After 1st listen, “This is by A.R. Rahman?? Are you sure it isn’t Pritam..? I mean, there’s guitars, there’s Arijit…”. After close speculation in the second listen, “No. That flute in the first interlude is signature Rahman.. so it has to be Rahman. But what has he composed? A Pritam song!”. After 3rd listen, “Rahman!! Aaye ho kis bagiya se… Tummmm! 😍😍😍” And then I fell in love with the song. What can be better than a Punjabi love song, composed by Rahman and written by Gulzar? The composition is a verrrryy down-to-earth composition; so much so that the majority of its duration is taken up by that hookline that keeps on repeating, but never sounds repetitive! The antara with it’s inexplicably beautiful high notes just steals your heart away. (You’ll get it back he next time a beautiful Arijit song comes out. Don’t register any F.I.R. or anything and land yourself into trouble.) That leads us to the vocals. Arijit’s soothing voice is an excellent proof that he really is the only one out there these days who has the power to sing any type of song, but especially rocks it in the romantic song genre every single time. The arrangements are divinely soulful. PMK Naveen Kumar with his flute, impressed like always, and Keba Jeremiah on the guitars is exceptional. The flute and guitar in the first and second interludes respectively sound utterly charismatic! When the flute plays the hookline’s tune behind Arijit’s voice, a smile mischievously appeared on my face. (It was no use telling it to go away or grounding it.) Gulzar’s lyrics here, were a good exchange for the losses incurred in the first song, because they’re double beautiful. Though there are (and I counted) only 14 lines in the song, (Hey! It’s a sonnet!) each line has its own beauty. “Taap lagge na tatti Chandni da, saari ratti main os chhidkavan, kinne dardaan naal rabb ne banaaya” is the entire second antara, and the first is up there… Both are so marvellous! Enna Sona (gaana) kyun Rahman ne banaaya?

Rating: 5/5

 

3. Jee Lein

(‘Theera Ulaa’ from ‘O Kadhal Kanmani’)

Singers ~ Arjun Chandy, Neeti Mohan & Savithri R. Prithvi, Music by ~ A.R. Rahman, Lyrics by ~ Gulzar

“Bichhad bhi gaye, toh bhi kya hai,
Tera dard toh saath hoga,
Gar aa gaye aansu, toh kya, mera chehra
Toh yaad hoga, toh yaad hoga…”

– Gulzar

Now this is another song that has been dubbed from its Tamil counterpart, from the original Tamil album. And I must say, it has been remade quite well! Let me remind you that the man behind this is A.R. Rahman, and so a Kollywood to Bollywood transition isn’t going to be as straightforward as it seems! And sure enough, the man has introduced some significant changes in the song, which we’ll come to later on. Firstly, the composition. The composition is a dreamy, anthem-like tune for the most part, until a nice and soothing interjection in the form of a female portion comes (Which is that significant change I was talking about, because it was a Carnatic piece in the Tamil song) and brings the melancholia into the song. Upbeat for the most part as the rest of the song is, this part very wonderfully and seamlessly brings a nice and emotional touch to the song — something Rahman is an expert at. The rest of the song is mostly the same time repeating again and again, but it doesn’t sound boring (except a bit when you hear it for the first time). It all has a very harmonic sound to it. The arrangements just elevate this entrancing feeling. Nice beats go with the chorus part, making the song upbeat in the right concentration. The occasional veena strums really reach out to your heart. (Which has been stolen by ‘Enna Sona’, don’t forget!) The melodious female portion in the middle has the upbeat beat toned a bit down, but the tune of that part definitely overrides the beats. And the seamless transition from that part, back to the chorus part, is awesome! Vocals are amazing, and I would like to have a list of everyone who was on the chorus! Arjun Chandy is clearly on there, and I can hear Neeti’s feathery voice, I the background. But Neeti has the aforementioned female portion to her credit, which is definitely the best part of the song, and she has rendered with her magic touch. Gulzar’s lyrics are wonderful. Especially in the same female portion that’s definitely going to be on my tongue and in my mind for a long time! Different and lovable, but might take some time to grow on you!

Rating: 4.5/5

 

4. Kaara Fankaara

(‘Kaara Attakkaara’ from ‘O Kadhal Kanmani’)

Singers ~ Paroma Das Gupta, Shashaa Tirupati, Hard Kaur, Aaryan Dinesh Kanagaratnam, Kaly & Ashima Mahajan, Music by ~ A.R. Rahman, Lyrics by ~ Hard Kaur, Navneet Virk, Aaryan Dinesh Kanagaratnam & Kaly

“Kaara fankaara kab aaye re, kaara fankaara tarsaaye re” 🙉

– Whichever one of them wrote it

In a film targeted towards the youth, how can there not be a youthful number? The next song is just that. The song is a mishmash of sounds that are supposed to attract the youth. And it succeeds to quite an extent. The main composition is only during the hookline, the title of the song. I’m not sure if it even means anything, but the tune is likable. The composer has tried his best to make the song sound like many of his earlier such songs, and it does, but you can’t help but lose the link somewhere in the middle. The rap is amazingly rapid-going, and better than Badshah and Raftaar for sure, but I’m not sure the public is going to lap this rap up like they do for Raftaar and Badshah! Nevertheless, Kaly (How do I know it’s him? He says it in the song.. see if you can find it!) delivers it perfectly, so that it sounds rad. The ‘nama nama nama neiiii’ gets a bit repetitive after some time, and the song is almost 6 minutes long, so keep your seatbelts on! The vocals by so many people make it sound like a very hastily put-together song trying to sound unconventional. And unconventional it sounds, but doesn’t work! Hard Kaur, after a long time in some big Bollywood song, gets drowned amidst Shashaa’s ‘kaara fankaara kab aaye re, kaara fankaara tarsaaye re’ and Kaly’s English rap. Also, she isn’t recognizable thanks to programming. One thing I really loved is hat quirky nadaswaram like thing that plays when Kaly raps, somewhere in the initial two minutes of the song. The digital beats are commendable, but not commercially viable, especially not in Bollywood. The lyrics to the rap are good, but the hookline makes no sense. It is also the only song (except ‘The Humma Song’), that hasn’t been written by Gulzar. A good attempt at making a youthful rap number, but I wouldn’t recommend this, as it is quite heavy to the ears.

Rating: 3/5

 

5. Saajan Aayo Re

(‘Naane Varugiraen’ from ‘O Kadhal Kanmani’)

Singers ~ Jonita Gandhi & Nakash Aziz, Music by ~ A.R. Rahman, Lyrics by ~ Gulzar

“Saajan aayo re, saavan laayo re,
Main poori bheegi re, Mann behkaayo re”

– Gulzar

Now comes the Rahman I was waiting for! Also, the song I was waiting for. My favourite song from ‘O Kadhal Kanmani’, ‘Naane Varugiraen’ gets remade in Hindi as ‘Saajan Aayo Re’, and rendered by one of the most promising female singers of this generation, Jonita Gandhi. Of course, Shashaa sung this song in Tamil, and did a great job too. But with Rahman, it can never be anything simple… He has to put in challenges here and there, and so he ropes in Jonita, though Shashaa could’ve very well done it too! Anyway, more on the vocals later! The composition starts off with a wonderful free-flowing introductory stanza, which reminds me of Kathak songs like ‘Pyaar Kiya Toh Darna Kya’ (Mughal-e-Azam). The wonderful classical tune is just so bewitching! And what follows, is a classic example of why Rahman is such a master at classical songs. The nuances in the composition, especially at the word “saajan” are top-class! And the tune that follows is definitely one of the most beautifully haunting tunes I’ve heard since a long time. The interruptions by Nakash have been composed beautifully, too. The arrangements are heaven on earth. When the harp plays, when Jonita first starts the hookline, you get goosebumps, that might just stay till the whole song is over. And that wonderful percussion that follows…! The strings are exceptional, and techno music plays a big role in making the song sound unconventional for a classical melody. The vocals by Jonita surely make up her most wholesome perfromance out of all. Last year, Pritam gave her many songs, but this is not even similar to any of those. Jonita, for the first time, has taken up a classical song to sing, and she aces it with perfection! The way she sings the “Naa dir dinna tom tana na” reminded me of Shreya Ghoshal singing ‘Silsila Ye Chaahat Ka’ (Devdas) for some reason. She has really sung that part beautifully. Nakash, too, complements her very well! Gulzar’s lyrics suit the classical theme very well. An exceptional melody! Classical to the core, but modernized with some nice touches in the arrangements! Signature Rahman!

Rating: 5/5

 

6. Maula Wa Sallim

(‘Maula Wa Sallim’ from ‘O Kadhal Kanmani’)

Singer ~ A.R. Ameen, Music by ~ Traditional, Lyrics ~ Traditional

Next up comes the traditional Arabic track that was in the Tamil album, as it is. There was no need to dub this one; it was Arabic and stays Arabic. And it’s traditional. The song is a simplistic but ethereal prayer song, sung by A.R. Rahman’s son, A.R. Ameen. The boy carries out the song with a nice aura of spirituality around his cute voice (goosebumps when he sings “Habib-allah, rasul-allah”), but it is very obviously autotuned. Rahman’s programming on his voice sounds good, when towards the end, he triples and quadruples his voice track, giving it a very nice echo effect. The song is a perfect night time song, sublime as it is. Rahman’s own voice can be heard humming in the background, and I just love it when he hums in the backgrounds of his songs. There’s not much more to say about this one, except that it should be given a chance, before being dismissed as boring.

Rating: 4/5

 

7. Sunn Bhavara

(Newly composed song, replacement for ‘Malargal Kaetten’ from ‘O Kadhal Kanmani’)

Singer ~ Shashaa Tirupati, Music by ~ A.R. Rahman, Lyrics by ~ Gulzar

“Roshan roshan bhor dikhaye, roshan roshan bhor dikhaye,
Prem ki paalki laaye, laaye, prem ki paalki laaye,
Udann khatole pe aaye bhavara, Kartab kar dikhlaye bhavara,
Sunn sunn bhavara, kaisi baatein banaaye!”

– Gulzar

This song’s counterpart in the Tamil movie, was a Carnatic classical piece, and the makers must’ve thought (and rightly so) that Carnatic music won’t have much takers in Bollywood, and so they intelligently replaced it with a wonderful Hindustani classical piece, taking the style of a nazm. Rahman’s composition is a very soothing one, the mukhda giving the most pleasant goosebumps ever imaginable. The antara is just a wonderful continuation of where the mukhda left off. The classical composition is just as heavenly as the one for ‘Saajan Aayo Re’, but this time, very pleasantly soothing instead of haunting. The composition reminded me of ‘Saathiya’s ‘Naina Milaike’. The arrangements are divine, with the tablas taking centre-stage. It actually reminded me of the beautiful nazm from ‘Haider’, ‘Aaj Ke Naam’. The tanpura at the beginning, gives a nice launchpad to the tablas. Listen for the transition from the tanpura to the tablas. Shashaa’s rendition of the classical composition is as soothing as the composition itself. Her magical voice makes the song sound all the better. This song is four and a half minutes of bliss that can’t be replaced by anything else. Finally, Gulzar’s lyrics are awesome! As always (except the title song 😛 but I think we’ve forgotten and forgiven that already!) A short review because I can’t really explain more about it! It’s too divine! Soothing!

Rating: 5/5

 

8. The Humma Song

(Remake of ‘Hamma Hamma’ from ‘Bombay’, replacement for ‘Parandhu Sellaa Vaa’ from ‘O Kadhal Kanmani’)

Singers ~ Jubin Nautiyal & Shashaa Tirupati, Rap Written & Performed by ~ Badshah, Original Composition by ~ A.R. Rahman, Music Recreated by ~ Tanishk Bagchi & Badshah, Lyrics by ~ Mehboob

“Ek ho gaye hum aur tum, toh udd gayi neendein re,
Aur khanki Paayal masti mein, do kangan khanke re!”

– Mehboob

The finale to the album takes the form of a remake to a classic Rahman dance track. The song that created waves in the 90s when it released, probably the first dubbed song to do so, ‘Hamma Hamma’ from ‘Bombay’ has been recreated by Tanishk Bagchi and Badshah. The original composition and lyrics have been left as it is. The only changes made are the singers, the arrangements of course, and that a rap portion is added (Badshah is there, so what else can you expect?) Anyway, the new programming by Tanishk and Badshah gives the song more of a lounge feel, and where the vocals in the original were raw, here they have been toned to perfection, as in, auto-tuned and polished, so as to make them sound sensuous. The remake is good when you look at it, as it serves as a nice and enjoyable song perfect for the situation. (I didn’t want to be stating that I actually wanted ‘Parandhu Sellaa Vaa’ remade, as I had loved it a lot, but yeah, I’ll not say that) The tempo has been slowed down, in order to make it more of a romantic track than a dance track, and the vocals actually sound good, if not better. (Not that I loved Remo Fernandes’ original vocals either..) Jubin takes over most of the song, while Shashaa complements him well, and the occasional ‘Hamma hamma hamma’ whispers are awesome. The arrangements have more of a club sound to them, but that signature tune has been retained and used gratuitously. The sounds have gone under a lot of treatment, but emerge as good as the old one. The Rap in the middle plays the spoilsport, and it’s like Badshah is trying to say, “Look, I featured on a Rahman album.” Our answer is, “Good. Now feature in a Rahman song!” The nadaswaram part at the end is just whacky! Of course, it was here in the original. It is insane, and ends the song on an offbeat note. Remade quite well, but could’ve done with another stanza instead of the rap.

Rating: 4/5


OK Jaanu actually turned out to be quite an ear-friendly album. I wasnt expecting it as I was thinking about the repercussions of making those Tamil songs into Hindi. However, after hearing it, I feel that part went down really well. Even the bonus song by Tanishk doesn’t take away anything from the album. Rahman uses his innate intelligence to cleverly tweak some parts of the songs that he thought wouldn’t suit in Bollywood, and the results can be seen! The only song that underperforms is ‘Kaara Fankaara’, which I don’t think I’ll be hearing much. But the others are fabulous. The second album of 2017, turns out to be worth listening on repeat!

 

Total Points Scored by This Album: 4 + 5 + 4.5 + 3 + 5 + 4 + 5 + 4 = 34.5

Album Percentage: 86.25%

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: Saajan Aayo Re > Enna Sona > Sunn Bhavara > Jee Lein > OK Jaanu > The Humma Song > Maula Wa Sallim > Kaara Fankaara

 

Remake Counter
Number of Remakes: 02 (from ‘Kaabil’) + 01 = 03 (Dubs not counted)

 

Which is your favourite song from OK Jaanu? 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! 🙂

SINDHU MAA KA SANGEET!! (MOHENJO DARO – Music Review)

Music Album Details
♪ Music by: A.R. Rahman
♪ Lyrics by: Javed Akhtar
♪ Music Label: T-Series
♪ Music Released On: 6th July 2016
♪ Movie Releases On: 12th August 2016

Mohenjo Daro Album Cover

Mohenjo Daro Album Cover

 

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

To buy this album on iTunes CLICK HERE


Mohenjo Daro is an upcoming epic adventure drama/action film starring Hrithik Roshan and Pooja Hegde in lead roles, and Kabir Bedi and Arunoday Singh in supporting roles. The movie is directed by the ‘Lagaan’, ‘Swades’, ‘Jodhaa Akbar’, ‘What’s Your Raashee?’ director, Ashutosh Gowariker, and produced by Siddharth Roy Kapur, Sunita Gowariker and Ashutosh Gowariker himself. The film is set in 2016 B.C. in the ancient city, Mohenjo Daro. It revolves around a farmer, Sarman (Hrithik Roshan), who falls in love with his enemy’s daughter, Chaani (Pooja Hegde), a dancer. After seeing the trailer, the historical accountability of the film has been doubted by almost everyone, and to me, everything looks over the top. That leaves only one thing for me to be waiting for, and that is something you get no prizes for guessing. It is the soundtrack to the movie, composed by the genius A.R. Rahman, whose Tamil album just received a great response from me. Now it’s time to see how his first Hindi album of the year fares, and being an album for an Ashutosh Gowariker film, it is expected to be great and extraordinary, going by the albums to ‘Lagaan’, ‘Swades’ and ‘Jodhaa Akbar’, all of which were beautiful albums. Rahman composes eight songs for this movie, and the lyrics are penned by Javed Akhtar. My excitement is engulfing me, so here I proceed with the actual review!!


1. Mohenjo Mohenjo
Singers ~ A.R. Rahman, Arijit Singh, Bela Shende & Sanah Moidutty

The album starts off with a grand theme song to the movie, a title song, and also an introduction to the ancient folksy music which we will get a glimpse of in the album. The song starts off with some rustic, earthy chants in an unintelligible language, probably the language which the makers of the film have made up as the language of the Mohenjodaroans gives the song a distinct earthy feel. What’s more, Rahman uses the perfect percussion to make it feel even more ancient. We have to keep in mind that the civilization is one of India’s first civilizations, that existed in the Before Christ era, and Rahman takes that into account and tries to make a song which matches the criteria, as well as appeals to the Bollywood audience. The composition, though it seems very simple and straightforward for a Rahman song at first, works its magic on you after a couple of listens. A good maze of lines that are composed in different manners make up the composition, a variety of twists and turns, even in the simplicity, being its feature. The mukhda is simple, while the antara is very enchanting. The mukhda repeats towards the end, in a female voice, probably Bela’s. The hookline is anthemic, and suitable for the theme of the film, with an ancient civilization to describe. Reminiscent of ‘Azeem-O-Shaan Shahenshah’ (Jodhaa Akbar), this one too, is a great introduction to the ways of Mohenjo Daro and summarizes the album and the city in 6½ minutes. Rustic wails and vocal noises grace the song, and make it all the more worthwhile. Arijit leads the song gracefully, and is wonderfully supported by a chorus of male and female singers, which I guess are A.R. Rahman, Bela Shende & Sanah. Bela does get a stanza to herself and she does good, though she is not very impressive either. The chorus is what makes the song sound even more lively and junglee, especially the chorus that goes something like “mil Jul aur ghul mil…” Rahman’s arrangements are mind-blowing, a wonderful show of rustic percussion, probably African drums in reality, though I can hear thavils and the like. The fiddle makes a nice special appearance in the interlude, which is rich with the sound of the chorus, which just can’t stop impressing throughout the song. And then there’s the flute. 😍😍😍😍 Rahman always creates magic with the flute, and that’s evident here as well! The clapping beats are also catchy and addictive. At the end, we get a nice dhol-taasha conclusion to the energetic track. Javed Akhtar writes words that aren’t really extraordinary, but they very well describe the city in the eyes of its citizens. All I feel is that it sounds too much like one of Rahman’s dubbed songs, because of the irregular tune. A song that is so energetic, but takes time to grow. Rahman succeeds in transporting us to an era that nobody can imagine to be transported to, except through music! #5StarHotelSong!!

 

2. Sindhu Ma
Singers ~ A.R. Rahman & Sanah Moidutty

It is a romantic song that comes next in the album, and it starts with some wind instruments followed by Rahman making tribal noises with his tongue, and these same noises later sound so magical and enchanting that it seems unbelievable. The song proceeds with a stanza sung enchantingly and marvelously by Sanah, who I’m glad has at last got a song where she will be noticed, after that small part in the ‘Gori Tere Pyaar Mein’ song with Vishal-Shekhar. She sings with as much divinity as possible, and Rahman follows with some lines that are irregular in structure but the magic is in their irregularity, first in that Mohenjodaroan language and then in Hindi. 😀 I loved it how each line has a different tune and tempo, yet everything sounds so soothing in Rahman’s distinct voice. It has that deep, nasal quality that impresses so much, and transports you to another world. Rahman’s composition too, is something that takes time to grow, but again, after it has grown, you can’t forget it. It stays there forever. A divine, sweet, innocent, pure romance is indicated through the composition, which is unusually slow-paced, but its slow pace is what appeals. There are lines where the singers have to sing rapidly, and it fits in too well with the surroundings. The pitch change towards the end works well, and the song ends with you feeling fresh and relaxed. The hookline actually has nothing to do with the title, which just comes once in the beginning of the song. Instead, the hookline is the title of a song that is going to come later on in the album, and that song is a version of this or vice versa. Again, it is not a conventional hookline where the listener gets a buy one get one free treat of it, but it comes very humbly and leaves its mark on you. The first time you hear the song, the tribal language in the starting, sung by Rahman might seem over-the-top, but after a few listens, you understand that it gels in inconspicuously with the rest of the song. Rahman’s arrangements are stellar. Guitars lead the arrangements, and of course, a flute impresses with its playful nature in the interlude. Rahman has a chorus singing little attractions throughout the song, and again, this chorus changes the entire listening experience. They add their magic in places which would’ve sounded bland without them. The percussion is wonderful, as well. Strings accompany all this, rather conspicuously, though. Brass instruments and bells are welcome attractions in the song as well. Javed Akhtar’s lyrics are good, but it requires a lot of courage to focus on them, leaving the heavenly composition alone. It is a song that doesn’t actually need great lyrics to propel it along! A ravishing, surreal experience. Both the singers bring out the charm in the composition beautifully! #5StarHotelSong!!

 

3. Sarsariya
Singers ~ Shashwat Singh & Shashaa Tirupati

It is a very enticing folksy rhythm that paves the way into the next song, an enjoyable-to-the-core dance track, which has Rahman in his top form. It is such tracks that even you know, that I love Rahman the most in. On the lines of ‘Kilimanjaro’ (Robot) and a bit of ‘Barso Re’ (Guru) and the whackiness of ‘Mawaali Qawwali’ (Lekar Hum Deewana Dil) and ‘Mona Gasolina’ (Lingaa), this is Rahman with all of his creativity. So as I was saying, the wonderful percussion that makes the song sound so inviting and catchy, takes the listener with surprise, surprise that is born out of the sheer rawness of the rhythm. The tambourines, flutes and the ethnic drums make the prelude something that is very promising. The rest of the song doesn’t disappoint after that promising prelude, though. Rahman comes up with a tune that is so rustic, raw and earthy in its presentation, that you may even believe that Mohenjo Daro’s folk music was like this! The mukhda has a weird addictiveness, and the antara is what gets into the contemplative mode, with a very lilting tune, brought to life by those ravishing drums, once again. And the hookline, oh! It is the hookline that is the USP of the song, a great mix of whacky sounds and those clever tribal lyrics, of which nobody understands neither head nor tail. The “Emase-nana-maya” after the antara makes a very, very clever bridge to the hookline, though completely changing the lulling mood of the antara to a lively one. About the arrangements, whatever I say will not do justice to them. Rahman has employed exquisite and lively instruments to make the song sound genuinely ancient, tribal and folksy. The percussion, that is quite close to the Rajasthani or Kutchi folk, is what infuses life into the song. Charming flutes and strings too, in the latter part of the song, gives it the sweetness required for it to flourish completely. Mandolin scattered throughout in the background captures your attention whenever it plays. An oud-like instrument makes up a wonderful first interlude, while an engrossing rhythm backs the lilting first antara, and makes you sit back and enjoy the song with closed eyes. Matkas and dandiya, typical of the Kutchi folk, have been used generously, and work in favourite of the song. Flute and guitars help the second interlude keep the listener entertained, while the song ends with a wonderful violin conclusion. Coming to the vocals, nothing can be more impressive than what Shashwat and Shashaa have done here. Shashaa particularly, who sings that little gibberish prelude before the Hindi parts start, impresses right away, and we know she is going to impress all throughout the song, which she does! She modulates her voice beautifully, so it sounds just as great in the upbeat portions, as it does in the lilting melodious parts. Shashwat’s voice sound perfectly clear and smooth, unlike what it did in ‘Wat Wat Wat’ (Tamasha), where it sounded folksy. And he impresses highly, though overshadowed by Shashaa. Javed Akhtar has written enjoyable lyrics, especially the alien ones!! A cracker of a song from Rahman, though not outwardly loud and blaring. It proves that dance songs don’t have to be loud and blaring in order to be catchy and addictive! #5StarHotelSong!!

 

4. Tu Hai
Singers ~ A.R. Rahman & Sanah Moidutty

The next song, we are familiar with. It is the part of ‘Sindhu Ma’ without the actual prelude that was an ode to River Sindhu (present-day Indus), which was the sacred river of the Mohenjodaroans. The presence of this version gives a whole different meaning to that song. I had thought while hearing that song, that it is the romantic song of the album. However, it is this version which has the romantic connotation to it. And after hearing this version, we realize that that version was more of a devotional song, an ode to the river, and Javed Akhtar’s lyrics really suit as a romantic as well as a divine song. 😀 Vocals, arrangements, composition and everything else is exactly the same as the latter part of ‘Sindhu Ma’, so no use repeating the review again! 😀 The only thing I could notice that was different, is the starting prelude, which is a beautiful guitar strum here, while it was blended into the devotional prayer in that song. It is all in the different perspectives of the two versions — the former devotional, while this one is romantic. #5StarHotelSong!!

 

5. Whispers of The Mind / Whispers of The Heart
Vocals ~ Arjun Chandy

These two tracks are background scores, which are the essence of the film’s setting. The setting of the film is perfectly described and conveyed to the listeners, with those weird tribal-sounding noises amidst a background of chirping crickets and birds, and it sounds like you are out in the wild. Perfect for the theme of the story but not exactly something to enjoy in a music album. Arjun Chandy chants the “whispers” very slowly and mysteriously, and makes the track sound genuine. The “Zoooaaaa” did sound irritating at first, but if the theme of the movie is taken into mind, it fits in well. The “Heart” version has more happening in the form of a divine female chorus singing in the background, and tribal drums playing a wonderful beat towards the end. And, its shorter than the “Mind” version! The “Mind” version runs over four minutes and bores until the end, while there’s a lot to look forward to at the end of the “Heart” version!! It just proves that what your heart says, is better than what your mind does! 😛 LISTEN TO THE HEART! And by that, I mean that the second version is a #5StarHotelSong!!

 

6. The Shimmer of Sindhu
Guitars ~ Keba Jeremiah, Flute ~ Kareem Kamalakar

It is a Rahman album. It cannot finish without an instrumental of at least one of the tracks! And so, we have an instrumental of ‘Tu Hai’ presented to us, with guitars, strings and flutes carrying the heavenly tune on their shoulders. Rahman employs wonderful guitars played by Keba Jeremiah, for the base melody of the song, and it sounds sooooo idyllic! Imagine what  would happen when beautiful flutes and orchestral strings join that melody! You don’t need to imagine, however, as Rahman saves you the effort of doing so, by adding them himself! The flutes by Kareem Kamalakar are well-done, and played in the most unexpected places, in a delightful classical way. It is the strings that infuse grandeur into the already a majestic instrumentation. The blissful melody, when played in that slow pace, sounds as pretty as ever. A heavenly reprise of the entrancing love ballad. #5StarHotelSong!!

 

7. Lakh Lakh Thora
Instrumental by ~ Tapas Roy & P.M.K. Naveen Kumar

A very oriental-sounding Oud opens the last song on the album, and before you think of anything else, that addictive tune of ‘Sarsariya’ comes back to you, and you realize it is the same tune. Therefore, this song is an instrumental version of that one, which was my favourite vocal song out of the three. Tapas Roy with the oud and the mandolin, impresses highly, and the glory of the song lies in the brilliance with which he plays them! It has the power to attract your attention, and even though it is a background piece, it is just as great as an actual song — can be played, hummed and danced to. 😀 Rahman many other attractions like the percussion (the djembe is really great!) and water drops. The way the string instrument has been played in what’s supposed to be the interlude of the song (you can’t make out as all it is, is just instruments 😛 ) is sooooo beautiful. Naveen Kumar joins in quite late, and plays a few lines on the flute before the song ends. Whoever has done the percussions, really knows his or her job very well! They’re engaging and help the song stay to its catchy nature. CATCHY!!! The Oud and Mandolin make things way more catchier! #5StarHotelSong!!


Mohenjo Daro completely lives up to expectations. I mean, I was expecting a lot more, and was quite disappointed during the first time I heard it, but later I realized how each song has been made to suit the film and its ancient setting and not even one song extra has been crammed into the album, which explains why it’s just three-tracks-long (if you practically see it). Rahman uses a great blend of traditional and even modern instruments to make songs sounding ancient and folksy! Though we never imagined Mohenjo Daro and its music like this when we were taught about in school, thanks to Rahman, that information about the recreation of the Mohenjodaroans has got some life now! 😛 I also noticed that he has used relatively new singers in most of the songs — Arijit and Bela being the only exceptions, and of course, himself. Sanah Moidutty, Shashaa Tirupati and Shashwat Singh are the singers he has used, and they literally infuse life into the album, while at the same time, they’re gonna establish themselves in Bollywood with this album. And then there are those ravishing background pieces, out of which one bored me (frankly speaking…! Sorry!!) but the other three really fascinated me! Rahman has really given us a glimpse of Sindhu Ma’s sangeet! 

 

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: Sarsariya > Sindhu Ma > Tu Hai > Lakh Lakh Thora > Mohenjo Mohenjo > The Shimmer of Sindhu > Whispers of The Heart > Whispers of The Mind

 

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