CRYBABYIEE WEDS NRI!! (SWEETIEE WEDS NRI – Music Review)

Music Album Details
♪ Music by: Arko Pravo Mukherjee, Jaidev Kumar, Palash Muchhal, Raaj Aashoo & Shah Jahan Ali
♪ Lyrics by: Arko Pravo Mukherjee, Dr. Devendra Kafir, Late Shyam Bhateja, Palak Muchhal, Shakeel Azmi & Banjara Rafi
♪ Music Label: T-Series
♪ Music Released On: 24th May 2017
♪ Movie Releases On: 2nd June 2017

Sweetiee Weds NRI Album Cover

 

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

To buy this album on iTunes CLICK HERE

{P.S. The song “Shiddat (Reprise)” is sung by Mohd. Irfan on Saavn and YouTube, and Sharad Patel on iTunes. Since the former is there on two sites, I will review that}


Sweetiee Weds NRI is an upcoming Bollywood rom-com, with the clichéd theme of a wedding. The film stars Himansh Kohli and Zoya Afroz in the lead roles, and is directed by Hasnain Hyderabadwala, and produced by Cyrus Dastur, Dhaval Patel, Sada Bhuvad, and Tariq Mohammed. I couldn’t care less about the plot of the film, so heading on towards the music front. We have a multicomposer album, as is the norm for T-Series, but it is shocking to not see any of the T-Series protégés working for the film. Except maybe Arko. Jaidev Kumar, Palash Muchhal, Raaj Aashoo and newcomer Shah Jahan Ali are the other composers for the film. Jaidev just gave us a better-than-the-original mata-ki-chowki recreation of Badshah’s ‘Kala Chashma’, and he gets one song here. Palash, back after doing nothing in films for three years, gets five songs all of a sudden in this film. Let me break the suspense. It is actually two songs, one of them having four versions. Raaj Aashoo, who has composed quite passable music before, gets a song and its reprise too, while Shah Jahan Ali, newcomer, gets one song too. Let me specify that even Arko has one song only. So with five composers and ten tracks, let’s see whether this grand wedding is just all quantity or has some substance too.


1. O Saathiya

Singers ~ Armaan Malik & Prakriti Kakar, Music by ~ Arko Pravo Mukherjee, Lyrics by ~ Arko Pravo Mukherjee

Thankfully, the first song is composed by the person whose song I was waiting for and at least expecting something from, Arko. And sure enough, the song is a pleasant and enjoyable listen. The composition is a breezy one, and starts off quite pleasantly. The soothing quality of the song continues as it progresses, and the  peak point of the song is the “Humrahi” hook, which is like fresh air. (Don’t watch that part in the video song though! 😂) There is no antara as such, the mukhda is repeated twice in the song, once by the male singer Armaan and the other time, by the female singer, Prakriti. That’s why the song ends up sounding shorter than it is, because the mukhda is repeated twice and that’s it. The arrangements are breezy as Arko’s arrangements usually are. The Acoustic guitars, and shakers and those digital beats in the hookline, giving a ballroom feel, are amazing. The interlude consists of a nice, feel-good, guitar piece, followed by a refreshing flute portion, which is in turn followed by a sweet piano piece. The vocalists carry the song out with ease, Prakriti sounding amazing with the nuanced singing. Armaan sings in that slightly uncomfortable low pitch which he rarely sings in, in the beginning, but gets better in the high pitched hookline. Arko’s lyrics are typical romantic song lyrics, but suit the ambience of the composition. A simple but sweet and effective song.

Rating: 4/5

 

2. Kudi Gujarat Di

Singers ~ Jasbir Jassi, Sonia Sharma, Akasa Singh & KD, Music by (Original and Recreation) ~ Jaidev Kumar, Original Lyrics by ~ Late Shyam Bhateja, New Lyrics by ~ Dr. Devendra Kafir, Rap Written by ~ KD

Jaidev Kumar steps in here, and with another remake, after his remake of ‘Kala Chashma’ in the recent ‘Behen Hogi Teri’. As we know, this music company’s latest fad is to remake hit Punjabi pop numbers of the 90s, and after they remade ‘Ishq Tera Tadpaave’ by Sukhbir, in ‘Hindi Medium’ last month, they choose ‘Dil Le Gayee’ by Jasbir Jassi to remake this month. And the ingenious naming system of T-Series starts again, naming this one ‘Kudi Gujarat Di’, which are just the words that appear right after ‘Dil le gayee’ in the song’s lyrics. However, I’m quite pleased with this remake. The main reason is that Jaidev Kumar, who had composed the original, which was in fact his debut, has recreated it. So he keeps the flavour of the song intact, and yet manages to add a pleasant club touch. The composition has been kept the same, and lyrics have been changed. Unlike the ‘Ishq Tera Tadpaave’ remix, this one actually is a remake. The arrangements have been changed to good club arrangements that are actually enjoyable. The techno sounds here, make the song more viable for today’s audience, who is only behind club songs. The vocals are great too, with Jasbir showing that he is still sounding as young as ever. The female singers, get very less scope, and I don’t even know which of them has sung what. A rap by someone called KD sounds very spoofish and amateurish. The new lyrics by Dr. Devendra Kafir, who wrote ‘Bolna’ (Kapoor & Sons) before this, are fun but typical. An enjoyable remake. 

Rating: 3.5/5

3. Musafir / Musafir (Reprise) / Musafir (Remix)

Singers ~ Atif Aslam & Palak Muchhal / Arijit Singh / Atif Aslam & Arijit Singh, Music by ~ Palash Muchhal, Lyrics by ~ Palak Muchhal

The next song witnesses Palash entering film music after a long time; his last release was ‘Amit Sahni Ki List’ in July 2014 if I’m not wrong. And this song, he provides in as many as three different versions. The composition is a very typical, Bhatt-ish composition that at first seems very bland and boring, but sounds better the next time. And when you start liking it, you start listening to it frequently, and after listening to it a lot, you start hating it. So like almost all Bhatt-ish songs, this song has a quite uninteresting life story. Jokes apart, Palash’s composition, though nothing innovative, provides temporary relief like Zandu Balm and sticks in your head for that short while as if it has been stuck with Fevicol. (There, I managed to put ‘Dabangg’ references in my review.) The mukhda is very typical, and so is the hookline, so much so that the first time I tried to listen to the song, I didn’t go past the hook. The antara is nothing great either. But despite all this, the song somehow manages to get in your head. So it’s like a Rohit Shetty film — not perfect, but manages to get you watching ahead. The arrangements must be the reason we are able to go forward. Both actual versions (not counting the remix for now) have different arrangements. While the Atif Aslam version has a clichéd-to-the-core acoustic guitar setting with occasional electronic tabla beats, the Arijit Singh version has better arrangements, starting off with a flute, and progressing with a more unplugged-ish acoustic background, piano and guitars. The flute really impressed throughout the song, and Palash isn’t stingy with the use of the flute. Atif’s diction is very irritating in his version, and when he says “Gira” for “Ghira”,Batakta for “Bhatakta“, and “Dikka” for “Dikha“, you can’t help but cringe. Palak joins him to repeat the mukhda at the end of the song. Arijit goes solo in his version, and he rectifies all of Atif’s diction mistakes. However, Palash makes another mistake here, which is making Arijit sing the repeated mukhda at the end, making the song seem extra long. He could have stopped after the antara, or made Palak sing it for some respite from the overbearing drowsiness. The remix is a miserable attempt to quieten the two ever-at-war fan bases of Atif and Arijit, by cramming both into one song. But why would anyone want them to be together in a remix. And I can’t even say how sappy the vocal programming sounds when Palash uses it on Atif, making him sound like a goat. The beats are typical remix beats that make your ears explode. The lyrics by Palak are suitable for the song, but again, very typical and nothing innovative. I don’t even know whether I like this one or not, so I’ll say it’s somewhere in the middle.

Rating: 2.5/5 for Musafir, 3/5 for Musafir Reprise, 0.5/5 for Musafir Remix

 

4. Wedding

Singers ~ Shahid Mallya & Palak Muchhal, Music by ~ Palash Muchhal, Lyrics by ~ Palak Muchhal

Palash’s second song is the wedding song of the album, very uncreatively titled “Wedding”. The composition is something that totally belongs to an Indian animated film for children. Come on, even children’s songs are composed more thoughtfully than this. The “Saiyaan Oh Saiyaan” refrain by Palak is very cheesy. Some of it is way too sweet to digest, and the lack of usual Punjabi arrangements, makes it even more bland. Instead, Palash uses weird-sounding techno sounds that make it sound very over-the-top. And of course, the typical brass band, which is also, unfortunately, digital. A weird EDM-ish interlude tries to makes things “cool”. Palash tries to bring in a folksy feel to the song by roping in Shahid Mallya to sing it, but he sounds so uninterested, it comes out through his singing. And the lines he’s made to sing! 😵 Palak sounds too, too, sweet, like the syrup in Gulabjamun if someone adds too much sugar. Her lyrics too, are straight out of a fairy tale; the cringeworthy Hinglish takes a toll on you by the time the song ends. When EDM and an overly sweet melody spoil everything.

Rating: 1.5/5 

 

5. Shiddat / Shiddat (Reprise)

Singers ~ Armaan Malik / Mohd. Irfan, Additional Vocals by ~ Priyanka Negi, Seepi Jha & Bhuvan Ahuja, Music by ~ Raaj Aashoo, Lyrics by ~ Shakeel Azmi

With Raaj Aashoo’s song, things take an even more downhill turn. Totally overloaded by a very overbearing melancholic sound, the song exhausts you by the time it is over. The composition is something even the Bhatts would shy away from nowadays. What’s more, the song spans for over five minutes, something utterly unbearable. And two versions. So it sadly has eleven minutes of unmerited footage in this already long album. The arrangements are typical digital beats that would be a rage if it were 2007 right now. The vocalists in neither version could keep the interest of the listener in place, till the end. Armaan, trying to be K.K., disappoints like never before. On the other hand, Mohd. Irfan in his version sings in a voice that defies the beauty of his real, silky smooth voice. The female backing vocalists are irritating throughout. I would rather not talk about the unstylish lyrics. Welcome to 2007.

Rating: 1/5 for Shiddat, 1/5 for Shiddat Reprise

 

6. Zindagi Bana Loon

Singer ~ Palak Muchhal, Music by ~ Shah Jahan Ali, Lyrics by ~ Banjara Rafi

Newcomer Shah Jahan Ali comes into Bollywood with this song, and brings yet another old-fashioned, slow-paced song into the album, much to the dislike of the audience. The tune is so complicated, with so many pauses in random places, and no indication as to whether it is a happy romantic or a sad romantic song, that you just forget about it after you hear it once. Shah Jahan Ali must have been feeling like Roop Kumar Rathod felt while composing ‘Agar Tum Mil Jao’ (Zeher), or M.M. Kreem while composing ‘Jaadu Hai Nasha Hai’ (Jism), because the song is like a wannabe version of those. The slow pace doesn’t help either. Neither do the arrangements. The guitars are played so typically, the lack of innovation makes you go crazy. Palak tries to bring nuances like Shreya Ghoshal into her singing, succeeding at none of them. She sings in such an unnaturally high-pitched voice, it even surpasses the cheesiness of ‘Kaabil Hoon’ (Kaabil). The lyrics of the song are cringeworthy again. Another staid composition.

Rating: 1.5/5

 

7. Kinara

Singer ~ Palak Muchhal, Music by ~ Palash Muchhal, Lyrics by ~ Palak Muchhal

Finally the album comes to an end. But waiting right at the end for us, is another version of ‘Musafir’ by Palash Muchhal. This time it has been disguised under another name, ‘Kinara’ because the word ‘Musafir‘ doesn’t come in the new lyrics. But it is a version of ‘Musafir’. This album has so many versions of ‘Musafir’, which means tourist. As if the album is a tourist destination! The composition and lyrics are much the same, except one line in the hook, where the lyrics have been changed. The arrangements comprise an overtly sentimental combination of violin, piano and jingle bells. Palak tries again to imitate Shreya, when she does her Female Versions, like the one of “Sunn Raha Hai” (Aashiqui 2) and that of “Hasi” (Hamari Adhuri Kahani). Even Palash tries to imitate the arrangements of the former, with those jingles and the occasional tabla. Clearly, the makers were under the false impression that the public would love ‘Musafir’ so much that they would hover around long enough to wait for a mediocre female version. 

Rating: 1.5/5 


It looks like the album of Sweetiee Weds NRI was finalized years ago. Dated melodies, arrangements that originated sometime before the dinosaurs, and a tracklist trying to imitate ‘Aashiqui 2’ with vocals that sound bland to say the least and the same vocalists used over and over again, this album isn’t really as good as the makers made it out to be when they were promoting it. Instead of Sweetiee Weds NRI, the name should’ve been Crybabyiee (you can throw a few more e’s in there if you want) Weds NRI!!

 

Total Points Scored by This Album: 4 + 3.5 + 2.5 + 3 + 0.5 + 1.5 + 1 + 1 + 1.5 + 1.5 = 

Album Percentage: 40%

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

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

Recommended Listening Order:  O Saathiya > Kudi Gujarat Di > Musafir (Reprise) > Musafir > Wedding = Zindagi Bana Loon = Kinara > Shiddat = Shiddat (Reprise) > Musafir (Remix)

 

Remake Counter:
No. Of Remakes: 14 (from previous albums) + 01 (from Sweetiee Weds NRI) = 15

 

Which is your favourite song from Sweetiee Weds NRI? Please vote for it below! Thanks! 🙂

EACH SONG, DOBAARA! (DOBAARA – Music Review)

Music Album Details
♪ Music by: Arko Pravo Mukherjee, Samira Koppikar, D. Wunder & Macks Wolf
♪ Lyrics by: Arko Pravo Mukherjee, Puneet Sharma, D. Wunder & Tasha Tah
♪ Music Label: Zee Music Company
♪ Music Released On: 24th May 2017
♪ Movie Releases On: 2nd June 2017

Dobaara Album Cover

 

 

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

To buy this album on iTunes CLICK HERE


Dobaara is an upcoming Bollywood horror film, starring Huma Qureshi, Saqib Saleem, Adil Hussain, Lisa Ray and Rhea Chakraborty in crucial roles. The film has been directed by Prawaal Raman and produced by the director along with Ishaan Saksena, Vikram Khakhar and Sunil Shah. It is an official remake of the 2013 Hollywood horror film ‘Oculus’, which is considered to be one of the scariest movies of all time. So horror films in Bollywood have been very miserably made, with people flying around so pathetically that it looks hilarious. For once, I feel that this is going to be a well-made horror film in Bollywood. Of course, another thing typical of Bollywood horror films is that they have romantic songs. For ‘Dobaara’, the music has been composed by Arko Pravo Mukherjee, Samira Koppikar, D. Wunder and Macks Wolf. Well, I know nothing about the latter two names, so I can’t speak about them, but I am expecting a lot from the first two names — Arko and Samira. Arko has been giving great songs for the whole of the last year and I don’t think he wants to stop now, so expecting good, creative songs from him. Meanwhile, Samira has vanished from composing after her amazing debut more than two years ago, with ‘Maati ka Palang’ (NH10). And she’s back now. Again, expecting a good song from her. So let’s see exactly how haunting the music of ‘Dobaara’ is!


1. Kaari Kaari / Kaari Kaari (Reprise Version)

Singers ~ Arko Pravo Mukherjee & Asees Kaur / Arko Pravo Mukherjee & Payal Dev, Music by ~ Arko Pravo Mukherjee, Lyrics by ~ Arko Pravo Mukherjee

“Maazi ko maazi rehne de, ankhiyon se nadiyaan behne de,
Toote inn waqt ke tukdon ko, rab ki farmaaish sehne de,
Shaakhon se kaliyaan tooti hai, jab se tu khud se yun roothi hai,
Zara dekh gaur se, oh saaiyaan, aks yeh tera, tu hi hai!”

– Arko Pravo Mukherjee

The song with which Arko starts off the album, reassures me yet again, that he is going to give amazing songs for this album. A beautiful, and by beautiful I mean extremely beautiful and more than that too, semiclassical melody is what the album starts with, and Arko can bask in the success of the song as it will reach many a listener’s hearts. The composition is a semiclassical melody that instantly hooks you, and Arko has structured it in a way that Bollywood songs usually aren’t. For example, after the mukhda, there’s a short stanza that doesn’t fall into any category and it goes “Tere jaisa hi dikhta hai, aks tera..” That stanza is bliss! The antara is just as soothing as the mukhda, while the hookline (which is subtly hidden within the Mukhda/antara) is just outstanding. As in all classical tunes, this one has intricate nuances, and the vocalists carry them out well. The song, featuring in two version, gets everything right in both versions. The arrangements are slightly different in each version. The first version has a beautiful, acoustic setting, with the guitar riff sounding mind blowing. Piano starts it off with a wonderful female voice programmed so as to enchant you right at the beginning! But the guitar riff that sets in once the melody starts, is just so simple and down-to-earth, that it is tough to dislike! The slide guitars + snaps combo in the interlude is wonderful as well. The Reprise takes the more classical route, and it starts off in a different way altogether. The guitar riff has been scrapped from this, and replaced by digital beats, along with something sounding like a Chinese xylophone. The arrangements of this one were a major throwback to ‘Ab Tohe Jaane Na Dungi’ (Bajirao Mastani), and how coincident that Payal Dev has sung that one too. This one has an amazing aalaap in the interlude, and it is entrancing. Of course, no Arko song is completed without at least one guitar strum or riff, and he brings the guitar into play in the antara. The vocals are flawless in both versions. Asees in her version, gives her career best performance, and it sends chills down the spine listening to her perfecting each and every note, especially the nuances in the hookline. Payal, on the other hand, gives a more classically-toned rendition, which is probably why I remember the ‘Bajirao Mastani’ song. The thing to note is when she suddenly goes high in one of the hooklines towards the end. That was splendid! Arko, with his deep voice, enters in the antara, but complements the two ladies well in their respective songs. He writes the lyrics as well, and gives an aptly romantic, and soulful piece. A mind-blowing classical-based song, but kept extremely simple, all the better to win hearts with! 💜

Rating: 5/5 for Original, 5/5 for Reprise

 

2. Humdard / Humdard (Alt. Version)

Singers ~ Jyotica Tangri / Neha Pandey & Parry G, Music by ~ Arko Pravo Mukherjee, Lyrics by ~ Arko Pravo Mukherjee, Rap in Alt. Version Written by ~ Parry G

 “Takleef hogi, bechain honge, yeh raaste hain pathreeley,
Woh Zindagi ki, kahaani kaisi, ke bin lade hi jo jee le!”

– Arko Pravo Mukherjee

The next song by Arko, is highly disappointing. It is supposed to be some kind of sad song, but it barely manages to get the emotion right. The composition is more like a club song where a lady is sitting and singing a song while the main characters are sitting in the bar trying to forget their breakup. The beginning itself is so abrupt and odd, that it is tough to go on trying to like the song. The antara is good compared to the rest of the song, though. The arrangements are mostly digital beats that irritate mostly, and remind one of the songs from the ‘Saansein’ (2016) album. However, there’s a nice portion on strings that is mildly entertaining. Both versions have basically the same arrangements, but they differ in the vocal department. And both singers, I must say, fail to fit the bill here, and both of their renditions turn out to be least satisfying. The first version has Jyotica Tangri trying to be Neha Kakkar again, but even Neha Kakkar wouldn’t have sounded great in this song. Maybe Sonu Kakkar. And in the Alternate Version, newcomer Neha Pandey doesn’t impress at all, unfortunately; she suddenly changes vocal tones and that sounds very weird. And a quite impressive rapid rap by Parry G, who impressed even in ‘Jai Maa’ (Behen Hogi Teri), also features in the second version. I must say he sounds a lot like Yo Yo Honey Singh. The lyrics by Arko, are the saving grace of the song. They are actually good, and deserved a better composition to accompany them! A disaapointment from Arko after that brilliant song.

Rating: 1/5 for the Original, 1.5/5 for the Alternate Version

 

3. Ab Raat (Version 1) / Ab Raat (Version 2)

Singers ~ Arijit Singh / Samira Koppikar & Jonathan Rebeiro, Music by ~ Samira Koppikar, Lyrics by ~ Puneet Sharma

“Dard dard andhera, zakhm si chaandni, Dhul jaayegi dhoop mein,
Sard haathon ka ghera, shehar ki berukhi, kho jaayegi goonj mein,
Parindon ki azaanein, gungunaati raah bhi, kehti hain aankhein choomke,
Bas, Abb raat guzarne waali hai, abb raat guzarne waali hai,
Abb raat guzarne waali hai, bas raat guzarne waali hai!”

– Puneet Sharma

At first, I thought this song is a remake of the old song ‘Ab Raat Guzarne Waali Hai’ (Awara), because the lyrics of the hook are the same, but it apparently isn’t, because this song has been released by Zee and not Saregama. 😂 Anyway, Samira steps in with her song, and even this song features twice. (The makers are really taking the title ‘Dobaara’ very seriously, huh?) However, I have no complaints with this song featuring twice. The song is a very, very soulful composition that gives you goosebumps. It is songs like this that must be added into horror films and not useless romantic songs. Samira’s composition is haunting to the core, very apt for the situation. The mukhda starts a bit slowly, but as soon as the hookline plays for the first time, you start getting intrigued and immerse yourself into the song. The first antara has an amazing tune, as does the second one, which is more like a Pritam-ish conclusion, rather than an antara. The arrangements by Samira, are yet another example of how to impress with the most used and most clichéd template ever. She employs a very effective soft rock arrangement to the first version, and it provides the required strength to the composition, which would sound sleepy without it. The drums, acoustic guitars and rock guitars complement each other very well, and it provides such a BEAUTIFUL ambience, spellbinding indeed. A Version 2 has been given a more acoustic treatment till the hookline starts, with the Acoustic guitar prominent. However, instead of making it plain and boring with only the guitar, Samira adds in a bit of this and a bit of that to make it sound better. A heart-rending flute has been employed in various places, and especially the interlude’s flute portion is something not to miss. Samira still doesn’t resist to add the drums here either, though. So this version sounds more like a Lounge Version, due to the combination of the flute, acoustic guitars and drums. Vocals are again flawless in both versions, Arijit at his soulful best, and Samira singing in a very different voice than she has in her other songs. She keeps it high-pitched, unlike the low pitch she uses in many of her songs. She has a co-singer named Jonathan Rebeiro, who has given a couple of words here and there as backing vocals. Last but definitely not the least, can we admire the lyrics here? The song is such a soulful song, but behind that tune are the genius words of Puneet Sharma, who writes less frequently, but has written some amazing songs for ‘Revolver Rani’ (2014; also the first album I ever reviewed!!) and songs for albums like ‘Cute Kameena’ (2016), ‘Mr. Joe B. Carvalho’ (2014) and ‘Aurangzeb’ (2013). But here, he gives another amazing piece of writing, which I just instantly fell for. The song is about waiting for the dark times to pass, and as they say, “This too shall pass”. A ravishing song!

Rating: 4.5/5 for Version 1, 5/5 for Version 2

 

4. Malang

Singers ~ Tasha Tah & D. Wunder, Music by ~ D. Wunder & Macks Wolf, Lyrics by ~ D. Wunder & Tasha Tah

“Malang Malang Maiiiiiiiiiiinnnnnnn” 🐏

– D Wunder

This next song makes me recheck whether I’m actually listening to the ‘Dobaara’ album anymore or not. A generic Punjabi club number on the lines of Dr. Zeus’ songs is what makes up the “grand” finale to this album. The composition is so irritating at places, but catchy in some places. The hookline has the lead female singer bleating like a sheep, “Maiiiiiiiiiiinnnnnnn”. That part is so irritating. The arrangements are typical club beats, but they aren’t so engaging. The vocals are execrable, and I’ve given an example up above. The English parts of the song are enjoyable though. But that’s like a “One in a million” good part, to quote the song. The Punjabi parts are so irritating, you forget to like anything else. Lyrics? What lyrics? Appalling.

Rating: 0.5/5


Dobaara is an album that depends on the Reprise versions to propel it. Three out of the four songs have another reprise, so that we hear it again. Thankfully, all these reprises are either better than or equal in comparison with the original songs, so I’m not complaining. Arko strikes gold, and what shiny gold, in the first song of his, but disappoints with the next one. Meanwhile, Samira Koppikar gets her guest composition extremely well, in both versions. Whoever D Wunder & Macks Wolf are, I hope they aren’t looking at Bollywood for a career. An album that gets a much higher rating than it would have, thanks to reprises, which made us hear the songs “dobaara”!

 

Total Points Scored by This Album: 5 + 5 + 1 + 1.5 + 4.5 + 5 + 0.5 = 22.5

Album Percentage: 64.29%

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

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

Recommended Listening Order: Kaari Kaari = Kaari Kaari (Reprise) = Ab Raat (Version 2) > Ab Raat (Version 1) > Humdard (Alt. Version) > Humdard > Malang

 

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

MULTICOMPOSERS KE BIN… (TUM BIN 2 – Music Review)

Music Album Details
♪ Music by: Ankit Tiwari & Nikhil-Vinay
♪ Lyrics by: Manoj Muntashir, Shakeel Azmi, Faaiz Anwar, Arko Pravo Mukherjee & Raool
♪ Music Label: T-Series
♪ Music Released On: 20th October 2016
♪ Movie Releases On: 18th November 2016

Tum Bin 2 Album Cover

Tum Bin 2 Album Cover

 

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

To buy this album on iTunes CLICK HERE


Tum Bin 2 is an upcoming Bollywood romantic drama, starring Neha Sharma, Aditya Seal and Ashim Gulati. The movie has been directed by director of the first instalment (Wow, that’s like an achievement for T-Series, to have the same director direct the sequel, even though the sequel is releasing like 15 years after the first movie!) Anubhav Sinha, who was trying his luck at other things like thrillers (‘Dus’, ‘Tathastu’ and ‘Cash’), sci-fi (‘Ra.One’) and also a social drama (‘Gulaab Gang’) and faring quite well at these genres too, until he came back to his first genre, romance, with this film! The movie has been produced by Bhushan Kumar, Krishan Kumar and Anubhav Sinha. The movie is another addition to the many quasi-sequels that T-Series has been churning out over the past three to four years, and, since T-Series is producing the film, we can expect a good soundtrack for this movie too! The music for the first film had been given by duo Nikhil-Vinay, and as was expected, a song ‘Koi Fariyaad’ has been remade for the sequel. The original soundtrack, as well as the remake, have been done by Ankit Tiwari, who gets his next solo album after exactly one year (Last was ‘Yaara Silly Silly’ last November). Hopefully, he gets out of his typicality, and seeing that he has given some quite different songs this year, I’m sure he’ll make that happen too. So, without further ado, let’s see how good this album is!


1. Teri Fariyad / Teri Fariyad (Extended Version)
Singers ~ Late Jagjit Singh & Rekha Bhardwaj (Both Versions), Original Composition by ~ Nikhil-Vinay, Music Recreated by ~ Ankit Tiwari, Original Lyrics by ~ Faaiz Anwar, New Lyrics by ~ Shakeel Azmi

The first song on the album, is a rework of the iconic ghazal from the first film, ‘Koi Fariyaad’. The name of the song and hence, its hookline has been changed from ‘Koi Fariyad’ to ‘Teri Fariyad’. Nikhil-Vinay, the composers of the original song, have done a marvelous job composing it, and I must say, Ankit Tiwari has recreated it beautifully. The song appears in two versions on the album, out of which the normal version is just a cropped part of the ten-and-a-half-minute long “Extended Version”, so I’ll just speak about the Extended Version. The song’s mukhda is an original composition by Ankit Tiwari, and it fits beautifully with the hookline that the composers of the original song had made. And whenever that happens in remakes, you know that the recreator has done half of his job right. The antaras too, start off with a new, utterly fabulous tune, which later connects seamlessly with the other half of the antara of the original song. The song has as many as five antaras, but (surprisingly) you don’t get bored at all throughout the song. Ankit’s arrangements are heavenly. The song starts off with the wonderful sound of the Kanoon, a Turkish/Arabic instrument that sounds oh-so-heavenly. As soon as the guitar tune (Guitars played by Rhythm Shaw) takes over though, the heavenliness just magnifies manifold. The sounds of the clarinet and saaz grace the song throughout, and help to male it sound more rustic and not too boring, either. The guitars play wonderful rhythms throughout the song, not to mention the beats taken care of by finger snapping sounds. And the interludes, are pure bliss! The clarinet seems to be the common instrument in all of them. The third interlude has the sweetest clarinet solo I’ve ever heard, which later simmers down to a very slow, and calmingly haunting musical piece led by the clarinet, and held up by finger snaps, and later joined into by a heavenly chorus. The fourth one has more going on in terms of guitars that help elevate the bliss that the clarinets provide. The kanoon once again makes an appearance in the fourth interlude, and touches your heart. The fifth interlude, which is what plays after the mukhda in the cut version of the song (the one they’ll probably use for radio promotions), is yet another beautifully arranged one, with the clarinet starting off yet again, only to give way to a calm and soothing church-like female chorus with bells jingling t keep the beat, and another wonderful kanoon piece. Strings throughout the song make it a ravishing listening experience. Vocals are top-notch, with Rekha Bhardwaj joining to add the newly composed female portions to the song, and executing them brilliantly, in her pleasantly high-pitched voice. The Great, Late Jagjit Singh’s portions, have been retained from the original song, and the cut-paste work has been done extremely diligently by Ankit Tiwari. I applaud him for choosing the right parts to retain from the old song and connecting with his composition. Also, I appreciate that for once, the makers have let the old voice be retained — they finally understood that nobody else can render such timeless classics. After ‘Hungama Ho Gaya’ (Queen) this is a pleasant surprise that the original singer’s voice has been retained (that too, by T-Series!) The lyrics are such that I can’t really say anything about them, can I? The new ones by Shakeel Azmi kind of suffer amidst the original poetry by Faaiz Anway, but it turns out to be a nice piece as a whole. Long song, long review! 😀 Beautiful recreation, and an apt start to the album! #5StarHotelSong!!

 

2. Ishq Mubarak
Singer ~ Arijit Singh, Backing Vocals ~ Vaseem Ahmed, Shubh Dhingra & Anas Ahmad, Lyrics by ~ Manoj Muntashir

Ankit’s first completely original composition makes its way into the soundtrack after the mammoth of an opening song. The song is a wonderful Sufi love song, composed on the lines of the usual Ankit Tiwari template, but still striking a chord with listeners anyway. The composition starts off with a mukhda that screams Ankit Tiwari right away, because of all of its melancholia and sleepy notes. Thanks to the dreamy hookline that very gentlemanly comes to its rescue, though, the song just goes uphill from there onwards. The hookline has a very catchy Qawwali/Sufi feel to it, and you instantly develop a liking for it, in the bargain, forgiving everything that was wrong with the mukhda. The title of the song actually comes along in the interludes, where the backing vocalists nicely give it its own place in the song, without making it too obvious that this is the title of the song. The antaras, quite unlike the mukhda, are better behaved children of the composer, as they get all their notes right, aiming straight at your heart and mind, where they get stuck. The antara also has a very distinct Rahman-ish feel to it, which makes it sound all the more beautiful. The arrangements are elegant to the core. The shehnaai starts off the song with a very graceful sound, while the guitars (Ankur Mukherjee) sound awesome trying to be sitars. The Dholaks and Tablas (Raju Sardar, Sanjeev Sen, Musharaf Khan, Hafiz Khan, Manoj Bhati, Yusuf Khan) give the song a nice and grand feel to it, and they sound astounding in the dreamy hookline. The shehnaai continues to awe you in the second interlude, while an awesome sargam by the backing vocalists and harmonium embellish the first interlude. The harmonium (Firoz Khan) really becomes the essence of the song by the end of it. Vocals by Arijit Singh were frankly not required. The song ultimately sounds like an Ankit Tiwari song, and just to mitigate that feeling, if Ankit has employed Arijit to sing this one, it really didn’t help, as I keep imagining Ankit anyway when the song plays. Notwithstanding, Arijit carries the dreamy composition with finesse. The smile on his face can be heard through his voice in some places. And that is just so pleasant to hear every time!! Backing vocalists Vaseem Ahmed, Shubh Dhingra and Anas Ahmad, do an extremely good job, and half of the beauty of the whole song, would be credited to them, since the’ve done their job so well!  Lyrics by Manoj Muntashir, I really enjoyed, maybe not so much because they’re nicely written and stimulate my brain to decipher their metaphors, but because they’re just cute and I simply liked them! HEAVENLY! Ankit scores with the very first original composition! #5StarHotelSong!!

 

3. Dekh Lena
Singers ~ Arijit Singh & Tulsi Kumar, Lyrics by ~ Manoj Muntashir

The next song of the album starts off with a very feel-good tune, slightly reminiscent of Ankit Tiwari’s song ‘Behki’ from his last solo album ‘Yaara Silly Silly’. The starting tune does refresh you, and gives a good indication of what’s to be found in the song. The composition is hummable and also breezy and feel-good, though I couldn’t help but notice how very ordinary it was. The mukhda starts off in a way that makes you think, “Okay, so it’s playing.. Let it play”, and you keep waiting for the point when the music will make you drop your jaw in awe, but that never comes, sadly. The hookline fares better in that it at least gives a tune that get stuck in your head, though again, very run-of-the-mill and 90s. The antara has been composed in a more matured way that fares better than both the mukhda and the hook, but more on why it doesn’t work later. The arrangements rely on the tabla and dholak beats (Sanjeev Sen) to accentuate the romance in it, which just ends up sounding sappy. The guitars are very ordinary, but functional, and surprisingly, three people (Rhythm Shaw, Pawan Rasailly and Roland Fernandes) are behind them. The flute (Naveen Kumar) too, fails to raise eyebrows, sadly. Vocals by Arijit and Tulsi male for a good romantic song, but they don’t really match. First of all, Ankit seems to have composed the entire song under some order by the makers of the film, that it has to sound like ‘Hum Mar Jayenge’ (Aashiqui 2), and so, those two singers seem to have been forcefully fitted into this song. I mean, the song is tailor-made for Arijit, but also sounds like a song recorded in the 90s from which Sonu Nigam was kicked out of, under the decree that “times have changed”. Arijit renders it nicely though. Tulsi comes in the antaras, with a horribly high-pitched rendition of the matured tune, destroying its essence completely. It sounds nice initially, but the feeling lessens gradually. By the time she reaches the end of her lines, the notes reach some pitch that nobody has ever heard yet! Manoj Muntashir’s lyrics too, fail to satisfy, and struggle with their ordinariness. A song that is killed under the weight of the word ‘ORDINARY’. Also, too sugary for me!

 

4. Tum Bin
Singer ~ Ankit Tiwari, Lyrics by ~ Manoj Muntashir

Quite late into the album, comes the title track, sung by the composer himself. (Also the only song he sung in the whole album, so hats off to his self-control!) The song is not a remake of the title song of ‘Tum Bin’, which was already remade earlier this year by Jeet Gannguli, in ‘Sanam Re’. Rather, this one is an original composition by Ankit, and I must say, it is very grand. The only problem is in the complexity of the composition. Ankit seems to have gone overboard in making the song sound Rahman-ish, and adds many twists and turns in the composition, making it very hard to catch hold of, let alone find it catchy. The mukhda arrives after a prelude of piano and strings, that hooks you instantly. The composition of the mukhda is yet another sleepy one, but at least it has you wondering “what next?” The hookline too, fares well, with a pleasantly melancholic tune that doesn’t bore, except for when Ankit characteristically stretches the words out for like a gazillion seconds. The antaras are where the turmoil is created; an overtly convoluted tune doesn’t really help in a song that is already so melancholic. The tune did remind me of that awesome song ‘Do Pal’ from ‘Veer-Zaara’, however, and that provided a bit of respite through the tedious composition. Special mentiom to the point where the interludes meet the antaras though, such a wonderful transition, even though it is so abrupt. The magic of the song, completely lies in a different section of the song, which is, the arrangements. Ankit has provided a very ravishing strings orchestra (Macedonian Symphonic Orchestra, conducted by Oleg Kondratenko) along with the laidback tune, and that makes the listening experience all the more exquisite. The strings reminded me of so many timeless Bollywood songs, like the one from ‘Veer-Zaara’ which I mentioned above. They help to propel the listener through the song, and it is the strings, that make for at least a couple of listens to the song before you dismiss it completely. Piano too, has been played very beautifully throughout the song. Songs like ‘Tere Liye’ (Sanam Re; Mithoon) and ‘Junooniyat Hai Yehi’ (Junooniyat; Meet Bros. Anjjan) which released earlier this year, created this whole melancholic-yet-grand experience better than this song here, because the composition was a bit more ear-friendly. This song reeks especially the former song I mentioned, because that one too, was sung by Ankit, though composed by Mithoon. The vocals by Ankit surprisingly didn’t get to my nerves here, and I sat patiently through the song. Manoj Muntashir’s lyrics are easy to just ignore, but even if you hear them, they are pleasant. A ravishing orchestral arrangement makes this song worth a couple of listens, but the complexity in its composition reduces its playlist lifetime drastically.

 

5. Masta
Singers ~ Vishal Dadlani & Neeti Mohan, Lyrics by ~ Manoj Muntashir

After all that melancholia and romance, Ankit Tiwari decides to bring some fun and frolic into this album. And just as well as he does with the emotional and romantic part of the album, he does with the fun part. The composition is an upbeat, breezy one, that instantly hooks you to its lovely and lovable tune. The composer has left no stone unturned to bring every fun element into the song — right from a very catchy and upbeat tune, to an unmatchable rendition by Vishal Dadlani. The mukhda is a nice and fresh line, which, though abruptly, but nicely drives the listener into the fun song. The hookline blends in with the mukhda, and it is quite nice for a line that consists of only one word. The first antara treads on more mellifluous and subtle territory, with Neeti executing it brilliantly, with her bright and fresh voice that never seems to run out of magic. The second one, however, is yet another place where Vishal displays his energy. The  arrangements have a nice countryside feel to them, with the guitars (Ankur Mukherjee) stealing the show with their breeziness, while the strings, with strong, fervent strokes, intensify the European-ness of the arrangements. The mandolin (Jatantilal Gosher) wonderfully supports the composition with its playful nature. The drums (programmed by Bitopan Phukan) provide the nice upbeat tempo to the song. During Neeti’s antara, acoustic guitars (Jatantilal Gosher) give a pleasant quality to the music. Interludes are splendid, with the second taking one by surprise at the wonderful Irish jig that it breaks into, complete with the claps and what I think is the keyboard playing in a strings sound. Towards the end, a wonderful bagpipe ends the song on a wonderful note, amidst Vishal’s energetic vocals. Which reminds me of Vishal’s flawless performance on this track. His indefatigable singing really takes me aback every single time. Neeti’s feathery voice leads the first antara beautifully. Her rendition here is another reminder to what a lovely singer she is, and how badly her voice is utilized sometimes.  (Ahem, song-that-cannot-be-named from ‘Housefull 3’) Manoj Muntashir has written a nice song about being carefree, and all-in-all the words are a pleasure to hear. A fun and peppy track that really changes my views about Ankit Tiwari’s potential. #5StarHotelSong!!

 

6. Dil Nawaziyaan
Singers ~ Arko Pravo Mukherjee & Payal Dev, Hindi Lyrics by ~ Manoj Muntashir, English Lyrics by ~ Arko Pravo Mukherjee

The next song takes the freshness quotient of the album to an even higher level. The song is a nice love ballad that fuses two beautiful genres — classical and contemporary. Ankit’s tune is another one that instantly hooks you because of its fresh sound. The mukhda starts the song off on a fresh note, surrounded and propelled by wonderful guitars. The mukhda has two parts, one sung by each singer. When the hookline arrives, it sounds pleasant to the ears, but it isn’t till Payal’s Hindustani classical part comes and blows your mind away, that you start thinking that the song is really magical. That part is something that boosts the song to some uncharted territory, and it is from then that you start to listen more intently. Ankit has composed that part very soulfully, and Payal has rendered with the most classical quoted voice I can imagine. In short, everything falls into its own place PERFECTLY. After that, Arko comes with another surprise package. He comes and sings an English stanza, which is so beautiful because of its simplicity. The composition is beautiful as well. What’s weird is that, though the song is composed by Ankit, and Arko has but sung it, I kept feeling that the composition has some Arko touches to it. Kudos to Ankit, not only for bringing that Arko flavour into the song, but also roping him in to sing it. 🙂 The arrangements are pure bliss. While most of the song is propped on a quite typical acoustic guitar riff background, the guitars (Rhythm Shaw) bring the freshness to the song, and that’s half the reason the song sounds so magical. However, in the short classical respite we get that is led by Payal Dev, pure Lucknowi baithak styled tablas (Sanjeev Sen) take over and just make things more intriguing than the rest of the song. These tablas also come towards the end of the song to conclude it on a beautiful and refreshing note. The vocals are awesome. Both Arko & Payal sing their parts wonderfully, Payal sounding a lot better than all her other performances (except the very mystical one in ‘Ab Tohe Jaane Na Doongi’ from ‘Bajirao Mastani’) and Arko sounding better than he does in most of his own songs too! Manoj Muntashir’s lyrics are nice and pleasant again, while Arko’s English ones are just as refreshing, and gelling well with the Hindi words. A great fusion becomes the center of attraction in this song, due to which the magic of everything else seems less, but it definitely is magical!! #5StarHotelSong!!

 

7. Jaeger Bomb
Singers ~ Harshi Mad, DJ Bravo & Ankit Tiwari, Hindi Lyrics by ~ Manoj Muntashir, English Lyrics by ~ Raool

It looks like Ankit isn’t yet finished with the fun and wildness, because, looking at the mere title of the next and last song on the album, I can tell that the mandatory club song is not yet over. The composition of this one clearly shows that Yo Yo Honey Singh was in rehab, Badshah had prior commitments to look to, and Millind Gaba was irritated that nobody liked his music, when this sing was in the making. In the absence of these three, Ankit had to muster up enough courage and stoop down to those standards in order to make such a composition. As is evident from the result, he succeeded in imitating them. 😀 This song seems like some tribute to them, with a slightly more monotonous beat. (I thought that nothing could get more monotonous than Yo Yo’s ‘Aao Raja’ from ‘Gabbar Is Back’!!) Anyway, the song starts with yet another ruined nursery rhyme. This time, ‘Humpty Dumpty’ gets even more cracks, thanks to the song. The rhyme has been placed on a nice jazzy tempo, but sung by Harshi Mad in such a way that kids should strictly not listen to it! Or else, next time they picture Humpty Dumpty, he would be sunbathing at a beach and drinking lemonade…maybe! Jokes apart, Harshi Mad renders the rhyme spunkily, since it was supposed to be that way. After that, the EDM starts and there onwards, there is very less of a tune. Harshi gets some nice portions to sing, which are composed in a very jazzy way. And Ankit shoves in another one of his typical tunes, even into a club song! DJ Bravo’s portions are proof that they were inserted as a merepublicity stunt, because nothing he says can be made out.. Maybe because he’s singing in Hindi.. Or what is supposed to be Hindi. The arrangements are mostly EDM, with some nice jazzy portions in occasional places. Manoj’s Hindi lyrics are the usual Hindi cabaret style lyrics in Harshi’s parts, while the usual Ankit sobbiness in Ankit’s part. The English portions by Raool are barely audible, so I don’t know about them. The grand finale turns out to be the worst song on the album. A bad attempt at making a club song that will accommodate Ankit Tiwari’s sobs and yawns, DJ Bravo’s spunk, Harshi’s debutant-ness, and Humpty Dumpty!


Tum Bin 2 really turns out to be quite a good album. Ankit Tiwari gets a whole album to compose to his credit, not for the first time, but he still makes good use of the opportunity. The album is surprisingly full of variety, with songs ranging from a nice Sufi love song, to a melancholic and grandly orchestrated title track, to a club song that barely works, to a fun-filled peppy number and many more. The ones that will stand out and be lapped up by the masses, are definitely the first two tracks of the album. The remake has been done indescribably well, while ‘Ishq Mubarak’ will connect with the masses a lot. The rest seem like tracks with a more situational effect, but which will be liked by the niche music lovers anyhow, especially ‘Masta’ and ‘Dil Nawaziyaan’. And ‘Jaeger Bomb’ stands out in that it will find it difficult to find takers. Though not matching the greatness of Nikhil-Vinay’s soundtrack to the first film, Ankit does a nice job with this quasi-sequel, proving that the multicomposer theory is wrong, once again. An album that does good WITHOUT having multiple composers.

 

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

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

Recommended Listening Order: Teri Fariyad (Extended Version) > Dil Nawaziyaan > Ishq Mubarak > Masta > Teri Fariyad > Tum Bin > Dekh Lena > Jaeger Bomb

 

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

BAAR BAAR, BAAR BAAR, BAAR BAAR SUNO!! (BAAR BAAR DEKHO – Music Review)

Music Album Details
♪ Music by: Amaal Mallik, Jasleen Royal, Arko Pravo Mukherjee, Bilal Saeed, Prem Hardeep & Badshah
♪ Lyrics by: Prateek Kuhad, Kumaar, Arko Pravo Mukherjee, Aditya Sharma, Bilal Saeed, Amrik Singh, Badshah & Indeep Bakshi
♪ Music Label: Zee Music Company
♪ Music Released On: 3rd August 2016
♪ Movie Releases On: 9th September 2016

Baar Baar Dekho Album Cover

Baar Baar Dekho Album Cover

 

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

To buy this album on iTunes CLICK HERE


Baar Baar Dekho is an upcoming Bollywood rom-com starring Sidharth Malhotra and Katrina Kaif in the lead roles, while Sarika, Ram Kapoor Sayani Gupta play supporting roles. The film has been directed by debutante director Nitya Mehra, and backed by big producers like Karan Johar, Ritesh Sidhwani and Farhan Akhtar. The film is a time-travel romance, and looks quite interesting, but here I remind myself again that I’m not a movie reviewer! What I’m concerned with is the music! And the music album of the film is another multicomposer album! Karan Johar seems to have trusted this multicomposer trend a lot (I guess after the ‘Kapoor & Sons’ music worked so well), and so, he ropes in five composers for this album. Of course, the real credit goes to Azeem Dayani who is the music supervisor of the film (also for ‘Kapoor & Sons’ too!), and he has brought in these five songs that make up the album. When the music of ‘Kapoor & Sons’ was so good, this is bound to be just as mind-blowing and expectations from Azeem are very high! First up is Jasleen Royal, who we already are acquainted with, thanks to Sneha Khanwalkar for giving her that big break in Bollywood with the song ‘Preet’ (Khoobsurat). She leads the album with two of her songs, also debuting as a composer! What a bundle of talent she has turned out to be, and hopefully, all that talent reflects in her work for this film! Next up is the top composer of this generation, Amaal Mallik, back after quite a break after his last, ‘Kuch Toh Hai’ (Do Lafzon Ki Kahani), and he gets a song on this album. After him comes the wonderful Arko Pravo Mukherjee, fresh from the success of his latest ‘Tere Sang Yaara’ (Rustom), and getting to compose one song here, his second for KJo after the beautiful, emotional and heart touching ‘Saathi Rey’ (Kapoor & Sons). Then we have Pakistani singer-composer, Bilal Saeed, with probably his biggest project of his life, and one song to prove his mettle. His first Bollywood outing, ‘Ishqedarriyan’ was quite ordinary; hopefully he does better here!! And last, but how can he ever be the least, is Badshah, who, very conveniently for him, gets to remake the old hit number ‘Kala Chashma’, which was originally composed by Prem Hardeep. Hopefully, this large ensemble of musicians have made a great music album, and when KJo is backing the music and Azeem is the music supervisor, there’s hardly anything to worry about! So let’s see, how many times we can manage to hear this album baar baar!


1. Kho Gaye Hum Kahan
Singers ~ Jasleen Royal, Prateek Kuhad, Music by ~ Jasleen Royal, Lyrics by ~ Prateek Kuhad

The album starts off to a wonderful, dulcet and calm melody composed by debutante, Jasleen Royal. Jasleen seems to have composed this song in her sleep, during her most pleasant dream ever, because the composition is a very pleasant, dreamy one too! Jasleen has kept everything minimal and simple. Without doing much, she manages to do a lot. The simplicity of it all is what is the main attraction of the song. You won’t even feel as if you’re listening to a song from a Karan Johar movie! And after this, Karan Johar albums won’t be tagged loud either! Jasleen does a wonderful job keeping everything bound together by a very simplistic, but very angelic and cute tune, that is bound to make you forget all of your stress, and let you get drowned in the paradise of her music. The arrangements have been kept just as minimal, with a constant guitar riff playing in the background, and making things sound so subtle and gentle. The whole song played on guitars makes you give so much attention to the lyrics, composition and vocals. Of course, towards the end, to make the finale grand (or grander than the subtlety of the rest of the song) Jasleen adds some new sounds like a wonderful whistle, and variations in the style of playing the guitar. Of course, both of the lead singers are perfectissimo in their rendition of the calm, free-floating melody. Jasleen herself has sung her composition, and in my opinion, nobody else could match the sweetness and innocence needed to sing this song. No wonder it is her that came up with this tune!! The sweetness and innocence reflect in both her voice and composition. Prateek Kuhad, also the lyricist, croons his own words, and he does it well, too. Of course, he doesn’t sound professionally trained, but manages to grab the listener’s attention in whatever he sings. Both of them together sound cute and sweet as sugar. The countryside touch in the sing can’t be missed at all. It’ll be bliss for people who come home stressed and just want to chill out after a hectic day at work! Prateek’s lyrics, too, show how things can be conveyed through simplicity! A very simplistic, but very innocent and innovative AND attractive romantic song!! A very blissful start to this KJo album, which usually start with glamour and pomp! #5StarHotelSong!!

 

2. Sau Aasmaan
Singers ~ Neeti Mohan & Armaan Malik, Music by ~ Amaal Mallik, Lyrics by ~ Kumaar

And the mood lightens up (even more than what it had gotten lightened up by the first song) with the arrival of the next song on the album. The zestful guitar starts off the song with a very lofty spunk, only to be joined later on by a rather jumpy banjo, whose sole purpose is for you to have the time of your life while listening to him — err, it. (And there I go overboard with my anthropomorphic one-liners!) Okay, more important than the gender of the banjo, is the song at this moment. So, as I was saying, the opening music to the song is so energetic, you can’t help but start grooving to it. And then Amaal makes sure you get no less of amusement while the actual melody starts to play. As soon as Neeti, with her silky-soft and feathery voice starts with Amaal’s tune, you feel as if you have been transported to some new part of the world, which Amaal has made for his listeners. The song itself has been composed in such a manner that it will make you forget all your woes, NO MATTER WHAT THEY ARE! A happy-go-lucky tune mixed with beautiful background music, what could go wrong? The arrangements are beautiful, with of course, the banjo (Pramod Timilsina) and guitars (Pramod Timilsina & Armaan Malik) take center stage, while Amaal adds in some very irresistible EDM that just doesn’t leave your head (Again, why should it!) The man’s arranged everything so properly and perfectly, that everything just gels together and the result is a beautiful love song. Coming to the vocals, each line by Neeti is a delight. Her thin voice is what is just perfect for the song. Coupled with Armaan, she sounds awesome. Armaan himself is at his best, having the antara and second mukhda (repeated at the end of the song) to himself and rendering them both with the confidence that only he can have. The way the hookline mellifluously flows out of Neeti’s mouth, just made me speechless. She sings it with such ease that it is unbelievable! Even the mukhda, she sings so effortlessly, it made me fall in love with her voice once again after ‘Bombay Velvet’! Kumaar’s lyrics explain the happy feel of the song very well, and make sure the listeners are included in the happiness of the protagonists. And that is one spectacular romantic song, one that I personally will never forget! Cuteness at its best, presenting Amaal’s next superhit tune!! #5StarHotelSong!!

 

3. Dariya
Singer ~ Arko Pravo Mukherjee, Music by ~ Arko Pravo Mukherjee, Lyrics by ~ Arko Pravo Mukherjee

It feels as if the mood that Jasleen had lightened up for us right at the start of the album, and the same mood which Amaal lightened up a bit more, doesn’t ever want to go back down, just as we don’t want it to go back down! And I say this because, to continue the freshness that this album has been carrying till this point, Arko very opportunely presents his song in the album, another love song composed in a very innovative way. The composition is soulful in a very different way. When I say it is fresh, I mean fresher than the fish you get along the coasts of Kerala, and fresher than the smell of a new book. The tune that Arko has woven is nothing like the usual romance that Bollywood has been frolicking around with for so many years. The mukhda, which is also the hookline, is a beautiful opening to the song, and the line “Aaya ranjha mera..” is sweet as honey. (I realized the phrase ‘sweet as sugar’ is too common so… Why not substitute it with honey?) The antara is a perfect example of how to continue freshness of a beautiful tune, without losing listeners halfway. Arko’s specialty is that he can attract listeners with simple melodies, and we see that here too. The “ohhoo ho ho ho ho ohho” vocals by him in the interludes are so charming! The arrangements are nothing but energetic guitar riffs that make the song sound fresh and modern, without too much instrumentation spoiling it. Strings in the second interlude are something you mustn’t miss though! Arko’s vocals, though not cut out for perfect singing, with that faltery and shaky texture, does magic in this song, just as it had done in ‘Saathi Rey’ (Kapoor & Sons). He sings the song with such unmatchable charm and ease, that I can’t imagine anyone else singing it! Arko’s lyrics are also at the height of cuteness, with every word touching your soul somehow. Arko shows again how much magic he can make with light and ear-friendly music! A soulful romantic song that will leave you in awe you for sure. #5StarHotelSong!!

 

4. Nachde Ne Saare
Singers ~ Jasleen Royal, Harshdeep Kaur & Siddharth Mahadevan, Music by ~ Jasleen Royal, Lyrics by ~ Aditya Sharma

Jasleen returns into the soundtrack with her second song, which turns out to be an upbeat, but definitely offbeat Punjabi wedding song. The composer seems to have had good fun while composing this one, because the tune that has come out as the final result is something that nobody would imagine in a Punjabi wedding song. The composition is so sweet and cute, that you could hear it on loop and very well get diabetes in just a few listens! The composition reminds you a bit of Amit Trivedi’s composition style, with its attractive cuteness. Jasleen leaves no stone unturned in making sure that the end product is a song that will make families all around the world dance together at reunions. The mukhda very nicely starts things off with a cute tune, while the hookline is infectiously energetic. You can’t help but start dancing to it! 😀 And then there are the two antaras, the first being a very quirky and sweet one, while the other is more loud and dynamic in its treatment; at the end of the day, both of them entertain equally. And then we come to Jasleen’s very magnificent arrangements! The usual dhadd and dhols do steal hearts here, but less because of their loudness and more because of their sweet placement. The guitar wonderfully does the job of background music, while the tumbi is what makes you shake your head while the song plays. And Jasleen uses that tumbi very well, like in the interludes and antara. And then there is some wonderful, futuristic techno music that plays oh-so-beautifully in the background while the singers are singing the hookline! That music is just unbelievably goooodd!! The vocals are just as energetic as the rest of the song, but the cuteness remains intact. Jasleen’s voice, as usual, charms you, and then there’s the wonderful, cute and sweeeeeet voice of Harshdeep Kaur, which was definitely needed in this song (both because it suits Katrina so well, and because she’s so good at singing songs this sweet!) The male singer, Siddharth Mahadevan, gets a smaller scope than the two leading ladies, but manages to catch up to them with that “fool vool karne mein cool..” line of his, which is so cool! 😀 And his line in the second antara is great as well! Although I can’t help but say that the two female singers ooze confidence and sweetness, while he adds the spunk and craziness to the song. Aditya Sharma, a debutant lyricist, has great reason to debut with this song, as he has written just as great lyrics as anyone else would’ve for this song. A great mixture of cuteness and fun and frolic, his words really make you smile! Jasleen strikes gold with this one, a Punjabi wedding song that is far better than the usual, typical ones that Bollywood has been making these days!! #5StarHotelSong!!

 

5. Teri Khair Mangdi
Singer ~ Bilal Saeed, Music by ~ Bilal Saeed, Lyrics by ~ Kumaar, Additional Lyrics by ~ Bilal Saeed

A loop of melancholic piano notes takes over from the very light mood of the previous four songs. And then we understand that finally, the darkness has set into the album. Of course, that doesn’t always have to be bad! Bilal Saeed steps into the album for this next song, and because his future in Bollywood clearly depends on this song (which is his biggest venture in Bollywood as of now) he steps into the album with quite a lovely sad song. The song is actually an adaptation of his very own pop song, a collaboration between him and Dr. Zeus, which had released in 2012 in his album ‘Twelve’, and Azeem must’ve decided to include that in this film. The composition has that very distinct and clichéd pop sound to it, and still manages to grab your attention. Bilal’s composition is quite good, and all that he has done different from the original is, crank down the tempo a bit so that it sounds sad, whereas it sounded like a remix in the original pop song. The hookline is of the type that you hear once and it gets stuck in your head. Whether you want it or not! Fortunately, in this case, it is good. The antara seems kind of weak in its tune, but after a couple of listens it sets in well. Compared to the well composed mukhda though, it is not half as good. Bilal’s arrangements are quite simple, yet heavy in that there is a lot happening at once. The piano that starts the song keeps on repeating through the song, while wonderful violin strokes accentuate the pain in the song, after the mukhda. There are beats that are typical of pop songs, but entertain over here nevertheless. The violin is definitely the star of the arrangements, though it keeps playing the same tune over and over again, just like the piano. I wish there was some variation over there. Bilal’s voice suits the song, and I really can’t imagine anyone else singing this song as he has sung it; I don’t know whether that was a negative comment or positive! 😛 Along with Bilal, who has written additional lyrics, Kumaar has written a good song, and though it is nothing to marvel at, it isn’t something to keep cringing at either. However, the original song was written by Bilal, and I wonder how he has written additional lyrics, if the lyrics are more or less the same!! 😦 Shouldn’t it be the other way round? Anyway, this is a song that will definitely work in favour of the film for a few weeks. And though it isn’t as good as the others, it is a good break for Bilal in Bollywood! #5StarHotelSong!!

 

6. Kala Chashma
Singers ~ Amar Arshi, Neha Kakkar & Badshah, Original Composition by ~ Prem Hardeep, Music Recreated by ~ Badshah, Lyrics by ~ Amrik Singh & Kumaar, Rap Lyrics by ~ Badshah & Indeep Bakshi

Here comes the song I was waiting for all this while. Like a principal awaits the troublesome student, and a lion awaits a deer in his den, I was awaiting this song. 🙈 So, Karan Johar has taken up this fad of remaking old pop hits in his movies, and though they worked quite a number of times before this, this one is a compete loser! The person who gets to remake this Prem Hardeep hit from the 2000s happens to be none other than Punjabi rapper Badshah. And his own song ‘Chull’ had been remade in KJo’s last ‘Kapoor & Sons’. Is this revenge?? OK, so the composition is nothing but timepass, with just one tune repeating the whole time, either played on tumbi or sung by the singers. Of course, there’s a brief portion where Neha Kakkar sings in some other tune, and the mandatory Badshah rap, but besides that, everything is the same, irritating, stuck-in-your-head-but-never-getting-out tune that is spoiling the whole song! I know it was a rage back then, but every tune has its time! 😬😬 Basically, Badshah was the last person the makers should’ve approached to remake this one. Or maybe they just wanted an instant hit for their movie. Of course they did. The arrangements are not even attention-worthy. The irritating tumbi plays tat irritating tune throughout the song, while Badshah intermixes it with some more irritating techno sounds that barely make you pop and lock. 😂 I even thought I heard Dr. Zeus’ famous trademark, the screaming lady and the shattering glass, somewhere!! Or was it just me? :O Have I gone mad? I hope not. Please tell me you heard it too! The vocals are just as irritating. Amar Arshi’s vocals must’ve been taken from the original track itself, or re-recorded, what does it matter? It still sounds bad! Neha Kakkar uses her usual sharp and shrill voice to sing, while Badshah keeps interrupting with the same rap every single time! And the rap is about how the boys’ hearts are on fire when they see the girl walking on the street. Of course, what can you expect from a song which is about how good black sunglasses look on a girl who’s really fair? bad end to the otherwise great soundtrack!! the only song on the soundtrack that screams ‘R.I.P. Bollywood music’!!


Baar Baar Dekho turns out to be an exceptionally good multicomposer album! If you want a multicomposer album to sound great, leave it to Karan Johar and Azeem Dayani to bring together a nice ensemble of musicians to do it for you! With tons of variety, this album surely is one of the best multicomposer albums of the year! Also, Azeem Dayani and Karan Johar have given the industry a new find in Jasleen Royal, the young lady composer whose both songs in this album are hands-down beautiful! Amaal and Arko impress as usual, and Badshah disappoints as usual, while Bilal makes a good entry into mainstream Bollywood with a big-banner film. The album stays true to its name, and it is something to hear not just baar baar, but baar baar baar baar baar baar!!

 

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: Nachde Ne Saare > Sau Aasmaan = Dariya = Kho Gaye Hum Kahan > Teri Khair Mangdi > Kala Chashma

 

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

SAB JEETE YAHAAN, HAIN RUSTOM YEHI!! (RUSTOM – Music Review)

Music Album Details
♪ Music by: Arko Pravo Mukherjee, Raghav Sachar, Ankit Tiwari & Jeet Gannguli
♪ Lyrics by: Manoj Muntashir, Mandar Cholkar & Arko Pravo Mukherjee
♪ Music Label: Zee Music Company
♪ Music Released On: 14th July 2016
♪ Movie Releases On: 12th August 2016

Rustom Album Cover

Rustom Album Cover

 

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

To buy this album on iTunes CLICK HERE


Rustom is an upcoming Bollywood mystery/drama film starting Akshay Kumar, Ileana D’Cruz, Esha Gupta and Arjan Bajwa. The movie is directed by ‘1920 London’ director Tinu Suresh Desai, and produced by Neeraj Pandey, Aruna Bhatia, Nittin Keni, Akash Chawla, Virender Arora, Ishwar Kapoor and Shital Bhatia. The film is based of the life of Naval Officer K.M. Nanavati. The film has a pretty long 10-track album, with four composers working together to make it so big. The first of these four is Arko Pravo Mukherjee, a composer whose heartbreaking as well as heat-touching song ‘Saathi Rey’ from ‘Kapoor & Sons (Since 1921)’ is still on my playlist, being the wonderfully sweet and emotional song that it is. Arko has two songs in the album, of which the second is actually a reprise of the first. Next up on the composers list is Raghav Sachar, who has been out of the picture for quite some time; I remember his last outing as a remake of a pop song in ‘Alone’, in which he didn’t quite impress. Here, he has been given charge of four songs, out of which two are versions of the first, and the fourth is the instrumental of that. 😂 Hopefully, these versions are entertaining songs!! Third on the list, is Ankit Tiwari, who surprisingly hasn’t disappointed completely this year, though going into déjà vu mode, but not giving too bad songs. His last song happens to be ‘Ishqe Di Lat’ (Junooniyat) which I loved loved loved. So hopefully, his two songs in the album are just as GREAT! Last is the most experienced of the lot, Jeet Gannguli, who let us down with one of his two songs in his last outing, ‘Junooniyat’, but hopefully, his two songs here are just as lovely as that one was disappointing! 😀 So, with verrrrry high hopes, let’s start off the analysis of the ‘Rustom’ album!!


1. Tere Sang Yaara / Tere Bin Yaara (Reprise)
Singers ~ Atif Aslam / Arko Pravo Mukherjee, Music by ~ Arko Pravo Mukherjee, Lyrics by ~ Manoj Muntashir / Arko Pravo Mukherjee

Arko gets to open the album, with a calm and dulcet, and endearing, though templatised melody. We’ve seen what a great combination Arko and Akshay Kumar have made in the past with that unforgettable song, ‘Meherbaani’ (The Shaukeens). This time too, Arko weaves magic with a wonderful melody, one that definitely isn’t something innovative or something we haven’t heard before, but still, is so sweet and lovable, that you just feel wonderful and fresh. The composition is not so complicated, as Arko has kept it sweet and simple — which is his speciality. It starts off with Atif singing a calm couplet, which paves way for the actual melody, a tune carried high by its pillars of simplicity. The mukhda hooks you instantly, and you can feel the romance infused into it. The innocence of the song is in the tune. The antara is quite well-composed too, having all the qualities of a good antara — maintained continuity, catchiness and of course something that makes you want to hear it again and again. In the original version ‘Tere Sang Yaara’, Arko has orchestrated it with wonderful violins and guitars too, but the highlight is of course, the piano, something that is a key part of Arko’s arrangements. The flute soothes you too, while the digital beats sound quite templatised, but nevertheless, work in favourite of the song. In the reprise, ‘Tere Bin Yaara’, Arko cranks the arrangements down, making them hit you with a less force. The arrangements are mostly the same, just that they are less prominent, and the beats do not stand out as much, and especially the hookline has been unplugged-ised. This version too, is a calming and soothing version, almost equal to the original. The vocals in the first version, by Atif are beautiful and a very important part in making the song sound so good. Arko, however, with his less-polished vocals, steals your heart away anyway, in his reprise version. Manoj Muntashir’s lyrics for the first version are good as well, though a bit templatised, and have been adapted by Arko very well, for the reprise version. Overall, the song is a great start to the album. In all its simplicity and innocence, it is a #5StarHotelSong!!

 

2. Rustom Vahi / Rustom Vahi (Theme) / Rustom Vahi (Marathi Version) / Rustom Vahi (Male Version)
Singers ~ Sukriti Kakkar / (Instrumental) / Jasraj Joshi / Jasraj Joshi, Music by ~ Raghav Sachar, Lyrics by ~ Manoj Muntashir / (Instrumental) / Mandar Cholkar / Manoj Muntashir

Raghav Sachar presents the next song of the album, in not less than four versions! We’ve heard Pritam giving four versions of ‘Afghan Jalebi’ in his album to ‘Phantom’, and now Raghav Sachar follows with the title song of ‘Rustom’, in as many as four versions! Of course, excited as I was to check them out, I did wonder if they were all necessary! 😀 Anyway, that comes later. First, the review. So Raghav has composed an awesome, hard-hitting, theme song, with mysterious undertones, resembling the 80s era wonderfully. The jazz/disco touch has been given wonderfully. The composition actually hooks you onto the song. It is sweetness delivered in a sinister package. The composition seems sweet, but has dark hints scattered throughout. Especially the line “Pyaar toh pyaar hai, chaahe jaise mile”, is wonderfully mysterious. Songs from movies like ‘Don’ (the old one) and ‘Shaan’, instantly come back to you a after hearing this one, and you can just imagine an Asha Bhosle or an Usha Uthup crooning it in those days, while Parveen Babi gyrates to it. A very similar infectiousness is spread all over the song. Raghav makes sure we the listeners, have the best possible experience while listening to it, as he tries to recreate the 80s. (Though the film is set in the 60s. 😛 But who cares!) The arrangements help the song throw us back into that era. The saxophone being the highlight of the song, has been played very energetically and it is so catchy! Techno beats, like disco, work to make the song sound actually retro. Occasional piano and the unceasing drums just infuse more energy into the song. And now, coming to the vocals. In the main female version, Sukriti manages to bring in that sinister undertone in her voice, and hits the bullseye with all the notes that jump frantically here and there. In the Marathi version and Male version, Jasraj Joshi infuses just as much energy, but the song doesn’t sound as good in a male voice as it does in a female voice! Personally, I feel that the Marathi version was unnecessary, and it must’ve been added to increase the reach of the movie! (By the way, how can you INCREASE the reach of an Akshay Kumaar movie!???!!) The arrangements of the Marathi and Male versions are exactly the same, while the theme is a very short piece of music — but with a very spunky arrangement. The lyrics of the song have been penned well by Manoj Muntashir, describing the shady character very well, while Mandar Cholkar seems to falter a bit with the Marathi lyrics — they seem pretty forced! An electrifying title track, and a very commendable job by Raghav Sachar! Kudos to Sukriti for mastering the vocals!! Her version is definitely a #5StarHotelSong!!

 

3. Tay Hai
Singer ~ Ankit Tiwari, Music by ~ Ankit Tiwari, Lyrics by ~ Manoj Muntashir

A melodic piano piece very dulcetly lures you into the other song. After the energizing title song, the song comes as a pleasant surprise. The piano gives way to Ankit’s voice, who surprisingly sounds the very least bit autotuned in this song! The soulfulness of it all just shocked me. As I have been liking/loving Ankit’s songs throughout the year, this one really doesn’t surprise me much, but nevertheless, I’m blown away by the majestic and opulent orchestration, composition and great vocals. The composition by Ankit is so deep and layered and touching, that it barely takes seconds for it to work its magic on you. The mukhda opens up quite like any other Ankit Tiwari song, but it is when the first time the “Maujood hai…” hook plays, that you can gauge the magnificence and grandeur of it all. The antara has been composed just as wonderfully, with Tiwari minding to use contrasting low notes. Contrasting because the hook was oh-so-high-pitched. And the tune of the low notes, is just so dazzling! It sounds like a Rahman antara, in fact! The next bewitching thing about the song, are the arrangements! Sumptuous as they sound, they make you feel very simple, happy and just plain good! Especially in the hookline, those wonderful strings are tooooooooo grand to keep away the goosebumps. Tiwari even uses drums, something that sounds odd in such a song, but here, works in its favour! And then there’s the wonderful arrangement in the antara, devoid of any instruments except a wonderful piano that plays around the words so cutely. There’s a great digital beat supporting the tune as well, which is what makes it sound oh-so-Rahmanish! Ankit’s voice is very enchanting, and is one of the main reasons the song has turned out so hauntingly beautiful. Manoj Muntashir also, writes beautiful lyrics, complementing the enchanting composition very well. A spectacular song composed and sung by Ankit, with the arrangements playing a vital role in propelling it so much! #5StarHotelSong!!

 

4. Dekha Hazaro Dafaa
Singers ~ Arijit Singh & Palak Muchhal, Music by ~ Jeet Gannguli, Lyrics by ~ Manoj Muntashir

Jeet Gannguli steps into the album next, with a cute and lovely little waltz. The composer has got everything right with this one, right from the ballroom waltz-y composition, that sounds so retro and lovable, to the arrangements, that are bliss to the music lover. Firstly, the composition. It is something that instantly makes you love it. There is no intermediate step. You either hate it (which you won’t!) or love love love it. And I love love loved it. Right from the first time I heard it, the simple yet grand tune won my heart over, and couldn’t leave my head thereafter. The mukhda is scintillatingly calming and charming, while the antara is beautifully structured to keep the charm intact. While hearing the song, I actually thought that if ‘Cinderella’ were to be remade in Hindi, this song would be perfect. Jeet has wonderfully brought in the ballroom melody and makes the song sound so innocent and sweet. The arrangements are beautiful too, with the strings doing their job right from the beginning. The way the low and high strings alternate with each other, is something worth noticing, and also something that is likely to be missed. The flute adds to the sugar and dreamy ambience. In the antara, after the first line, Jeet has put this EXTRAORDINARY violin solo, which is soooooo charming! The way it has been played, briskly, is what makes it sound so charming! (Hear it at 1:20 or 2:27 in the song, don’t thank me later! 😉 ) The chimes and the very European-ish choir add to the ballroom ambience. Of course, a ballroom song is incomplete without the piano, and Jeet makes sure the piano makes some appearance in the song, too. All in all, the orchestration is as dreamy and angelic as it can get. Ever. I mean, the last time I heard such opulent and magnificent ballroom orchestration was in ‘Nazdeekiyan’ (Shaandaar), which was a gem! On the vocals front, Arijit with his calm voice sounds so sweet and innocent, while Palak complement beautifully. Though at first, Palak seems an odd choice, it all fits in perfectly after a couple of listens. Manoj’s lyrics are so sweet, that if you sum the sweetness of the song all up, the chances of getting diabetes are as high as the Burj Khalifa! Of course, such a sweet song can be no less than a 5StarHotelSong!!

 

5. Dhal Jaun Main
Singers ~ Jubin Nautiyal & Aakanksha Sharma, Music by ~ Jeet Gannguli, Lyrics by ~ Manoj Muntashir

Now it’s time for the sad song of the album. Jeet Gannguli, an expert at sad songs in my opinion, gets to helm it. However, the song turns out to be a great disappointment. Jeet resorts to his usual Vishesh Films-ish template to convey the sadness. The composition is typical Jeet Gannguli, with a strong Vishesh Films undertone to it. Right from the beginning, you feel that either you have accidentally started playing the ‘Raaz 28362’ (and I won’t be surprised if so many ‘Raaz’ films do get made!) album, instead of ‘Rustom’. The hookline is the typical melodrama we get to hear in Bhatt films. And there I am, in a pickle, trying to understand where the Bhatts came into the 1960s. The arrangements are digital beats mostly, and do not really stand out much. Jubin’s vocals a quite good, and give you a reason to hear the song, while Aakanksha sounds strictly forced at places and cute at places. Jubin basically carries the song on his shoulders, a song which is otherwise a yawn fest for me! Manoj’s lyrics too, stick to the conventions of modern Bollywood. After the four good and suitable songs, here comes an oddball that brothers fits here, nor is catchy or exciting. Even if it were in ‘Raaz 28362’, I wouldn’t have liked it!

 

6. Jab Tum Hote Ho
Singer ~ Shreya Ghoshal, Music by ~ Ankit Tiwari, Lyrics by ~ Manoj Muntashir

Ankit Tiwari gets to close the album, and after that majestic song of his, all I expected was an even better song. Imagine my happiness when I get to know the song has been sung by none other than today’s nightingale Shreya Ghoshal. Naturally, my heart jumped with joy. And Ankit, with a tranquilizing and pacifying composition, satiates my desire for a great song. His composition, yet again, is very emotional and layered, with shades difficult to unravel right away. The hookline is very, very calm, as is the rest of the song. In this song, the sadness and emotion actually works, unlike the hollow emotion of the previous song. Ankit masters the composition, which is very slow-paced, but keeps you listening. (If you’re a lover of calm music, that is) The calming notes really touch your heart and make you feel loved and cared. Coming to the arrangements, they are pretty minimal, until the interlude. The initial part of the song is graced by piano, strings and acoustic guitars, out of which each excels in its place, particularly the piano. The interlude brings with it, a wonderful blend of strings of different kinds, producing a wonderful symphonic ambience. The second stanza is more accentuated with strings and the guitars are louder too. It is so beautiful how the arrangements open up towards the end, just as the singer does. And that brings us to the vocals. When it is Shreya Ghoshal, it is highly impossible for vocals to go wrong, and here too, it is displayed very beautifully. Even though the composition is so slow and the arrangements minimal, her voice makes you get hooked to the song. She sings each note with a certain innocence and beauty. Manoj’s lyrics are touching, and the song gets raised higher due to them. Ankit weaves even more magic with his second song, and Shreya helps us end the album on a very calm and emotional note. #5StarHotelSong!!


Rustom is yet another example of a mulicomposer album done right. Here, four composers come together to make an album that seems very fulfilling as a whole. Yes, there are some glitches as well, in that the makers seem to have crammed too many unnecessary versions of the good songs into the album, and also tried to increase the taker count of the album by adding a modernized number that just doesn’t work. However, the songs that go with the theme of the movie, perform really well and help in making the album a success. The surprise package is Ankit, who stuns with his two glorious songs, songs that I would never forget. However, the winner is our very own Jeet who makes a song that is so sugar-coatedly sweet, that if it had to be sold as a toffee, the whole world would have got diabetes. All in all, ‘Rustom’ is an album that is going to stay with you for quite some time! I would say “sab jeete yahaan, hain ‘Rustom’ yehi”!!

 

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

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

Recommended Listening Order: Dekha Hazaro Dafaa > Tay Hai > Tere Sang Yaara > Jab Tum Hote Ho > Rustom Vahi > Tere Bin Yaara (Reprise) > Rustom Vahi (Male Version) > Rustom Vahi (Theme) > Rustom Vahi (Marathi Version) > Dhal Jaun Main

 

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

GOOD IN AN ABNORMAL WAY!! (BHAAG JOHNNY – Music Review)

Music Album Details
♪ Music by: Devi Sri Prasad (DSP), Arko Pravo Mukherjee, Sajid-Wajid, Yo Yo Honey Singh & Mithoon
♪ Lyrics by: Kumaar, Arko Pravo Mukherjee, Faiz Anwar, Yo Yo Honey Singh, Amitabh Verma
♪ Music Label: T-Series
♪ Music Released On: 24th August 2015
♪ Movie Released On: 25th September 2015

Bhaag Johnny

Bhaag Johnny

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

To buy this album on iTunes CLICK HERE


Bhaag Johnny is an action thriller Bollywood film, directed by Shivam Nair, produced by Bhushan Kumar, Krishan Kumar and Vikram Bhatt. The film features Kunal Khemu, Zoa Morani and Mandana Karimi in lead roles. The film released on 25th September 2015, to negative to mixed reviews. The film, having been produced by T-Series, was expected to have some good music, and it pretty much stood up to expectations. The music has been given by South-Indian hit machine Devi Sri Prasad, the king of remakes Arko Pravo Mukherjee, remaking one of Sajid-Wajid’s hit songs from Sonu Nigam’s album ‘Deewana’, the youth sensation Yo Yo Honey Singh, and the person without whom such albums feel incomplete, Mithoon. Each of these have one song, except Mithoon who bags two. So, here’s what I thought about ‘Bhaag Johnny’s music!


1. Daddy Mummy
Singers ~ Devi Sri Prasad & M.M. Manasi, Music by ~ Devi Sri Prasad, Lyrics by ~ Kumaar

Devi Sri Prasad is one of those composers, who hold a huge status and fame down South, but migrate towards the Bollywood industry once in a blue moon. He impressed Salman Khan (and I bet nobody else) with ‘Dhinka Chika’ (Ready), a remake of his Telugu song ‘Ringa Ringa’ (Arya 2), and he impressed him so much that three years later, Salman gives him a chance to compose Daisy Shah’s introductory song in ‘Jai Ho’ (and also in Bollywood, for that matter), ‘Naacho Re’, which impressed me, but was too short and ignorable for the public. Now he comes after a year and a half, in a T-Series film, and I don’t know why or from where. He gets to compose a party song, and so he takes his Telugu song ‘Aakalesthe Annam Pedatha’ (Shankar Dada Zindabad) and remakes it in Hindi. But it isn’t the first time it has been reused! It has already been reused by DSP himself in the Tamil movie ‘Villu’ with the same name as it has in Hindi. So the idea for this song isn’t original. No matter how long its history may be, the song definitely has some vibes that hook you onto it. The tune is amazingly catchy, and the arrangements are really innovative and groovy too. Techno beats dominate, and give the required party effect. The beats can’t be ignored at all. The tune might be annoying for some, but I liked it. Though the song isn’t decent at all considering everything else, like the concept, lyrics etc, it is viable for the catchy tune and great booming beats. Kumaar must’ve written worse than what it must’ve been in Tamil. :p Regarding vocals, M.M. Manasi’s unusually thick voice provides the perfect texture for a song of this playful nature. DSP’s portions have a good tune, but I would’ve preferred Divya Kumar singing them, at least the ones that aren’t raps like “Tu hai beautiful naari…. Baahon Se Teri lipatke”. Programming is awesome and so are the interludes, with great Caribbean touches to them. The awesome percussion and great strings and flutes helps you to pay all attention to the song. A good party, and a decent (music-wise, Okay?? :p ) album-opener. DSP is back with a bang, but the lyrics are what make the song lose that tag. Oh, who am I kidding…here goes… #5StarHotelSong! 🙊

 

2. Iss Qadar Pyaar Hai
Singer ~ Ankit Tiwari, Music Recreated by ~ Arko Pravo Mukherjee, Orignal Composition by ~ Sajid-Wajid, New Lyrics by ~ Arko Pravo Mukherjee, Original Lyrics by ~ Faaiz Anwar

Sonu Nigam’s soulful and lovely song from his album ‘Deewana’ had had its title track remade earlier this year for the film ‘Ek Paheli Leela’, by Meet Bros. Anjjan. Now, for this album, another song of that album has been called for remaking. What follows is an account from the song’s point of view. (Didn’t you know songs have feelings, a heart and brains too?? 😛 ) The song must’ve been walking nervously on its way to T-Series office. When it arrived at the office, it must’ve been soooooo happy to learn that Arko is going to remake it. It then must’ve surrendered itself totally to Arko for a few months (or days?? Who knows?) But it didn’t know what injustice it was going to face. When it came to know about the injustice, the song happened to file a case in the Court for Enforcement of Songs’ Rights. Firstly, it complained that the legendary singer who became famous because of itself, was being replaced by an amateur who didn’t know how to sing for anything it cost. Then it claimed that its lively nature was being converted to a sleepy, monotonous paced nature, just to get more YouTube views. Another complain it had against the T-Series team was that it’s tune was changed for the worse!! The song, in conversation with Music Mastani last month, claimed, “I had no idea they would change my whole structure! I have been ruined completely!! They robbed me of my whole essence!” We are with the song in its struggle against T-Series, and wish it wins this case against T-Series. Okay, now I’ll stop being a reporter and tell you straightforward: Nothing in this song is better than the original! The tune has only been changed for one note, and it spoils the whole antara. The pace has been slowed down to such an extent that it is intolerable, because of Ankit Tiwari’s sleepy and drugged voice. Arrangements are modernized: guitars, synth beats and nothing much other than that. Arko writes the new lyrics, to make it more Bhatt-ish. Arko has never disappointed with any remake this much, before this!! Even the song says, “My new makeover is unimpressive! I should go into hibernation now!!”

 

3. Aankhon Aankhon
Singer ~ Yo Yo Honey Singh, Music by ~ Yo Yo Honey Singh, Lyrics by ~  Yo Yo Honey Singh

While ‘Daddy Mummy’ was a general party song, this next song is a Yo Yo Honey Singh club track. Though many of his club tracks have been absurd and weird and whatnot, this one is unusually classy and immensely catchy! I’ve never liked a club song of Yo Yo this genuinely before! They’re usually crazy and illogical. Of course, this one isn’t like really scientific like Christopher Nolan’s films, but compared to go Yo’s previous club songs, this one surely has an upper hand in the race. Arrangements being energetic and enough to make you get up and move along to them, and the lyrics being a bit better than whatever Yo Yo usually writes, this one gave me no scope of cursing it. The English parts make it sound like a real English song. The Punjabi parts may annoy, but the composition takes care of that. The techno beats are something that would have you hooked right from the beginning to the end. Things get a bit soft in the second antara before the dynamic arrangements return in the hookline. Speaking of the hookline, it has a really great tune, which was enough to grab my attention. There isn’t much more to write about it, except that it’s a #5StarHotelSong!!

 

4. Kinna Sona
Singer ~ Sunil Kamath, Music by ~ Mithoon, Lyrics by ~ Amitabh Verma

Mithoon jumps into the album finally. Along with Arko, he’s the only person I expected to deliver something awesome. However, Arko let me down, and surprisingly, DSP and Yo Yo Honey Singh have impressed till now. With the advent of Mithoon, though, I expect the next two songs to be lovely. This very song consolidates my thought about that. It starts in a wonderful Sufi style, with Sunil Kamath sounding really great with his rustic voice. Acoustic guitars and tablas make way for the actual composition to set in. And when Sunil starts to showcase the beautiful composition which Mithoon has come up with, you are sure to drown in its divine and serene nature. The modern arrangements consisting of guitars and the beats blend in well with the traditional tabla beats, presenting a kind of rock Sufi love ballad. It really reminds you of Mithoon’s early days in the industry, his albums ‘Anwar’ and ‘Lamhaa’. Leaving the style of music he has been stereotyped to be able to make, he shuts up all his criticizers, by creating something that sounds as if the old Mithoon has composed it. The antaras are the most soothing and beautifully composed parts of the song, though the mukhda isn’t far behind. After the hookline, there are some really captivating guitar plucks, which make you leave your mouth gaping in awe. Moving onto debutant Sunil Kamath’s vocals, he sounds like Shadab Faridi in his vocal texture and style, but sounds awesome!! Some places he sounds husky, whereas some places his voice is as sharp as a knife’s edge. Both textures of his voice appeal to the ears, though. Towards the ending Mithoon overlaps two tracks of his voice, both singing the same lines but not in sync. That harmony steals your breath away. Amitabh Verma writes efficient romantic lyrics that are meaningful, probably the best lyrics of the album. Though simple, their appeal lies in that simplicity. Mithoon gives Sunil Kamath a strong and powerful debut, with a captivating yet soothing composition, penned wonderfully by Amitabh Verma. The song really is ‘Kinna Sona’! #5StarHotelSong!!

 

5. Meri Zindagi
Singer ~ Rahul Vaidya, Music by ~ Mithoon, Lyrics by ~ Amitabh Verma

After that sublime melody by Mithoon, it’s time for another song composed by him. I was expecting a lot because of how excellent ‘Kinna Sona’ was, but he disappointed me by coming up with something that anybody who’s a regular reader of my blog, knows that I hate. That is those monotonous Pakistani rock songs! Especially the ones Mithoon is unfortunately forced to bring into each and every album. This one literally overdoes the melancholia, with too much dukh-dard overflowing in each and every line. Arrangements are good except the rock arrangements. So whatever instruments are used in this rock song, which aren’t rock guitars and drums, I liked. That’s pretty less, only the flutes and other wind instruments. The strings are also grand and orchestral. Rahul Vaidya, however, steals the show with his versatile voice, bringing in great variations in many lines. The composition did not appeal to me at all simply because it was too plain and staid to appreciate with a big heart. The hookline crosses all heights of melancholia. Amitabh Verma writes according to the theme here too, so it turns pretty boring after a while. Barring Rahul’s mellifluous voice and some of Mithoon’s arrangements (the ones that aren’t rock) this track had nothing that appealed to me except the typical Mithoon-cholia!


Bhaag Johnny was an album that lived up to my expectations, but in a weird way. The people from whom I expected nothing, literally, actually impressed me, and those from whom I expected a lot, disappointed me big time! DSP gives a good youthful party number, while Yo Yo comes up with what I feel is the best club song of his Bollywood career. Mithoon, although impressed greatly with one out of two songs (which is also the best of the album), ruins everything in the next song, while Arko churns out what I think is his worst remake ever. Still, Mithoon has to be commended for making use of two relatively lesser known singers, who prove their talent with their respective songs, instead of vouching for the regular Arijit and Irfan. So, the two upbeat songs score better than two of the three calm songs, which is very unusual, in my opinion. So, I would conclude by calling it good in an abnormal way!

 

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

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

Recommended Listening Order: Kinna Sona > Aankhon Aankhon > Daddy Mummy > Meri Zindagi > Iss Qadar Pyaar Hai

 

Which is your favourite song from Bhaag Johnny? Please vote for it below! 🙂

 

BAHOT KUCH LOCHA HAI!! (KUCH KUCH LOCHA HAI – Music Review)

Music Album Details
♪ Music by: Ikka Singh, Arko Pravo Mukherjee, Intense, Amjad-Nadeem, R. D. Burman, Dharam-Sandeep, Ali Quli Mirza & King
♪ Lyrics by: Ikka Singh, Arko Pravo Mukherjee, Sameer Anjaan, Sanjeev Chaturvedi, Himank Kalal, Mani Soni, Amjad-Nadeem, Ali Quli Mirza & Javed Akhtar
♪ Music Label: Zee Music Company
♪ Music Released On: 24th April 2015
♪ Movie Releases On: 8th May 2015

Kuch Kuch Locha Hai

Kuch Kuch Locha Hai

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

To buy this album on iTunes CLICK HERE


Kuch Kuch Locha Hai is an upcoming Bollywood comedy film starring Sunny Leone, Ram Kapoor, Evelyn Sharma and Navdeep Chhabra. The film is directed by Devang Dholakia, and produced by Mukesh Purohit. Straight to the point. The music has been given by multiple composers (already I have a look of contempt on my face. :/  Ikka Singh, Intense, Arko Pravo Mukherjee, Amjad-Nadeem, Dharam-Sandeep, Ali Quli Mirza and somebody who calls himself King. You saw the name of R.D. Burman only because one of his songs has been remade. Out of that list of composers, I’m only expecting something from Arko, and the others, well, nothing. The long list of lyricists (half of which are unknown to me) guarantees bad lyrics. So let’s see what the album of ‘Kuch Kuch Locha Hai’ offers to our ears.


1. Paani Wala Dance
Singers ~ Ikka Singh, Shraddha Pandit & Arko Pravo Mukherjee, Music by ~ Ikka Singh, Arko Pravo Mukherjee & Intense, Lyrics by ~ Ikka Singh & Arko Pravo Mukherjee

Nowadays, we have a trend of multi-composer albums. Well, this song is sure to set the trend of multi-composer SONGS into roll. And by that, I mean composers, who don’t work together (like Vishal-Shekhar, Shankar-Ehsaan-Loy) but have come together for a single song in their careers. And these composers are Ikka Singh (remember? The chhora who dances in da club, peeke sharaab?), his partner Intense (the man with the irritating rap portions), and Arko Pravo Mukherjee (he’s good, I won’t complain about him 😛 ) Well, these three come together and make a poolside party song, which you can make out by the lyrics itself. Its similarity to ‘Sunny Sunny’ (Yaariyan) just works in favour of the song, with the same kind of techno beats with which it starts. The tune that all of these have made, does catch your attention, but only occasionally, more particularly, only in the female parts sung wonderfully by Shraddha. The other stuff, like the parts sung by Ikka and his ridiculous rap, are very irritating! Even the hookline, is something that will make you scrumch up your face in disgust. You can’t really make out what Arko has sung in this track, because he seems to have stayed in the shadows. Arrangements are pretty good for a party song, and good recording enhances the listening experience. Of only we had something worthwhile to listen to! :\ Lyrics… Let’s not start about that. They are utterly absurd and ridiculous. Take this for example: “Swimming pool mein nahaake tum aur bhi, namkeen ho gayi ho.” And what about this: “Baby you just like a fish, kisike haath na aaye!” So lyrics get an “F” grade. A song trying to ape ‘Sunny Sunny’ and ends up with a miserable fate. Hear it for Shraddha and the beats. Try to ignore Ikka, if it’s possible! (Which it isn’t, by the way!)

2. Daaru Peeke Dance
Singers ~ Neha Kakkar, Aishwarya Nigam & Ikka Singh, Music by ~ Amjad-Nadeem, Lyrics by ~ Sameer Anjaan

Here comes another dance, this time conceptualized by Amjad-Nadeem, cousins of established duo Sajid-Wajid. This duo has proven their expertise many times with romantic tracks, the latest being ‘Ek Mulakat’ from ‘Sonali Cable’, but here, they have gotten a dance track with some stupid name, so I doubt they will be able to do much good, given their history of upbeat tracks, where they have ruined whatever name they had created every single time they attempted one. So when we hear this song and discover that it’s nothing different from their other item-ish dance numbers, nobody is surprised. Neha Kakkar, the new Mamta Sharma it seems, sings in her usual high-pitched annoying style, and she steals Mamta’s partner for two songs, Aishwarya Nigam too, who tries very badly to imitate Mika, getting nowhere near doing so. Even if he would’ve succeeded to copy Mika, I wouldn’t have appreciated it at all. 😝 The composition has been laid on a foot-tapping dappankuthu rhythm, that is catchy enough to let you survive through the song for the first time. The arrangements make it sound better than it should. The techno beats help a lot to keep the listener engaged while the singers try to finish the song quick, before the listener gets bored with the arrangements and notices them doing stupid stuff. 😂 Ikka’s rap forced into the middle sounds disgusting, only because up till he hasn’t sung anything, the song was tolerable, but as soon as he enters, it becomes highly intolerable. Composition is average, but as I said, beats help you forget that, and the song ends before you can notice what stupidity you just heard. :\ Lyrics — Zero marks! Sameer Anjaan’s already bad quality of writing lyrics is just stooping lower and lower by the day. Amjad-Nadeem’s middling affair, to try to make a good and entertaining dance number. Well, they succeed only in the arrangements.

3. Aao Na
Singers ~ Ankit Tiwari, Shraddha Pandit & Arko Pravo Mukherjee, Original Composition By ~ R.D. Burman, Recreated by ~ Arko Pravo Mukherjee, Original Lyrics by ~ Javed Akhtar, New Lyrics by ~ Arko Pravo Mukherjee

The king of remakes, Arko Pravo Mukherjee, comes back after ‘The Shaukeens’, and here, he gets to remake an awesome old classic song originally composed by R.D. Burman. The song in question is ‘Jaane Do Na’ from ‘Saagar’. The makers of this film have changed the name to ‘Aao Na’, and called Arko to apply his Midas touch to remake the song and turn it into a gold, shining remake with his touch. And the ever-reliable Arko does just that. Electronic matkas start the song off, making it get a very catchy beginning. As the song progresses, we hear some awesome English lines sung by Arko himself, and it doesn’t even feel that we’re hearing a remake of an old song, but it sounds like we’re hearing an original song. The arrangements provide half the enjoyability themselves. Wonderful beats decorate the whole composition, and sitar at places really enhances the song a lot. Backing vocals provided by Arko don’t disappoint either. Both the lead singers carry out the song with ease and with the required sensuality. Ankit’s sleepy and drowsy voice finally comes to great use here, as the composition itself is of that type, and as a result, he sounds awesome! Shraddha does wonders here as well, doing complete justice to Asha Bhosle’s original rendition. Arko has retained the mukhda of the song, and added new antaras, which have a very playful and catchy ring to them, instantly appealing to the ears. The new lyrics by Arko go with the original ones by Javed Akhtar, and end up sounding great in the song. The king of remakes applies his Midas Touch once again, and it results in an enjoyable remake of a classic! #5StarHotelSong!!

4. Na Jaane Kya Hai Tumse Waasta
Singers ~ Jubin Nautiyal & Asees Kaur, Music by ~ Amjad-Nadeem, Lyrics by ~ Sanjeev Chaturvedi

For the next song, Amjad-Nadeem step back into the album, and try their hand at a romantic rock anthem. I was expecting them to at least crack this one easily, but no such luck. The song comes across as very typical, and it also seems as of they’ve taken the notes of ‘Ek Mulakat’, and tossed them around to get another, different tune. Of course, the feel of the song remains the same, and their plan to trick the listeners doesn’t work! Following Ankit Tiwari’s footsteps isn’t gonna take you anywhere, Amjad-Nadeem! :\ 😛 The presence of Jubin Nautiyal as a singer, might also be one of the reasons it sounds so very similar to the former song. Anyways, he sings what he has been told pretty good. His co-singer, Asees Kaur, also sounds good, but doesn’t have much scope to leave any impression on us. Arrangements are typical rock arrangements — rock guitars, drums, which start to sound monotonous after some time, also because of the not-so-appealing tune. However, this is one of those songs that will instantly be liked by a certain section of people. In my opinion, it doesn’t score much though. Lyrics are thankfully, not bad. Sanjeev has written some sit-through-able lyrics. Resemblance to ‘Ek Mulakat’ spoils it all! 😦

5. Kuch Kuch Locha Hai
Singers ~ Divya Kumar, Shraddha Pandit & Sandman, Music by ~ Dharam-Sandeep, Lyrics by ~ Himank Kalal & Mani Soni

When the beginning of a song sounds like ‘Ungli Pe Nachalein’ (Ungli), played in double the regular speed, you know something is wrong with the song. And when singers like Divya Kumar and Shraddha Pandit fail to impress with their renditions, you are 1000% percent sure, that there is something wrong with it. That’s exactly the case with this song. Being a title song, it should’ve been composed with complete thoughtfulness and should’ve gotten a catchy tune. But instead, the tune is some notes that don’t go together at all, that don’t sound good with each other, and end up scaring the audience. Dharam-Sandeep (the duo who had composed the unspeakably bad album of ‘Gang Of Ghosts’ last year) have come up with the worst song that could ever have been used as a title song. The hookline is probably the best thing of the song. Divya sounds really stupid singing such ridiculous lines, and Shraddha is no less. The arrangements are just techno beats that fail to impress. A rap by someone who calls himself Sandman, will surely make you press the ‘NEXT’ option on your players. And the lyrics, written by two people together, sound as if someone opened the dictionary for the first time in their lives, and found out some rhyming words, and used them just because they rhymed, without a care whether it makes sense or not. 😒 Atrocious! Kuch BAHOT Kuch Locha Hai with this track!!

6. Ishq Da Maara
Singer ~ Jubin Nautiyal, Music by ~ Amjad-Nadeem, Lyrics by ~ Amjad-Nadeem

Every other song in this album is by Amjad-Nadeem. Fine. Because here, in their last song, is where they really get things right, finally! The composition is pretty sweet and catchy, with the romantic element not acting as a bother for listeners. This song too, is a rock song with a romantic touch, but in terms of composition, this song is way more reliable, in that it doesn’t make you feel bored as much as the other one did. Also, the composition is good enough to let you listen undisturbedly for the whole duration. Amjad-Nadeem have done wonders with the rock guitars and drums this time, setting up an engaging rhythm which makes you sway. Jubin’s spot-on performance in unforgettable. Though he does seem a bit less interested as he did in his other songs, it works overall. The long duration of the sing doesn’t seem all that long once you start getting attuned to the song and start swaying, as I said. The hookline is one of the sweetest things I’ve heard from Amjad-Nadeem and one of the sweetest things I’ve heard in a rock song, of all. The lyrics by the duo are good too, and go well with the composition. Finally, Amjad-Nadeem get it right, and strike the right chord! Jubin’s rendition is worth listening! #5StarHotelSong!!

7. Yeh Ishq
Singer ~ Ali Quli Mirza, Music by ~ Ali Quli Mirza & King, Lyrics by ~ Ali Quli Mirza

I think it’s better if I don’t review this song. Big Boss 8 contestant Ali Quli Mirza gets a Bollywood song. Fine. But what does he do? Creates some song that hardly connects with you, with a tune that keeps repeating throughout the song. And also, Ali Quli Mirza, for your kind information, Bollywood is over this type of songs since the 90s. Indipop in the 90s was pretty much like this. So, this song fails to impress at all. However, listen to it once for Daniel Weber (Sunny’s husband) and his wonderful guitar solos!


Kuch Kuch Locha Hai is actually an understatement for this album. With only two songs impressing, and the best song being a remake of a Bollywood classic, it is clear that there is some locha, not kuch kuch, but bahot Kuch!! BAHOT KUCH LOCHA HAI!!!! 

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

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

Recommended Listening Order: Aao Na > Ishq Da Maara > Paani Wala Dance > Na Jaane Kya Hai Tumse Waasta > Daaru Peeke Dance > Kuch Kuch Locha Hai > Yeh Ishq

Which is your favourite song from Kuch Kuch Locha Hai? Please vote for it below! 🙂

Next “dish”: Ishqedarriyaan, Chefs: Jeet Gannguli, Jaidev Kumar, Bilal Saeed & Bloodline