DIL RAAZI HAI, TO LISTEN ON LOOP!! (RAAZI – Music Review)

Music Album Details
♪ Music by: Shankar-Ehsaan-Loy
♪ Lyrics by: Gulzar
♪ Music Label: Zee Music Company
♪ Music Released On: 18th April 2018
♪ Movie Released On: 11th May 2018

Raazi Album Cover

 

Listen to the songs: Saavn

Buy the songs: iTunes

 


Raazi is an upcoming Bollywood period espionage thriller (I swear I made that term up myself; what else can you call it?!) starring Alia Bhatt, Vicky Kaushal, Rajit Kapur, Jaideep Ahlawat, Amruta Khanvilkar and Soni Razdan in lead roles. The film is directed by ‘Talvar’ fame Meghna Gulzar, and produced by Karan Johar, Hiroo Yash Johar, Apoorva Mehta and Junglee Pictures. The film is based on the novel ‘Calling Sehmat’ by Harinder Sikka. Now, thrillers in Bollywood have very little scope for music. Meghna Gulzar, in her first movie ‘Talvar’, had roped in Vishal Bhardwaj for the music since he was the writer and producer for the film. Here though, she goes for Shankar-Ehsaan-Loy, the trio who invented the Bollywood rom-com sound as we know it these days (by which I mean most of the rom-coms that stay obedient and don’t follow the multicomposer trend), which was a surprise. This is the trio’s first project after ‘Rock On 2’ in November 2016, and whose music released in September 2016, so that was a long wait. And even after the wait, it was a thriller film we were going to get their comeback album for, and not a rom-com as I would have liked. Nevertheless, expectations weren’t low! It’s Shankar-Ehsaan-Loy and Gulzar after all; what can go wrong?


Shankar-Ehsaan-Loy, who we are hearing after more than one and a half years, do not make it that obvious. When you come back with a melody as strong as Ae Watan, you really don’t need to worry about whether audiences will remember you even after so long. Half the battle is won there itself! Now, the song comes in two versions, the male version by Arijit, and the female version by Sunidhi. Arijit’s Version has done a good job in attracting the masses towards the album, but that doesn’t mean Shankar-Ehsaan-Loy compromise on its quality. The song is reminiscent of olden day patriotic numbers, complete with a resplendent backing chorus (Raman Mahadevan, Ravi Mishra, Binaya Mohanty, Arun Kamath & Arshad Mohammed). Arijit is in his element, especially when he starts the song with that wonderfully seamless transition from the low to high octave! Shankar-Ehsaan-Loy help him with immersive arrangements that do not fail to appeal to the patriot within you. The strong melody too, makes its mark felt. Shankar-Ehsaan-Loy’s strings and percussions are wonderful, with heavy hangovers from their “Lakshya” album. Just as he started, Arijit ends the song on a high note, literally!
Sunidhi’s Version, on the other hand, takes the folksy rote, making for a blissful and heavenly listen. Sunidhi, as always, sings brilliantly, but it doesn’t end there. She gets an even better backing chorus than Arijit. This time, sweet children accompany the lead singer (from Shankar Mahadevan Academy’s Children’s Chorus). The name that stands out is Satyajeet Jena, who had participated in the last season of “Sa Re Ga Ma Pa Li’l Champs”, and he gets his own little solo performance towards the end, which he aces! The children’s chorus, and the tinny programming give the song a wonderful retro touch, like the songs from the era depicted in the film (something like ‘Humko Man Ki Shakti’ from ‘Guddi’). Tapas Roy’s rabaab creates a soulful Kashmiri sound, while Dipesh Varma and Shikhar Naad Qureshi do an amazing job with percussions!
Both versions have mainly the same lyrics, and when it’s Gulzar saab’s pen, you know it can’t go wrong! His lyrics evoke a patriotic feeling right away, and coupled with the beautiful melody, it is hard to ignore this song!
Shankar-Ehsaan-Loy continue the Kashmiri folk with Dilbaro, a bidaai song which sounds happy but is lyrically quite heart-wrenching. (Just like Shankar-Ehsaan-Loy’s ‘Chaandaniya’ from ‘2 States’ which I like to call the happy sad song.) The melody here is so cute, it’s impossible to not start humming along right away. (Part of that is also because it sounds very familiar, but you can’t pinpoint which song or songs it sounds like!) The lead vocalist here is Harshdeep Kaur, who as always, delivers a charming rendition, and sounds like Alka Yagnik in the high-pitched antara too! Shankar Mahadevan’s surprise cameo is wonderfully placed, as are the lyrics by Gulzar for that portion. Vibha Saraf is the one who should be credited though, for piquing your interest in the song, because it is her sweet Kashmiri lines that suck you in right away. On the arrangements front, Tapas Roy returns for wonderful work on the Rabaab, not to mention Arshad Khan’s heart-wrenching esraj; whenever that plays, it’s as if the strings of your heart are being tugged at. The hookline of the song is so powerfully soothing, cute and charming at the same time, it is difficult not to get the song stuck in your mind after just a couple of listens!!
At the end, we have Raazi, a song that equals the ‘Dangal’ title track in many uncanny ways. First of all, it is one of those rare title tracks where the title of the film actually makes sense in the song. Arijit Singh pulls off a ‘Binte Dil’ yet again in the one minute long prelude to the song, where he does the voice inflection impeccably yet again. It is only when the Esraj (again, splendidly performed by Arshad Khan) takes us back to the actual song, when we come back to trademark SEL sound — a repeating Bouzouki riff (oh so trademark SEL!) by Tapas Roy is wonderful. The repeating chants of “Agar Dil Raazi Hai” are equivalent to ‘Dangal’s “Dangal Dangal“. The folksy arrangements are similar to that of ‘Dangal’! I’m just so happy we have these two beautiful title tracks to cherish forever! They are so similar yet so different! Shankar-Ehsaan-Loy bring in even more of their signature marks when the second antara gets very melancholic, something only Shankar-Ehsaan-Loy can manage without making it over the top! And Gulzar saab’s lyrics manage to wow you yet again. The star of the song is definitely Arijit Singh, using different inflections each time he sings the hookline. No wonder he’s the top singer of today…just that some composers know how to use his talent to the best!


Shankar-Ehsaan-Loy return after a hiatus that seemed longer than it was, and it is only when this album came out when I realised what was missing from Bollywood music in 2018 — smart composers who can manage to compose as per the script, but whose songs have a life outside of it as well! Finally, we get a soundtrack this year, which I’ll be raazi to listen to on loop!!

 

Total Points Scored by This Album: 9 + 9.5 + 9.5 + 9.5 = 37.5

Album Percentage: 93.75% {I guess we got our Best album of the year so far!}

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

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

Recommended Listening Order: 
Don’t. Even. Ask.

 

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

INNOVATIVE MUSICAL KAALA-MAGIC!! (KAALAKAANDI – Music Review)

Music Album Details
♪ Music by: Sameer Uddin & Shashwat Sachdev
♪ Lyrics by: Anvita Dutt & Akshay Verma
♪ Music Label: Zee Music Company
♪ Music Released On: 27th December 2017
♪ Movie Releases On: 12th January 2018

Kaalakaandi Album Cover

 

Listen to the album: Saavn

Buy the album: iTunes


Kaalakaandi is an upcoming Bollywood black comedy, directed by ‘Delhi Belly’s writer Akshat Verma, and starring an ensemble cast comprising Saif Ali Khan, Deepak Dobriyal, Kunaal Roy Kapur, Akshay Oberoi, Sobhita Dhuliphala, Isha Talvar, Amyra Dastur. The film’s music is expected to be in the same zany and wacky zone as that of ‘Delhi Belly’ was. This time though, Ram Sampath hasn’t been roped in. Sameer Uddin has been given charge of the songs of the album, and ‘Phillauri’ fame Shashwat Sachdev gets to compose the title song. Let’s dive right in!


Sameer Uddin composed the theme track ‘Badass Babua’, to Rajkummar Rao’s character in ‘Bareilly Ki Barfi’. Now, he returns with Swagpur Ka Chaudhary, a song that is just as full of attitude and spunk as was the former one. The song is a bit less catchy than ‘Badass Babua’, but it is still very fun to listen to, thanks to Akshay Verma’s energetic singing, and the fun Haryanvi lyrics and accent. Neha Bhasin’s Kaala Doreya is a funky recreation of the popular Punjabi folk song, but it isn’t as catchy as it could have been. Neha sings wonderfully though, and she seems to be getting hit song after hit song these days. My favourite from the album is Jive With Me, a nice retro-ish track with amazing brass instruments and a quirky trumpet loop. Abhishek Nailwal’s singing is top-notch, and so is Sameer’s composition.
Aa Bhi Jaa is a bit of an unconventionally dark and sensuous, but still zany song, almost in the ‘Aao Na’ (Haider) zone. What’s more, it is sung (rather, whispered) amazingly by Vishal Dadlani too! The vocal loop here is great. Nice how Sameer’s songs have this one particular loop that make them even more enjoyable!
Shashwat Sachdev’s guest composition, Kaalakaandi is an amazing fusion of folk instruments and techno sounds; the man shows his versatility in this track like he did when he could compose a ‘Naughty Billo’ and a ‘Dum Dum’ in the same album, ‘Phillauri’. The Carnatic style sarangi and dhols are welcome experiments, and unconventional too, as is the crank in tempo towards the end.


An unexpectedly enjoyable experimental album, which might not stick with us due to its tunes, but will be remembered for its distinct crazy sounds.

 

Total Points Scored by This Album: 7.5 + 6.5 + 8.5 + 7.5 + 8 = 38

Album Percentage: 76%

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

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

Recommended Listening Order: Jive With Me > Kaalakaandi > Swagpur Ka Chaudhary = Aa Bhi Jaa > Kaala Doreya

 

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

 

Remake Counter:
No. Of Remakes: 01 (from previous albums) + 01 (from Kaalakaandi) = 02

PUNJABI MEDIUM!! (HINDI MEDIUM – Music Review)

Music Album Details
♪ Music by: Sachin-Jigar, Guru Randhawa, Rajat Nagpal, Intense, Sukhbir & Abhijit Vaghani
♪ Lyrics by: Priya Saraiya, Kumaar, Guru Randhawa, Arjun & Ikka
♪ Music Label: T-Series
♪ Music Released On: 21st April 2017
♪ Movie Releases On: 19th May 2017

Hindi Medium Album Cover

 

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

To buy this album on iTunes CLICK HERE


Hindi Medium is an upcoming Bollywood comedy film, starring Irrfan Khan, Saba Qamar and Deepak Dobriyal in lead roles. The film is directed by Saket Chaudhary and produced by Dinesh Vijan, Bhushan Kumar and Krishan Kumar. The film follows a young couple who wish to enter the English-speaking society for the sake of their daughter. After watching the trailer, this one looks like it will be a laugh riot, and I’m eagerly waiting for it. The music for this one is given by Sachin-Jigar, Guru Randhawa, Rajat Nagpal and Abhijit Vaghani. While Sachin-Jigar have worked hard and given two new and original songs, the rest have “remade” hit pop songs, and you’ll get to know soon why “remade” is in inverted commas.


1. Suit Suit

Singers ~ Guru Randhawa & Arjun, Original Composition by ~ Intense, Music Recreated by ~ Guru Randhawa & Rajat Nagpal, Lyrics by ~ Guru Randhawa & Arjun

“Oh tenu suit suit karda!” 

– Guru Randhawa

The album starts with something that T-Series are experts at. Recreating old songs. After butchering many songs from Bollywood, T-Series now expands its reach to the Punjabi pop singles they have released earlier. And thus, we get “Suit Suit”, by Guru Randhawa and Arjun (the guy who shot to fame by reprising Bollywood songs into English in a quite ludicrous manner). The song is as typical as a Punjabi pop song can get and after getting to know the soul of Punjab in ‘Phillauri’, thanks to Shashwat Sachdev and Jasleen Royal, we are just taken back to the fake Punjabi feels. Nobody’s going to get tricked into thinking this is what Punjabis listen to all day. Well, maybe at weddings. Anyhow, the song is not even eligible of being called a remake, because it is the exact same thing copied and pasted here, with faster beats. I heard the original, and it has such slow beats, it sounded odd. Thankfully, the new song has faster beats to go with the song. I must admit that the song itself is catchy and my hatred towards the act of remaking songs cannot make me deny that. The beats are something on the lines of the EDM beats that many American artists just add into their songs by default, even before constructing the tune and all. The clichéd tune, originally composed by someone going by the name of Intense, is far from intense, but it is interspersed with Arjun’s English rap, which seems to sound the same in all his songs. In fact, he starts the song off, and that’s how all his female fans will instantly be drawn into the song. The interludes comprise of a weird sound that sounds something like a pig squealing. The hookline is one of the most commonplace tunes, but it still manages to be catchy. Sadly, the rest of the song just sounds repetitive. There’s an impressively rapid rap by Arjun in the second interlude though. I don’t really know what Guru Randhawa and Rajat Nagpal have done by way of recreation here, because everything just sounds the same, but then, they have done the monumental task of making the beats faster. And then again, I am not so well-versed with the original song. Guru Randhawa’s voice is so rustic and earthy, it would “SUIT” a rustic folk song, and I would love to see him do that! As for the lyrics, the hookline is the only reason I can see, for the song to be added in this film — Saba Qamar’s character in the movie must’ve worn a suit to try to fit in with the elite society. But then, couldn’t Sachin-Jigar have made an original, even comedic and better, song for that situation!?

Rating: 2.5/5 {Only for the beats and the hookline!}

 

2. Hoor

Singer ~ Atif Aslam, Backing Vocals by ~ Dawn Cordo, Arun Kamath & Shambhavi Singh, Music by ~ Sachin-Jigar, Lyrics by ~ Priya Saraiya

“Lafzon ke haseen, dhaagon mein kahin,
Piro rahaa hoon kabse main huzoor,
Koshishein zara, hain nigaahon ki,
Tujhe dekhne ki ho khataa zaroor,
Deewangi kahoon isey, ya hai mera fitoor?
Koi hoor, jaise tu!”

– Priya Saraiya

Sachin-Jigar step into the album with the second song, a romantic song with a heavenly Qawwali-ish treatment. The song also brings together Atif Aslam and Sachin-Jigar yet again, after so many beautiful songs that trio has given us over the years. I can’t really say the same about this song though, unfortunately. The song starts with wonderful humming by an awesome backing chorus (Dawn Cordo, Arun Kamath & Shambhavi Singh) but when the actual melody sung by Atif begins, it loses you somewhere. Sachin-Jigar have constructed a very iffy composition there, something that leaves you confused as to whether you like it or not. No, I don’t mean it is bad at all! It is a lilting composition, with the words flowing into one another very freely, but the composition just didn’t connect with me, something I felt very guilty of, and odd about, because I loved that spectacular album of theirs, ‘Meri Pyaari Bindu’. The antara was something I could hardly pay attention to as it was not gripping. I kept waiting for that one part in the song that would have me hooked, but it never came. 😦 The few great things I can rave about in the song, though, were the arrangements. A wonderful harmonium-led (Rinku Rajput) portion starts off the song, with occasional tabla beats (Rupak Dhamankar), that sound marvellous. And then the piano (Rinku Rajput) and Drums (Lindsay D’mello) too, are wonderful. The guitars (Kalyan Baruah) that conclude the song sound amazing! It provides a nice lounge-ish feel, with the fusion of Classical and Western Contemporary. Atif’s vocals are great, and his trademark faltering voice infuses beauty into the vocals. He sings the high-pitched line in the hookline beautifully! I’ve already written about the beauty with which the backing vocalists support him. That leaves the lyrics by Priya Saraiya. These are amazing as well, aptly romantic. The hookline has been written very well! A song that excels in everything except the composition, which could’ve been much better compared to Sachin-Jigar’s previous compositions.
Rating: 3.5/5

 

3. Oh Ho Ho Ho (Remix)

Singer ~ Sukhbir, Original Composition by ~ Sukhbir, Music Recreated by ~ Abhijit Vaghani, Lyrics by ~ Kumaar, Rap Written and Performed by ~ Ikka

“Oh ho ho ho, oh ho ho ho, oh ho ho ho, oh ho ho ishq tera tadpaave!” 

– Kumaar

This song is like a bonus addition. Yeah, because it is just a remix (and a futile one too, at that) of a very famous Bhangra song, “Ishq Tera Tadpaave” by Sukhbir. And guess who’s the chosen one to remix it? Abhijit Vaghani. And guess what he does? Just adds a rap by Ikka somewhere in the middle, which makes the song sound vulgar, and he obviously adds a line about drinking. Who is going to listen to this song, when the original is still fresh in the people’s minds? If they wanted to make the characters dance to it in the film, they could’ve done so without adding a song in the album. I guess Abhijit has added extra beats, but it doesn’t really make a difference. And by the way, kudos to the way T-Series has named the song. “Oh Ho Ho Ho” is like the way I used to search on Google when I heard this song playing in weddings and didn’t know what it is! 😏 A song banking on the popularity of the original. 

Rating: 1/5 {including 0.5 as a bonus for at least choosing this song.}

 

 

4. Ek Jindari

Singer ~ Tanishka Sanghvi, Backing Vocals ~ Sugandha Date, Karishma Butia, Stiphen Ghorpade, Prateek Mane, Arya Mahale, Anica Chabra, Music by ~ Sachin-Jigar, Lyrics by ~ Kumaar

“Suraj jaise chamkenge, dekhe hain saddi ankhiyaan ne hai sapney ambraan de, eh sapney ambraan de,
Boond boond jodenge pal pal, door door beh jaayenge, eh naal samandaraan de, eh naal samandaraan de!
Assi, aithe khade, hai jaana pare,
Na kum humko tol!
Assi, zidd pe adde, junooni bade,
Eh dil ke ne bol!
Haan ek jindari meri, sau khwahishaan,
Ek ek main poori karaan,
Haan ek jindari meri, sau khwahishaan,
Mushkil humein rokna!”

– Kumaar

Sachin-Jigar get to wrap up this album, thankfully. And the song really does make for a grand finale! It starts with a vocal rhythm sung by the cute Tanishkaa Sanghvi, Sachin’s daughter, coupled with wonderful rhythms by Taufiq Qureshi, someone who always makes the song sound great when he works with Sachin-Jigar. The song is a motivational one, and stands true to its theme, with a hard-hitting rhythm and a composition that does succeed indeed to move you. The mukhda starts the song off on such a high level, that it must’ve been difficult to compose the rest of the song without letting that level drop. And I must say, Sachin-Jigar succeed in that mission exceptionally well. That neverending, breathless styled line in the mukhda is astounding! The two antaras that follow are amazing, the first being another “strong will and motivation” type stanza emulating the tune of the mukhda, while the second is a toned-down and calm one, a nice respite in an amazingly hard-hitting song. The “assi…” effect in the lines before the hookline is really intriguing, and Tanishka renders it with spunk. The hookline itself is so well-placed, and the chorus (Sugandha Date, Karishma Butia, Stiphen Ghorpade, Prateek Mane, Arya Mahale, Anica Chabra) joins Tanishka to make it sound more effective. The arrangements are electrifying, with the rock guitars, drums, and Taufiq Qureshi’s amazing percussion lifting up the already amazing composition manifold. Tanishkaa handles the composition with maturity and cuteness, a deadly combination. How cool is it that motivational songs sung by kids are the most motivational! 😄 Kumaar’s lyrics are some of the best lyrics by him this year, and maybe in his career. The song I was waiting for arrives at the end!

Rating: 5/5


Hindi Medium is quite a decent album, overall. It is a Sachin-Jigar show all the way, and I wouldn’t have minded if the other two songs hadn’t been there. Anyway, those two are the reason this album will score very low. Though Sachin-Jigar leave me confused with one song, the other ones makes up for that completely. Abhijit Vaghani can keep on “remaking” songs, while Guru Randhawa will hardly be seen again in Bollywood, I guess, especially not as a music composer. They just added this song because they needed it. Anyway, since all the songs but one are Punjabi, why don’t we call the album Punjabi Medium? 😄

 

Total Points Scored by This Album: 2.5 + 3.5 + 1 + 5 = 12

Album Percentage: 60%

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: Ek Jindari > Hoor > Suit Suit > Oh Ho Ho Ho (Remix)

 

Remake Counter:
No. Of Remakes in 2017: 10 (from previous albums) + 02 (from Hindi Medium) = 12

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

TRIVEDI’S CUTE ZINDAGI! (DEAR ZINDAGI – Music Review)

Music Album Details
♪ Music by: Amit Trivedi & Ilaiyaraaja
♪ Lyrics by: Kausar Munir & Gulzar
♪ Music Label: Sony Music
♪ Music Released On: 15th November 2016
♪ Movie Releases On: 25th November 2016

Dear Zindagi Album Cover

Dear Zindagi Album Cover

 

To hear the songs of this album on Saavn CLICK HERE

To buy this album on iTunes CLICK HERE


Dear Zindagi is an upcoming Bollywood comedy drama starring Alia Bhatt, Shahrukh Khan, Kunal Kapoor, Ali Zafar and Ira Dubey. The film is directed by ‘English Vinglish’ fame Gauri Shinde, and produced by Gauri Khan, Karan Johar and Gauri Shinde herself. This is a story of Kaira (played by Alia) and Jug (played by Khan). Kaira is a budding cinematographer looking for a perfect life. Enter Jug, an unconventional thinker, who gives her a new perspective of looking at life. So, the storyline has Gauri Shinde as we know her, written all over it! Gauri’s last film also touched upon the small beauties of life, and I’m sure this will delve more into that. The director chooses to compose for this film, the person that had made her first film’s album such a success, and that is, as we all know, Amit Trivedi. Who, by the way, gets to compose for SRK for the first time in his career in the bargain! (And Alia for the third!) Looking at the film’s teasers and promos, fresh music is expected, and who better than Trivedi to get in that freshness? His track record this year has been amazing, but he didn’t really get to compose in his comfort zone, what with the grand music that ‘Fitoor’ called for, or the extra-dark and unconventional music that was required by ‘Udta Punjab’. With this film, I’m sure he’s going to be back in his comfort zone, which is fresh, feel-good music! So let’s get into this album right away!


1. Love You Zindagi / Love You Zindagi (Club Mix)
Singers ~ Jasleen Kaur Royal / Alia Bhatt, Backing Vocals ~ Rajiv Sundaresan, Suhas Sawant & Joell Mukherjii

So, the album starts off with what I would like to call the title song of the album, but I clearly can’t. The song appears in two versions, so let me speak about them one by one. The first version is definitely the song that is doing the rounds these days, what with Alia who can be seen embracing the small joys of life in its video, which really looks cute! On the music front, too, this one scores pretty well. Amit’s composition for this song is easily his signature style of composition, and a layman can easily guess at this stage of Trivedi’s career, whether a song is composed by him or not. The mukhda is full of sugary-sweet notes that really appeal to you at once, not to mention the cute way those “Hi Hi Hi”s and “Bye Bye Bye”s have been composed! And the hookline is just fabulous! 😀 The antara follows the same kind of template, starting off gracefully and then going into a fun staccato. The hookline is what will attract more listeners though for sure. The arrangements in this version, though, are heavenly. A wonderful flute (Inapakurti D Rao) starts the song off, and then breezy guitars (Joell Mukherjii) take over for the most part of the song. And then wonderful trumpets (Ketan Sodha) and a nice mandolin and banjo (Tapas Roy) provide the breeziness factor a boost. Darshan Doshi’s drums give a nice upbeat nature to the song. It is the vocals that make the song sound even more cute, as Jasleen does her wonderful small baby thing yet again. However, that admiration of her rendition lasts only as long as you don’t hear Alia’s rendition. In the club mix, amidst a cool chivda of techno sounds, her voice sounds soooooo beautiful! And then you just can’t help but compare her to Shraddha and discover who is clearly the better singer. (Alia!) In the song, she sounds like Jonita Gandhi a bit at some places, especially during the “Hi Hi Hi” and “Bye Bye Bye“. Amit has conveniently increased the tempo for this one, succeeding in living up to the ‘Club Mix’ title. Backing vocalists Rajiv Sundaresan, Suhas Sawant and Joell Mukherjii are the magicians behind that beautiful hookline, and had they not been there, the hookline wouldn’t at all have stood out so well! And then, we come to Kausar’s lyrics, which are another breath of fresh air! Talking about having an affair with life, it is very fun and cute to the ears! The soundtrack starts off with a song that is fun in all, but one version falls flat because of the singer, while the other is more of a remix. Anyway, enjoyable but not great great great. 🙂

 

2. Tu Hi Hai
Singer ~ Arijit Singh, Backing Vocals ~ Joell Mukherjii

The next song is yet another fresh song. Amit’s composition is one of the cutest things I’ve heard this year, and that cuteness is alleviated thanks to Arijit’s feathery voice. The mukhda instantly grabbed my attention and pulled me into the song, and it won’t take time for anyone to love this song. The hookline falls into the category of hooklines which I love — the ones that don’t proclaim themselves as the rulers of the world. It blends into the mukhda and you hardly notice when it’s over. Also, after Arijit sings “Tu hi hai“, I felt like doing the Shammi Kapoor Shimmy, for some reason — maybe there’s some retro touch hidden somewhere in the song! The hookline is followed by a nice line that goes “Door yeh kaun hai..” That right there, is my favourite part of the whole song. The antara takes the tune of the mukhda itself, and that is Trivedi’s usual style, and I loved it especially in this song, because the tune is so good, that it deserves a double repeat. As a conclusion, Trivedi adds a nice little stanza that goes “Mere sheron mein yeh kaun hai” which goes on to even ask who is in his diary, guitar, balloons and whatnot. The entire composition style reminded me of Shankar-Ehsaan-Loy’s ‘Kuch Toh Hua Hai’ (Kal Ho Naa Ho) — NOT ANKIT TIWARI’S ‘KUCH TOH HUA HAI’ FROM ‘SINGHAM RETURNS’ PLEASE!! The freshness is quite similar to the freshness to the freshness of that song, and it just shows you how ahead of their time Shankar-Ehsaan-Loy were at that time. Amit’s arrangements are perfect. Breezy acoustic guitars (Joell Mukherjii) coupled with nice drum beats make for a nice and soothing arrangement. The guitars, as they start the song off, reminded me of another Shankar-Ehsaan-Loy song ‘Dil Kya Kare’ (Salaam-E-Ishq)! The interludes are well embellished with Tapas Roy’s wonderful mandolins. But the star of the arrangements is the vintage spoon-on-a-glass chink sound, and Amit has really overdone himself by using that in such a wonderful manner here. Backing vocals (Joell Mukherjii) in the mukhda constitute the chorus going “Oooohh oooohh” in a wonderful harmony. Sony Music, however, doesn’t reveal the musician credits until the song promos are released, so I can’t really speak about the musicians and backing vocalists. 😦 Arijit’s vocals are the perfect match for this cite composition, and he renders it with ease, and the right amount of cuteness. Kausar’s lyrics are wonderful, a bit in the Gulzar style of writing. Very cute!! Signature Amit Trivedi meets Shankar-Ehsaan-Loy! #5StarHotelSong!!

 

3. Taarefon Se
Singers ~ Arijit Singh

{Looks like Sony Music has misspelled ‘Taareefon’ 😅}

As soon as the next song starts, you can’t help but scream out the name of one of Amit Trivedi’s most famous albums, the one that actually brought him his first huge acclaim in the commercial style of music, ‘Ek Main Aur Ekk Tu’. The composition is a nice, soothing one, done in the traditional jazzy style. But don’t get me wrong. Amit’s jazz in ‘Bombay Velvet’ and this jazz is not the same at all. Over there, he had to compose according to the 1960s Bombay theme, but here, he composed a traditional modern jazz song, no matter how confusing that sounds. 😀 The composition reminded me particularly of ‘Gubbare’ (Ek Main Aur Ekk Tu) but also reminded me of all the songs in that album in general. The soothing tune provides a nice relief to the ears, and works in its intentions. The way the mukhda starts, you would feel that the song won’t really get so catchy, but as it progresses, it grows on you like slow poison, reminding me of yet another such song, Rahman’s ‘Aise Na Dekho’ (Raanjhanaa) which started off sounding like the black sheep of the album, but ending up being at par with the rest of the songs. The hookline of this song has been composed beautifully by Amit, and it just sounds so intoxicating and cute. The antara keeps the intoxication in the song continued, with its nice and easy-going tune. The line “Maana sabse tu, haseen hai nakhrewaali…” in the mukhda is just mind-blowing! Arrangements, are fabulous here too. A perfect result is obtained by Amit’s trumpet+drum couple. Additionally, piano provides the soothing effect in the jazz, while a backing chorus gives the required harmonies. About the vocals, I really can’t say anything except praise Arijit yet again for his brilliant rendition!! Every note of his touches the ears with a nice feel, hence making the already dulcet composition sound even more calm. Kausar Munir just writes yet another set of amazing lyrics, cuteness overloaded! A song that seems to be rejected from ‘Ek Main Auar Ekk Tu’, and placed here, but shines in this album nevertheless! #5StarHotelSong!!

 

4. Let’s Break Up
Singer ~ Vishal Dadlani

The next song is a booming, fun track that brings in to the album a peppy aspect. The composition is a nice and upbeat one which instantly hooks you, and has you listening the whole time. The style of composition which Amit has used here, too, is quite retro. It reminds you of that MJ hip-hop music that Vishal-Shekhar had used in the ‘Bang Bang’ title song. The mukhda starts off the song very ebulliently and makes the listener ready for a fun song to follow. The hookline is where the song falters a bit, looking like Amit has stuck some other song’s hookline to the song’s mukhda, making things sound quite odd. Both parts are good in their own places, but do not go together too well. The first antara is also in the same tune as the mukhda (Amit seems to have taken this style very seriously!) and provides more cheeriness in the song! The second antara is also nice and innovative with a trance-y touch to it thanks to the arrangements that sound unplugged with nothing but claps accompanying the melody. In short, the tune is good except for the mistake that the hookline is. Arrangements are nice and euphoric, with those MJ hip-hop beats overpowering everything else. Drums and fantastic brass instruments provide more attractive music. The second interlude is a typical Amit Trivedi quirky musical piece. Those digital beats are just insane!! Vishal Dadlani was the perfect choice for this song, if not Benny Dayal. He renders the composition with the required effervescence. I just love the way he sings “Basically, basically, basically”. He is the saving grace of the hookline, along with the trumpets. Kausar Munir writes a better piece about breakups than Amitabh Bhattacharya did in ‘The Breakup Song’ (Ae Dil Hai Mushkil). However, due to lack in the catchiness of the hookline, they don’t stand out much! Fun, but won’t stay around for too long!

 

5. Just Go To Hell Dil
Singer ~ Sunidhi Chauhan, Backing Vocals ~ Rajiv Sundaresan, Suhas Sawant, Arun Kamath, Crystal Sequeira & Bianca Gomes

The next song brings in the much-awaited melancholia in the album (Though I don’t like the melancholia of those typical romantic songs, I await the melancholia that people like Rahman, Vishal-Shekhar, Pritam, Trivedi and Shankar-Ehsaan-Loy offer!) The song is a sombre melody that, yet again, grows on you like slow poison. The composition is not really one that I would expect from Trivedi, I would expect such a composition more from Pritam. And I say that because it sounds a lot like Pritam’s ‘Life In A… Metro’ songs and his ‘Yaariyan’ (Cocktail). The composition is nonetheless beautiful. It has all shades of emotion, and doesn’t bore for even one of its five and a half minutes. The hookline is something that will instantly hook you, and that is also where the song starts sounding like a trademark Pritam composition. The mukhda is essentially a beautifully woven piece, with notes strung in line one after the other in a beautiful fashion, making he result phenomenal. There is always a part which takes the song up in such songs, and here, that part is the wonderful “Oh Roothe Dil, Roothe Dil, Roothe Dil…” line. It is from there, that the song starts working its magic on you. Though I don’t always love English hookline in essentially Hindi songs, the hookline in this song blends in well, and turns out to be a success. The antara again, resembles the mukhda and now I’m 100% sure that this is now Trivedi’s style. The second antara gets the composition treading on nice high note that instantly strike a chord with the listener. The provide a kind of climax to the song. The whole composition in all, makes this song the cranked-up equivalent of ‘Gustakh Dil’ from Gauri Shinde and Trivedi’s last album ‘English Vinglish’, which was another “addressing-the-heart-and-accusing-it-of-its-infinite-faults” song. The arrangements win half the battle for the song. A wonderful piano starts off the song, followed by a graceful violin (Jitendra H. Thakur). The guitars (Rushad Mistry & Warren Mendonsa) set in and make the atmosphere of the song even more beautiful. That electric guitar loop playing in the hookline is what actually reminded me of Pritam’s guitar loops in ‘Yaariyan’ (Cocktail) and ‘Kabira’ (Yeah Jawaani Hai Deewani). Drums (Darshan Doshi) are another quintessential but fabulous addition to the song. Sunidhi’s effusive vocals are enough to take the song to sky-level. She sings the whole song with such conviction, it doesn’t make Amit’s emotional composition sound hollow. Backing vocalists support Sunidhi very well, and I loved how the male backing vocalists and the female ones have distinct parts. Kausar Munir’s lyrics are wonderful, and add the pain and angst to the already angsty composition. This one is a sure shot winner! #5StarHotelSong!!

 

6. Ae Zindagi Gale Laga Le (Take 1) / Ae Zindagi Gale Laga Le (Take 2)
Singers ~ Arijit Singh / Alia Bhatt, Composition by ~ Ilaiyaraaja, Music Recreated by ~ Amit Trivedi, Lyrics by ~ Gulzar

 So, for the grand finale to the album, that has done quite good till now, we get a classic song remade by Amit Trivedi. It seems like Sony Music made the makers of the film rummage through the very short list of classic albums they had under their label (almost all went to Saregama-HMV!) and the makers finally found the gem they wanted in that short list. The song was ‘Ae Zindagi Gale Laga Le’ from ‘Sadma’. And, very appropriately, going with the film’s theme (Alia is a cinematographer), Sony Music names these two versions of the remake as “Take 1” and “Take 2”, indicating that it is just their take on the classic, and not an ambitious thing that we call a ‘remake’ nowadays! 😀 The best part about this ‘take’ of the wonderful classic, is that the original composition has been kept intact! Nothing at all has been changed in Ilaiyaraaja’s heavenly composition, and I really appreciate the makers for that! So might Raaja himself! 😀 Even the lyrics by Gulzar saab have been kept as they were in the old song. All that has changed are the vocals and arrangements. So let’s go version-wise. The first version has Arijit behind the mic, with his third song in the album. Who better than Arijit to recreate the magic that Suresh Wadkar had infused into this composition? He sings the song with a nice nasal twang to his voice, and makes sure the glory of the composition remains intact. Amit’s arrangements for this take of the song are wonderful. A nice rock aspect has been given to the song, and the guitars and drums help in making the song appeal to new-age listeners. In the second version, actress Alia Bhatt takes over, and with her sweet voice, renders the haunting composition very effectively, except in the occasional slips here and there. You can tell that her vocals have been incorporated into the track without any tinkering with them. The arrangements here are more of an internationally-appealing type. Such arrangements are getting popular worldwide now, and it is really nice to know that Amit has done this without spoiling the song too much. The EDM sounds nice, and it even goes into a kind of dappankuthu towards the end. These arrangements are definitely more techno than the ones in the first version. What a brave step to recreate this classic, which could’ve gone very bad, hahd Trivedi not used such intelligence! The result is quite safe and amazing! #5StarHotelSong!!


Dear Zindagi turns out to be one of Amit Trivedi’s safest albums till date. He has never tried to get his unconventional touch to such commercial films. Though the film is also not one of SRK’s usual films, I wouldn’t actually be expecting so many songs in the film after seeing the promos. Yet, Trivedi comes up with 8 tracks for the film, and none of them actually have anything going against their favor. Yes, the title track and ‘Let’s Break Up’ do have some minor glitches, but all in all, the album turns out to be a very safe album in that it sounds great, but I’m not really sure about its playlist life! All the songs are very cute and fun to hear, though. Hereby declared: Amit’s cute music makes for a very cute “zindagi“! 

 

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: Tu Hi Hai > Taarefon Se > Just Go To Hell Dil > Ae Zindagi Gale Laga Le (Take 1) > Ae Zindagi Gale Laga Le (Take 2) > Love You Zindagi = Love You Zindagi (Club Mix) = Let’s Break Up

 

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

TRIVEDI’S GROOVY PUNJAB!!! (UDTA PUNJAB – Music Review)

Music Album Details
♪ Music by: Amit Trivedi
♪ Lyrics by: Shellee, Late Shri Shiv Kumar Batalvi & Varun Grover
♪ Music Label: Zee Music Company
♪ Music Released On: 18th May 2016
♪ Movie Releases On: 17th June 2016

Udta Punjab Album Cover

Udta Punjab Album Cover

 

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

To buy this album on iTunes CLICK HERE


Udta Punjab is an upcoming Bollywood crime drama/thriller film starring Shahid Kapoor, Alia Bhatt, Diljit Dosanjh and Kareena Kapoor Khan in the lead roles. The movie is directed by ‘Ishqiya’ and ‘Dedh Ishqiya’ fame Abhishek Chaubey, and produced by Shobha Kapoor, Ekta Kapoor, Anurag Kashyap, Vikramaditya Motwane, Aman Gill, Vikas Bahl and Sameer Nair. In the movie, Shahid plays the role of a rockstar, while Alia essays the role of a Bihari worker. Kareena portrays the role of a doctor and Diljit, the role of a policeman. What brings them all together, is the drug situation. Now, I don’t know how, but that’s what the story basically is. So let’s head over to the music section. The music for this film has been helmed by Amit Trivedi, whose previous albums like ‘Fitoor’, ‘Shaandaar’, ‘Guddu Rangeela’ and ‘Bombay Velvet’ were really outstanding. So, an outstanding album is expected here, too! Amit has created six songs for the album, with one being reprised, so that makes it seven tracks in all. Let’s see, how many of these seven tracks, cross the standards that Amit has made with his previous works!


1. Chitta Ve
Singers ~ Shahid Mallya, Babu Haabi & Bhanu Prtap, Lyrics by ~ Shellee

A movie that revolves around a rockstar, better have a full-on rockstar-styled number. So Amit decides to place that song right in the beginning of the album. But, it is not full-on! This rock number is totally Amit Trivedi style! I’ll explain. While normal rock songs have an overdose of electric guitars and drums, with hardly any place left for the singer to make any noise, this rock song has left a good amount of place for the singer to leave his mark. Instead of the usual rock instruments, Amit has arranged this song completely on a techno base. Amit’s usual quirky sounds grace the song and that is actually the best part of the song. The song starts off very disappointingly, though. After a great techno tune, with some groovy beats, there comes a rap by newcomer Babu Haabi, that seems pretty forced and also, unnecessarily long! The rapper seems to be imitating Badshah, but fails to create anything engaging (not that Badshah always impresses.. That’s rare) so I don’t get the reason behind choosing a newcomer? However, the part that follows after the rap is good enough to at least provide an enjoyable first-time listen. Shahid Mallya’s folksy voice has been utilized unusually well in an upbeat song. Bhanu Prtap, Indian Idol 4 contestant, accompanies him well. Amit’s composition, though, falls flat. It seems like a repetition of the same tune over and over again, and it frankly gets pretty monotonous after a while. The rap interspersed throughout the song just makes it worse. However, Amit saves his weak composition with excellent arrangements. Techno arrangements, and very, very minimal rock guitars (it is hard to catch them.. Hear the rap carefully! 😀 ) and various sound effects lift up the song fantastically. The beats are just boomingly awesome. The flute interlude (Inapakurti D Rao) is just too cute, and again, easy to miss because the song isn’t really too engaging. Shellee’s lyrics are strictly related to the theme, and situational. Nothing great. Enjoyable for the first couple of listens, but gets tiring later on. A decent start to the highly-awaited album!

 

2. Da Da Dasse
Singers ~ Kanika Kapoor & Babu Haabi, Lyrics by ~ Shellee

The next song starts off with the mesmerizing sounds of bells and chimes, which make way for an odd-sounding synthesizer tune that’s really quirky and cute, too! Kanika, with her ever-so-unique voice, starts singing with that distinct twang in her voice, which is so attractive. Amit has composed a beautiful tune for her to sing, a really catchy and addictive one. The hookline is something that is unconventional, but still appeals a lot. The mukhda that leads up to the hookline is just as addictive and groovy. When you first hear the song, it won’t be something which you would think could ever be called as ‘catchy’ of ‘addictive’, let alone ‘soulful’! Though it is not the ideal ‘soulful’ song, it gives you that sense of calmness. It is soulful in a totally different way. The antara has the exact same tune as the mukhda. In fact, there is a rap by Haabi after both the stanzas, and this time, his rap actually works in favour of the song, and doesn’t irritate like it did in ‘Chitta Ve’. The next thing that must be praised is Trivedi’s instrumentation, which actually has a negligible number of actual instruments, everything being totally based on electronic sounds. However, those sounds are entrancing like they never are! Those beats in the hookline are half the reason why it sounds so groovy and addictive. All throughout the song, Trivedi’s unusual, but cool sounds engage the listener, and male the song complete in a sense. Rock guitars and acoustic guitars can be heard in the background in places, but their role is very obscure, being overshadowed by the electronic sounds. Shellee’s lyrics here actually mean something, and are pretty haunting; Trivedi has masked that with his kind of jolly-sounding composition. A highly impressive and innovative track from Amit Trivedi, and a break from Kanika Kapoor’s incessant lifeless dance tracks. #5StarHotelSong!!

 

3. Ikk Kudi / Ikk Kudi (Reprised Version)
Singers ~ Shahid Mallya / Diljit Dosanjh, Lyrics by ~ Late Shri Shiv Kumar Batalvi

The next on the album is a romantic track of the type we rarely hear nowadays. Late Punjabi poet, Shri Shiv Kumar Batalvi’s poem, ‘Ikk Kudi Jihda Naam Mohabbat Hai’ has been revived to feature in the movie, and the way Trivedi has composed it is outstanding. Now this is what I would call ‘soulful’ without any doubts. The universally accepted ‘soulful’. Trivedi’s composition has shades of the 70s in places (I don’t know… I just felt that), and other parts are so contemporary-sounding, that I wonder how those two eras have sounded so well together. There is no actual hookline, as that is the line which starts the song and it doesn’t seem like a hookline because it isn’t forced onto the listeners at every single moment of the song. The mukhda is totally composed on low notes, whereas the antara majestically treads higher octaves, and how! Kudos to Shahid Mallya for managing those high portions so gloriously! It is like some magic to the ears. In the other version, Diljit doesn’t manage to do even half as good, though. He seems to have got stuck where the variations come in. And it doesn’t sound so romantic, either. Also, he doesn’t do all that high-pitch beauty in the antara, and that makes it sound flat. Going on to the arrangements, Shahid’s version has a soothing acoustic guitar arrangement. (Sanjoy Das) It starts off with beautiful guitars, strings and carries on with the magic throughout. A metronome ticks brilliantly to keep the beats, and soft drums grace the song. However, the reprise has a mishmash of rock guitars (Irshad Mistry) and acoustic guitars (Ankur Mukherjee), with more heavily played drums (Darshan Doshi), which reminds one of Amit’s arrangements in ‘Tere Liye’ (Fitoor). It sounds pretty forced. Batalvi’s lyrics shine in the song, and make for a very soothing, romantic listen. A soothing track right after two hard-hitting electronic tracks! Beautiful work by Trivedi! #5StarHotelSong!!

 

4. Ud-Daa Punjab
Singers ~ Amit Trivedi & Vishal Dadlani, Lyrics by ~ Varun Grover

While ‘Chitta Ve’ did have the title of the movie in its hookline, the actual title song comes in now, with the title warped to suit the Punjabi setting of the movie. And what can I say about this track? Whatever I say is too less. Such an electrifying track, with such a groovy beat and energetic vocals, I’ve not heard for a very long time! (I know you think I’m saying that for all songs; well, so be it, because it’s true!!) The composition is something that takes nanoseconds to grow on you, so basically, when it starts, it has fully grown on you. The tune is that catchy, and especially the hookline, which is what it should be for an ideal song. Again, the tune of the mukhda and antara is the same, and again, they are both followed by a rap, quite like the structure of ‘Da Da Dasse’, but after the second rap, the mukhda plays once more, here. This time the rap goes to Vishal Dadlani. The firs time I saw the singers’ names in the credits, I thought it would be some duet with each of them singing some lines like ‘Guddu Rangeela’ (Guddu Rangeela), but then I found out that Vishal Dadlani is only and ONLY in charge of the rap!! And I applaud Trivedi for trying such an experiment. Anyone else, might have given Vishal the whole song too. But here, Trivedi, confident in his own voice retains his voice for the actual song while Vishal handles the rap (which is equally important for the song to be so likable). Trivedi’s unique voice works wonders for the composition and makes it seem like it has been sung in a carefree manner, which is kind of the main gist of the character of a rockstar, isn’t it? And seeing that Vishal too could’ve done it equally well, it was a brave choice to retain his own voice. Luckily, it turned out splendid. The arrangements are just as electrifying and addictive as the other pats of the song. Mostly, they are techno sounds again, but this time, the quintessential Punjabi tumbi plays an important part in the song. The dhols take Vishal’s first rap forward very enjoyably. The plucked strings (guitar?) are awesome, and can be heard in almost every line. The dubstep in Vishal’s second rap is great too, again, later joined by dhols. Varun Grover’s lyrics are suitable for the look of the film — grungy, carefree, rowdy, but nevertheless enjoyable! One of the most electrifying works from Amit Trivedi, and one of his best performances as a singer, clearly showcasing his versatility! #5StarHotelSong!!

 

5. Hass Nache Le
Singer ~ Shahid Mallya, Backing Vocals by ~ Shadab Faridi, Suhas Sawant, Arun Kamath, Lyrics by ~ Shellee

Acoustic guitars coupled with a wonderful aalaap start off this song, to be later joined by divine harmoniums, strongly indicating a genre I love very much, Qawwali. When Shahid Mallya starts off with his singing, you can’t help but get lost in the mesmerizing music. Amit Trivedi’s composition is nothing new or great; in fact, it is quite similar to the tunes of his previous songs of similar genres — and I can smell ‘Sahebaan’ (Guddu Rangeela) and ‘Luv Shuv Tey Chicken Khurana’ (Luv Shuv Tey Chicken Khurana) very strongly. However, the way he has executed it is hands-down beautiful. He knows where to put the right notes, to make it a beautiful song as a whole. The hookline is divine and mesmerizing, as is the mukhda, while the antara treads familiar territory (Luv Shuv…) Shahid has sung both the songs I mentioned above, so the déjà vu is even more. But the way he sings here, is so divine that you might forget about those songs and this song will just throw them out of your brain and establish a place for itself in your brain. It actually feels as of you are in a gurudwara and that is a very unmatchable feeling. 😀 Backing vocalists accompany Shahid well. The hookline sounds a bit like ‘Ude Jab Jab Zulfein Teri’ (Naya Daur), but that makes it better! The arrangements here are just as mesmerizing as everything else. The sublime rhythm produced by the dholaks (Raju Sardar) along with the harmonium (Akhlak Hussain Varsi), is again, out of the world. The acoustic guitar surprisingly fits well into the song. And I don’t know whether there are tablas or not, because the dholaks are sounding suspiciously like them. So let’s say, theyre in there somewhere. 😛 Shellee’s lyrics are also good, and functional for this genre. May i note that they were similar in ‘Luv Shuv…’ too. 😛 The Amit-Shellee-Shahid give another Qawwali, and give nothing new or innovative, but it tricks you and works its magic on you so much, that you end up loving it! #5StarHotelSong!!

 

6. Vadiya
Singer ~ Amit Trivedi, Lyrics by ~ Shellee

An addictive techno tune starts off the last song in the album. The way it has been programmed, to seem as if it is coming closer to you, is awesome. And when Trivedi starts singing, it sounds like some foreign song, so international-sounding the tune is! The EDM really transports the song to some other level, which is enough to compete with songs of international artists. The tune is so entrancing that you are pretty shocked that it has been arranged on an EDM base, because Bollywood usually uses that for club songs which are loud and noisy, and Bollywood also usually uses it wrong (with Pritam and Vishal-Shekhar being the masters, and Amaal Mallik with his ‘Sooraj Dooba Hain’) But Trivedi had used it in a similar way in ‘Shaam Shaandaar’ (Shaandaar), which seemed forced, and also ‘Rangaa Re’ (Fitoor), which was just an oddball in the soothing Kashmiri folk album. After trying decently twice, his hard work actually bears fruit on the third try. Here, he has done better at EDM than he has ever done, and it works out so brilliantly. It feels as if it is a DJ remixing a song, but not as messily as DJs always do. The entrancing tune gets even more enrapturing due to the EDM. The actual composition is not too much, but Trivedi has added interesting interludes of EDM. programming by Trivedi and Sourav Roy is fantastic. I never felt like I’m hearing a Bollywood song; the level of programming is so high. Trivedi’s voice gets drained behind the wonderful programming, but even if the programming wouldn’t have been there, it would’ve sounded beautiful. His steadiness on those long notes is noteworthy. Shellee’s lyrics too, and bewitching and intoxicating. A spectacular grand finale to the album, with a great use of international a level EDM, and an intoxicating composition and lyrics! #5StarHotelSong!!


To be honest, I wasn’t expecting something this good from Udta Punjab after tgey released the first two songs — ‘Chitta Ve’ and Diljit’s ‘Ikk Kudi (Reprise)’. However, little did I know that all the songs I would like were to be released with the full album! And I was surprised like anything! Amit Trivedi has gone to such lengths to make such addictive songs, most of them having attractive electronic music. Never have i respected electronic beats so much; here, they have been done very classily. And also, thanks to Amit Trivedi for actually representing Punjab positively, and not withh those irritating hip-hop, rap and disco numbers that Bollywood has stereotyped Punjab with. Trivedi has created a whole new music for Punjab, and that Punjab, I would call as Trivedi’s Groovy Punjab!!

 

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: This is more difficult than sin cos tan! So I would say hear them all in the same order they have been given in the album… With “Chitta Ve” first so that your listening won’t be spoiled!

 

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

 

Next “dish”: Do Lafzon Ki Kahani, Chefs: Amaal Mallik, Babli Haque, Arjuna Harjai & Ankit Tiwari