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

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


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

Tubelight Album Cover

 

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

To buy this album on iTunes CLICK HERE


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


1. Radio / Radio (Film Version)

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

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

– Amitabh Bhattacharya

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

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

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

 

2. Naach Meri Jaan

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

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

– Amitabh Bhattacharya

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

Rating: 4.5/5

 

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

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

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

– Kausar Munir

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

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

 

4. Main Agar / Main Agar (Film Version)

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

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

– Amitabh Bhattacharya

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

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

 

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

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

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

– Amitabh Bhattacharya

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

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


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

 

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

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

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

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

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

 

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

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

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

Raabta Album Cover

 

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

To buy this album on iTunes CLICK HERE


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


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

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

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

– Amitabh Bhattacharya

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

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

 

2. Raabta (Title Track)

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

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

– Irshad Kamil

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

Rating: 4/5

 

3. Sadda Move

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

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

– Irshad Kamil & Amitabh Bhattacharya

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

Rating: 3/5

 

4. Lambiyaan Si Judaiyaan

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

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

– Amitabh Bhattacharya

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

Rating: 2/5

 

5. Main Tera Boyfriend

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

Na Na Na Na!

– J-Star & Jitendra Raghuvanshi

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

Rating: 3.5/5

 

6. Darasal

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

“Inkaar mein jo chhupa hai woh ikraar ho!”

– Irshad Kamil

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

Rating: 4.5/5


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

 

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

Album Percentage: 71.43%

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

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

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

 

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

 

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

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! 🙂

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! 🙂

SACHIN-JIGAR’S EXPERIMENTAL FLIGHT!! (A FLYING JATT – Music Review)

Music Album Details
♪ Music by: Sachin-Jigar
♪ Lyrics by: Vayu Shrivastav, Raftaar, Mayur Puri & Priya Saraiya
♪ Music Label: Zee Music Company
♪ Music Released On: 3rd August 2016
♪ Movie Releases On: 25th August 2016

A Flying Jatt Album Cover

A Flying Jatt Album Cover

 

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

To buy this album on iTunes CLICK HERE


A Flying Jatt is an upcoming Bollywood comedy/superhero/action movie which stars Tiger Shroff and Jacqueline Fernandez in lead roles, while Australian actor (and retired wrestler) Nathan Jones is essaying the role of the antagonist. The film has been directed by Remo D’Souza, who is back after more than a year after his last hit, ‘ABCD 2’, and produced by Shobha Kapoor, Ekta Kapoor, Sameer Nair abd Aman Gill. The story revolves around a very un-superhero-like superhero, played by Tiger Shroff, and his adventures. The synopsis for the movie under the movie trailer on YouTube says that the movie is an account of a young superhero who is scared of heights! I don’t know how exciting that will be to watch, as the movie already looks like a mixture of ‘Singh Is Bliing’ and ‘Krrish’, so much so that it might even be ‘Krrish 4’, wherein Krrish, through his magical powers, turns into a Jatt. 😀 Anyway, since the movie seems to be targeted at little children, the makers are free to get away with anything. Remo D’Souza cannot make a successful album to his movies without his trustworthy duo, Sachin-Jigar, who are on board for this movie as well, coming back after a year, after their two songs in ‘Hero’, before which their last full album was another Remo D’Souza movie! 😛 Of course, seeing the theme of the movie, something zany is expected, and since it is not ‘ABCD 3748’, ten dance songs aren’t expected, so the duo makes 6 songs. Now, to see how high these six songs fly!


1. A Flying Jatt (Title Track)
Singers ~ Raftaar, Mansheel Gujral & Tanishkaa Sanghvi, Lyrics by ~ Vayu Shrivastav, Rap Lyrics & Vocals by ~ Raftaar

The first song on the album is what Sachin-Jigar are known for. The whackiness, craziness and catchiness of it all is their signature style of composing such songs. The song starts off with an anthemic chant that goes “Ho aa gaye J.A.T.T. maaro saare seeti...” The tune that it has been composed in, is just so infectious, that it actually made me take interest in such a song which I would never have listened to otherwise! The opening line is just too catchy to leave the song halfway and dismiss it as stupid or bad. The “Pagg, peg, swag, set” chants are just as catchy and crazy. The base composition is good as well, and Mansheel Gujral, contestant of 2014’s ‘Raw Star’, renders it with the right amount of gusto and gangsta-swag! The composition is more like a Punjabi pop song, butt the treatment is purely Sachin-Jigar! The hookline is something that will grow on you as you keep progressing through the song; it is repeated so many times, that you end up loving it unknowingly! The mukhda has the perfect gangster-pop feel to it, while the first antara follows the same tune. It is the second antara, where Sachin-Jigar introduce a clever twist, with a little girl singing about “Flying Jatt”, who is apparently her boyfriend. And that girl is none other than Sachin’s own daughter, Tanishkaa Sanghvi. She sings the little girl’s part soooo cute, and it sounds good in the song, which is obviously made for children to pull their parents to the theaters in order to watch a superhero movie. Raftaar’s rap constitutes most of the song, and it is surprisingly very entertaining! Maybe because it isn’t unnecessarily added into a song that doesn’t need it! In fact, it gels in quite well with the song, which idolizes the protagonist, a flying Sikh superhero. Sachin-Jigar of course, can’t make a peppy song without some insane additions randomly thrown into the song. This time, it is the insanity of the chorus going “Pagg, peg, swag, set” followed by somebody singing “aajao aajao aajao saare!” It is so random, that you end up loving it so much! The arrangements are apt, with the whole song placed upon a techno base, which is addictive and peppy. Of course, the duo place an unexpected twist in the form of typical Punjabi dhols in the hookline once, and that part sounds awesome! The lyrics by Vayu are cool, and suit the superhero-theme. Raftaar’s rap is a very enjoyable “be-good” kind of rap, which again, will help the superhero attract kids’ attention! A title track that is very experimental and showcases Sachin-Jigar’s ability to get listeners (old or young), hooked! #5StarHotelSong!!

 

2. Toota Jo Kabhi Taara
Singers ~ Atif Aslam & Sumedha Karmahe, Lyrics by ~ Priya Saraiya

The next song is a haunting romantic song, composed beautifully on a scintillating background. The song starts off with sounds that indicate nighttime and a field with crickets chirping in it, with a grand orchestration accompanying it. And then the real magic starts, when the piano kicks in with such a haunting and catchy tune, which actually is the hooktune of the song. The silence of it all makes you so serene, that it is hard to believe! The duo’s composition is pure black magic, with notes that touch your heart and how! When the piano gives way to Atif’s voice, which starts off with a dulcet melody, you get ready for the best romantic song you’ve heard in quote some time, but then, the duo surprises you with a very unexpected high-pitched, grand second line, which builds up to the hookline, which is just as calming and soothing. The structure of the song is the most interesting thing of all. After the hookline, the singers hum the tune which had started off the song (on piano), and it sounds so heavenly and extremely lovely! The duo follows the new-age trend of composing two antaras with different compositions, and give one completely to Atif, while the other goes completely to Sumedha. Both the antaras are bliss, with haunting notes galore! The second one though, is my personal favourite, with Sumedha (who has worked with the duo before in the movie ‘Teree Sang’) singing in the low octaves so beautifully, that it sounds as if she is singing specially for you! Atif’s antara, on the other hand, treads higher octaves (yet not too high either) with a very melodious tune. The way he sings some words rapidly to bridge one line to the next is a very ingenious trick played by the duo! It sounds so magical! About the arrangements, I can write a whole essay!! Sachin-Jigar have set such an entrancing backing rhythm to the song, made of nothing but techno sounds, which are just so enchanting! The way they’ve used the instruments is mind blowing and spectacular; a perfect blend of haunting strings and lilting flute, and that beautiful piano loop will stay in your mind for a long time! Sparkling sounds accentuate the fantasy-like, dreamy composition very well. Finger snaps and brisk strings in the first interlude grab your attention, while the second interlude is highly reduced, with only a flute playing that haunting tune that usually plays on the piano, followed by Sumedha’s antara. The magic of the strings though, is just unmatchable. A great assortment of high and low pitched strings make the listening experience worthwhile. I can just imagine how it is going to sound in the theaters! Priya Saraiya’s lyrics are the icing on top of the extra-sweet cake. She writes the song wonderfully, making many references to dreams herself. So what wrong is it to call the song a dreamy one?? Nothing, right? The dreamiest song I have heard recently! A masterstroke by the whole team behind the song! #5StarHotelSong!!

 

3. Khair Mangda
Singer ~ Atif Aslam, Lyrics by ~ Priya Saraiya

The duo bring Atif back to sing the next song, which is another haunting, dreamy and lilting, but very emotional and heart touching song. The composition has dark shades and is pure black magic, something that instantly makes your hair stand on end and sends a chill down your spine. The composition is highly reminiscent of the duo’s own song ‘Chunar’ from Remo D’Souza’s previous movie, ‘ABCD 2’, but still manages to strike a chord with the listener. Treading on the emotional notes, the composition still has a charm that will make you ready to hear it again and again, for a countless number of times. The mukhda is quite soft, until it gets into the high notes just before the hookline, which is when the goosebumps start to appear. The hookline itself, is exceptionally hooking and haunting. The way Atif introduces small variations in the tune each time he sings “khair mangda“, is remarkable. The antara continues with the darkness, but in a different way. The duo has churned out a trademark Rahman-styled composition, something he would constantly give in the 90s. The arrangements are mostly guitars, and other digital sounds that help the song sound more graceful. The gracious strings that elevate the thrill in the song, are wonderful. Everything else is almost only done by the guitars, and some wonderful chimes, which make it sound very enchanting. The song is tailor-made for Atif, and he doesn’t disappoint, proving how beautiful a singer he is, yet again. The humming he does in the start and in the interludes, is mind blowing, though very short! Priya, on the other hand, is adept at writing heart-touching lyrics, which she shows yet again here, as well. Though most of it is in Punjabi, the listener can instantgy connect to the words and it grows very soon. A song that is on an emotional high, something that needs repeat listens to discover each and every aspect of the song. in other words, another masterpiece by Sachin-Jigar!! #5StarHotelSong!

 

4. Bhangda Pa
Singers ~ Vishal Dadlani, Divya Kumar & Asees Kaur, Lyrics by ~ Mayur Puri

After the pathos, the duo is back to what they love, and what we love them doing! And that is, an upbeat, happy-sounding track that will get you up and dancing. Of course, such songs are usually very situational, and you don’t always love them before you see them in the movie, with the surrounding content and their placement. Made with the intention of entertainment and enjoyment, this song is a dance fest. The duo’s composition is definitely nothing great, and a quite typical Punjabi bhangra track, but does manage to entertain you for as long as it lasts. The mukhda is a very interestingly structured one with very fast-paced lines, fun to hear being sung so rapidly by Vishal Dadlani and Divya Kumar, the powerhouse male voices behind the track. The hookline is not so addictive, but as I said, it may grow after watching the movie. The first antara has the same tune as the mukhda, and again, keeps you listening for that masterclass singing by both the lead male singers, each having their own unique voice texture and quality. Vishal’s husky tone and Divya’s cutting-edge-like voice are a very interesting and compatible combination. The second antara, however, sees Asees Kaur, Zee Music Company’s pet singer, singing a quite ordinary giddha stanza which doesn’t entertain as much as her “timb lak lak timb“s interspersed throughout the song, which are insane! Arrangements are typical BHANGRA arrangements, but so energetic, dynamic and booming, that they end up making you like the song. The dhadd and dhols are powerful and just awesome. Of course, the duo can’t make a song with straightforward typical arrangements, so they do add some techno sounds, which aren’t so effective. The lyrics by Mayur Puri are enjoyable, and fun even in their nonsense manner. A dance song which clearly shows how the makers underestimated Sachin-Jigar, and eventually extracted an ordinary dance track out of them!

 

5. Beat Pe Booty
Singers ~ Sachin Sanghvi, Jigar Saraiya, Vayu Shrivastav & Kanika Kapoor, Lyrics by ~ Vayu Shrivastav

A techno beat lures you into the next track, a dance track totally arranged on addictive techno and EDM beats. Of course, a track is needed to show off Tiger’s dance moves, and this seems to be the track made for that purpose. Sachin-Jigar are at their best with the composition, which is an insanely catchy one even in its simplicity and Yo-Yo-Honey-Singh-ishness (Yup, I invented that word!! I hope its meaning has stared back at you while you were staring at it!) Just like their own song ‘Johnny Johnny’ (Entertainment), the duo has made a very simple and monotonous composition, and they are apparently very confident, that it will be a superhit. And why shouldn’t they be? The song has everything you need for a catchy song, and it sounds PERFECT for its genre. The beats are insanely catchy (I don’t know how many times I’ve already said that, but they are). The composition can’t get out of your head and the vocals are so addictive! Talking about vocals, Sachin-Jigar along with Vayu sing the male parts good (with special care taken not to make it sound too perfect, either, which would spoil the fun!) But it is Kanika’s short part that won over my heart. The part when she says “nacha de, mainu nacha de, nacha de mainu” is so catchy! And after that, when she sings the song’s antara, her sweet and addictive voice makes magic there too. To think that she’s working with Sachin-Jigar for the first time!! The Afro feel of the song makes it even more catchier than ever. Lyricist Vayu writes words that are enjoyable as well as humorous, and they go well with the addictive and sultry nature of the song. All in all, the song is an enjoyable dance track, where the duo full-fledgedly shows their experimentation capability! #5StarHotelSong!!

 

6. Raj Karega Khalsa
Singers ~ Navraj Hans & Daler Mehndi, Lyrics by ~ Priya Saraiya

To end the album on a very dynamic note, the duo now brings into the album a kind of heavy metal song. The song is a spectacular one, with a splendid use of rock guitars and drums. Electrifying electric guitar strums start the song off, until a composition that anyone would usually expect Vishal Dadlani to sing, sets into pace, with someone unexpected, Navraj Hans, (Hans Raj Hans’ son) rendering it with an immense amount of energy, and sounding awesome in the bargain. He is accompanied by Daler Mehndi in some places, who is more of a backing singer; the main parts of the song go to Navraj. Daler excels though, with his aalaaps in the background, and his occasional one-or-two lines in the song. He has some lines in the first interlude which he aces with his wonderful high-pitched voice. The duo’s composition is really emotional and also motivational at the same time. The song has those positive vibes in it, that make you feel both proud and sentimental at the same time. The hookline, “jaako raakhe saaiyaan… ” is phenomenal! This is probably another rock song (which usually don’t really appeal to me) which has appealed to me this much after Sultan’s title track, but of course, this one is less commercially appealing. The choice of singers is very experimental as well. Using the two rustic voices, the duo has succeeded in bringing home the idea that desi-flavoured rock songs do sound good! 😀 Navraj with his powerful voice, and Daler paaji with a just as powerful voice complement each other well to infuse the required energy into this quite darkly-composed rock song. Arrangements by the duo are fab, and they take liberty to add in techno elements, orchestral strings and trumpets to make the song sound less monotonous with just guitars and drums! Priya’s lyrics are a wonderful ode to the Sikh community and yet, are a kind of motivation for the whole world. The duo manages to end the album on such a brilliant note, that you are stunned after you finish hearing it!! Fantabulous!! #5StarHotelSong!!


A Flying Jatt turns out to be an apt album for a comedy/action/masala superhero film as this. Sachin-Jigar have introduced high levels of variety into the songs and each song sounds different than the next. The songs are enjoyable and they have not only created buzz to bring people to the movie, but will also be played after the movie releases too! All six songs are miles apart from each other and that is the USP of the album. To sum up, I would say that the duo, who is back after a year, is still flying with the same amount of variety and experimentation with which they had left us!! 

 

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: Toota Jo Kabhi Taara = Khair Mangda > Raj Karega Khalsa > Beat Pe Booty > A Flying Jatt (Title Track) > Bhangda Pa

 

Which is your favourite song from A Flying Jatt? 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! 🙂

THE BAJRANGBALI OF BOLLYWOOD MUSIC IS BACK!! (BAJRANGI BHAIJAAN – Music Review)

Music Album Details:
♪ Music by: Pritam Chakraborty
♪ Lyrics by: Mayur Puri, Amitabh Bhattacharya, Kausar Munir, Shabbir Ahmed, Neelesh Mishra
♪ Music Label: T-Series
♪ Music Released On: 8th July 2015
♪ Movie Releases On: 16th July 2015

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Bajrangi Bhaijaan Album Cover

 

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

To buy this album on iTunes CLICK HERE


Bajrangi Bhaijaan is an upcoming Bollywood action/comedy/drama (let’s say masala, but not quite masala) film, starring Salman Khan, Kareena Kapoor Khan, Harshaali Malhotra and Nawazuddin Siddiqui in the lead roles. The film is directed by Kabir Khan, and produced by Salman Khan and Rockline Venkatesh. The story of the film is about how a man named Pawan Chaturvedi (played by Salman Khan), a devout Hanuman bhakt, finds a small mute girl from Pakistan (played by Harshali Malhotra), who has wandered across the border into India. Since she has no way to get back over the border, it is up to Pawan to get her safely back to her home. But instead of being excited for the film, as is the case with many Slamn Khan films, this time, I’m more excited about its music. Why, you ask? Because the man behind it, is none other than Pritam Chakraborty, returning after a one year sabbatical after doing ‘Holiday’. Yes, it is Pritam’s third time working with Salman, if you count the single from ‘Bodyguard’. That just increases the expectations more, and from Pritam, the expectations are always sky-high, being one of the most renowned composers of the industry. Therefore, it was a pleasant surprise when news came out that Pritam would compose for this film. So, let’s see what Pritam comes up with as an Eid Dhamaka, and as his comeback!!

NOTE: Despite me being a huge fan of Pritam, the review is going to be totally unbiased, and will be judged fairly, just as all albums are.


1. Selfie Le Le Re
Singers ~ Vishal Dadlani, Nakash Aziz, Pritam, Rap By ~ Badshah, Additional Vocals ~ Aditya Pushkarna, Lyrics by ~ Mayur Puri

Something is just compulsory in a Salman Khan film. And that something is, an introductory song featuring Salman, which projects him as either, the most virtuous human being ever in existence (e.g, ‘Bodyguard’ title song, ‘Baaki Sab First Class Hai’ from ‘Jai Ho’), or the most naughty and casual human being in the world (e.g, ‘Character Dheela Hai’ from ‘Ready’, ‘Jumme Ki Raat’ from ‘Kick’). And the first song of the album, falls in the former category. It projects him as the biggest devotee of Hanuman that ever exists! And for such a song, mass appeal is a must, catchy tune is a must, great programming is mandatory, and lyrics have to spot-on and such, that it should stay with us for quite some time after the song plays in the movie, creating an impact of the character’s character. (That sounds confusing, but just read it again — it’ll be clear sometime or the other. :p ) The song, which is a fulltoo masala dhamakedaar number introducing the audience to the protagonist, works very well as far as mass appeal is concerned. The tune is really catchy, especially the hook going “Ae Le Le Ae Le Ae Le Ae Le Le Le Le Re”, with Nakash delivering with the perrrfect amounts of energy and gusto. Pritam, who always brings some memorable, crazy and infectious tunes, has proved yet again what an expert he is at it. Moving on to arrangements, it is really, really weird and unusual having techno synthesizer sounds in a desi song, but Pritam manages to make it sound as if it is the convention for years, to have techno sounds in such songs. Percussion of dhols, also probably techno, sounds great as well. Harmonium bits please the ears too. The vocals, done by an ensemble of singers, and headed by Vishal Dadlani are right up to the mark. Vishal’s spontaneous energy can never cause harm to any song at all, by now I have understood this fact. The first antara, he delivers flawlessly. Badshah’s rap makes up the second antara, another impressive rap in a row, after that awesome one in ‘Vande Mataram’ (ABCD 2). This one, he’s not rapping as a patriot, but a devotee of Hanuman, and the lyrics and rap both sound great! The only thing that really upset me here, is Mayur Puri’s lyrics. The creativity in the mukhda with the use of pure Hindi words, if applaudable, but that is all ruined when the title of the song comes in — “Selfie”. It doesn’t make sense at all. The song should have been only about a Hanuman devotee, and didn’t need any scope of Selfie whatsoever, in my opinion. Of course, it’s not his fault, but the makers’ fault. Selfies are in demand nowadays, and so will this song be, which is great in all aspects, except the ‘Selfie’ aspect, which makes the lyrics sound forced, and also the tune of the title line!

 

2. Tu Chahiye
Singer ~ Atif Aslam, Lyrics by ~ Amitabh Bhattacharya

Now time for some romance, after the craziness. Though this song is a romantic song, it has been given a treatment completely different from what is given to a romantic song. Yes, it starts like a normal romantic song, with soft guitar riffs, that instantly make you nod your head, but as soon as the hookline plays, you will understand a bit what I’m talking about, and will completely understand it by the first interlude. Pritam has given the song a total EDM treatment, with club beats, but still retains the soulfulness and calmness of the song. The groove is so funky, you can’t resist to nod your head, not as you nod it to other EDM tracks, but a bit calmer than that. Atif Aslam, singing for Pritam for the umpteenth time, but for Salman, the first time, nails the composition, but his slightly wavery voice may seem unusual at first. Later on, as you get accustomed to it, you would not imagine anybody else crooning this number. His transition from low notes to high notes within a millisecond is just extraordinary! Though I mentioned that Pritam has given a complete EDM treatment to the song, there are some parts which have wonderful instruments performing along with the techno beats. For example, strong violins and a heavenly sarangi in the first interlude, and strings in the antara, guitars almost everywhere else, they all lessen some boredom that EDM might give to certain lot of people, who don’t really like EDM (like me!) The wonderful kids’ chorus going “Woh oh oh..” is like an interesting advertisement on TV — it doesn’t let your mind wander off even in breaks! (interludes 😉 ) The composition is just beautiful again. Though I have to admit that the mukhda sounds very ordinary, the antara is something not anybody can do! The way that each line is at a pitch higher than the previous is just so pleasant! The best part of the song, however, is arguably the last one minute of the song. Pritam composes a sort of conclusion (it doesn’t seem like a proper antara) which takes the form of a gripping climax, if a song has one. The composition of that part is just something that invokes goosebumps. The way Atif says “Chhuann” and “Agann” is praiseworthy, and also blissful. Again, lyrics are nothing to be boastful about, but this time, they at least go well with the song and don’t sway from the theme. They appeal to the ears, however simple they are. Isn’t that Amitabh’s specialty? To make simple songs sound sweet, and philosophical songs sound genius, and other humorous songs do the needful! 😀 The Pritam-Atif combo hasn’t lost its spark even outside the Tips banner! A wonderful EDM-infused love song, sure to have you grooving even if you are sitting still, in one place! #5StarHotelSong!!

 

 

3. Aaj Ki Party
Singer ~ Mika Singh, Lyrics by ~ Shabbir Ahmed

It is a Salman Khan film, yaar! How can it not have an out-and-out celebratory and solely promotional track that would help the film gather audiences?? So of course, here it comes in the form of ‘Aaj Ki Party’, and Eid celebration track sung by the ideal desi party track singer, Mika paaji. Pritam goes the ‘Gandi Baat’ way, with a 6/8 standard dappankuthu rhythm, with very addictive beats. Here, instead of South Indian instruments as the nadswaram, thavil though, Pritam uses synthesizers to grace the song, supported by dhols, again technologized, quite like “Selfie Le Le Re” arrangements. Mika delivers the song very energetically, and is one of the main reasons to keep the listeners engaged for most of the time. The presence of a female singer would have been fun though, in such kind of a song. The kids’ chorus features in this song too, and at this point, it really makes me wonder who these kids are, because they do an awesome job here too, singing a vocal rhythm that is just so crazy, that you have to repeat it yourself, just for the sake of trying something stupid, but fun! What I’m talking about is: “Dum Dum Dukur Dukur, Dum Dum Dukur Dukur, Dum Dum Dukur Dukur, Dhing Fatafat Dhingdi Popo!!” Weird, but the next cool thing. Composition of the mukhda may be pretty ordinary, but the antara sees things getting more interesting, with something really unexpected, and that is a calm-ish and cooling portion in a dance track, the effect off which is magnified because of the arrangements. Shabbir Ahmed writes here too, what he always writes, and he seems to be an expert of what all happens at parties, which is why he always gets to write such songs. 😂 Not impressive, but the composition helps it to sounds at least a bit catchy. The repetition of the mukhda once more at the end, seemed really unnecessary, and has just increased the length of the song, with nothing new than what we already heard in the other parts of it. That’s why it stands as long as four and a half minutes long, when it could have been just three and a half or four. Enjoyable, but isn’t going to have a very long playlist life!! Good for promotional purposes, though, as it is a Salman film!

 

4. Bhar Do Jholi Meri / Bhar Do Jholi Meri (Reprise)
Singers ~ Adnan Sami / Imran Aziz Mian, Song ~ Traditional, Music Recreated By ~ Pritam Chakraborty, Original Lyrics ~ Traditional, New Lyrics ~ Kausar Munir

Finally, a song which I feel, has been added because it is actually important for the narrative, without caring about whether it will be loved by people or not, and without having any worries of criticism. A Qawwali track is the next in this album which has given nothing but variety until now, but only one excellent track. It being a Qawwali really made my hopes rise up like a rocket at launch time. And I was not at all disappointed. It features in two versions, so it is a double the treat for Qawwali lovers like me. Someone who you would never imagine could pull off a Qawwali, sings the first version, and that somebody is Pakistani pop singer Adnan Sami. No complaints, though! With his voice, he brings a total variation to the Qawwali genre, and those variations really bring a smile on the faces of people who love innovative things. His bold and distinct identifiable voice is a pleasant surprise in the track, and his various nuances make the ambience even more spiritual. The other version is sung by Imran Aziz Mian, who had sung ‘Main Sharabi’ for Yo Yo Honey Singh some three years ago. His voice sounds more like a traditional Qawwali artist’s, and hence doesn’t quite appeal, though it is perfect conventionally. Of course, I would choose the unconventional stuff over the conventional stuff, which is why Adnan won my heart here. However, Imran’s beautiful adlib-like intro sounds better than Adnan’s, with shades of the intro of Pritam’s own ‘Ye Tune Kya Kiya’ (Once Upon Ay Time In Mumbaai Dobaara). Also, his improvisations at the end of the track sound really perfectly placed, as if preparing the audience for some impending suspense right after the track ends. Talking about the composition, the mukhda has been recreated by Pritam from the classic folk Qawwali of the same name, previously sung by prominent voices as Sabri Brothers and Nusrat Fateh Ali Khan. Pritam has composed the antaras though, and how greatly! The spiritual factor doesn’t disappear at all, and the emotional connect is present throughout the track. Especially the second antara really upholds the divinity of the track. New lyrics in the antaras, by Kausar Munir are excellent, and again, sound really sacred. Arrangements are not very innovative, just tablas and dholaks, but perfect for a Qawwali; I just wish Pritam would’ve experimented a bit regarding them. His touch though, is recognizable in the interludes, when those harmonium, bulbul-tarang and tabla pieces kick in, reminding listeners of the ‘Once Upon A Time In Mumbaai’ albums. Even though I’ve not heard the original, I’m sure the makers have done utmost justice to it in terms of lyrics, arrangements, new composition and also vocals! Spiritual in the true meaning of the word! #5StarHotelSong!!

 

5. Chicken Kuk Doo Koo
Singers ~ Mohit Chauhan & Palak Muchhal, Yodeling By ~ Wylie Gustafson & Nernhard Betschart, Lyrics by ~ Mayur Puri

Next up on the album is something that defines Pritam. Time and again, he has been churning out crazy, yet lovable and cute songs that just get glued into the folds of your brain, and can never be removed from there, after that. Something exactly like that, is what makes up the next song, a silly, groovy and wild song that does nothing but what I have described above. Palak starts off the track, chanting some humorous lines in a voice, sounding the least ever like her normal voice in other songs. The sound effects accompanying her in these lines are just even more catchy. In no time, the song breaks into full sprint, with an utterly sweet Goanese flavour dominating the song, and awesome Hyderabadi-flavoured nadaswaram making short but unforgettable interruptions throughout. And to lead the song in the vocal front, we have someone who has been rarely heard from in Bollywood recently, the man with a golden voice, Mohit Chauhan. And he carries the song totally on his shoulders, with the perfect expression required for a comic song like this, yet not making it sound extremely immature either! The way he delivers some words, leaves a great impact on the listeners, sounding really addictive. Of course, another reason that he sounds so great, is that the underlying composition itself, is just irresistible. With shades of ‘Tu Mere Agal Bagal Hai’ (Phata Poster Nikhla Hero), it has just the right mixture of entertainment, comedy and catchiness, not to mention likability. It has a very sweet overall feel to it, which makes it stay with you for long. Palak barely has any important parts after her intro, but can be heard in the antaras, supportung Mohit, oh-so-sweetly. Pritam’s Goan-meets-South arrangements do create an impact, but those yodels are what really stand out in the song, very efficiently carried out by Wylie Gustafson & Nernhard Betschart. The guitars impart the Goan feel, nadaswaram does the same to bring a South flavour, and lively chicken sounds entertain throughout the song. The song sounds even more flavoursome, thanks to Mayur Puri’s impressive and entertaining lyrics, showcasing everything food. It makes the song sound very delicious! Too much cuteness! But who’s complaining! A must-not-miss! #5StarHotelSong!!

 

6. Zindagi Kuch Toh Bata / Zindagi Kuch Toh Bata (Reprise)
Singers ~ Jubin Nautiyal / Rahat Fateh Ali Khan & Rekha Bhardwaj, Lyrics by ~ Neelesh Mishra

So far, the album has been quite lively, energetic and entertaining. Also, not to mention, slightly massy. However, the wishes of those who were craving for a thought-provoking and pensive melody, will finally be fulfilled with the next track on the album. A no nonsense, utterly serious and philosophical song is up next in the album, something that would leave everyone awestruck. And that includes me. There is a slight confusion as to which version is the reprise, so I’ll just call them the ‘solo’ version (by Jubin) and ‘duet’ (by Rahat & Rekha) henceforth. So, first comes the solo version. Jubin finally gets something he deserves, and that is, his first song with a mainstream music director like Pritam, in a mainstream film like ‘Bajrangi Bhaijaan’. Guitar plucks make way for him into the melody, and when he starts, I have to admit, he sounds not so effective, but his voice works like slow poison, getting better and better with each passing second. The composition with endless twists and turns, makes you just want to lay down and listen to it on end for a long time, nonstop. The slight nasal twang in Jubin’s voice makes things better for the listener, and also makes the song appeal to whoever’s listening. The hookline has been crafted with uttermost love and passion, something that Pritam can do with his eyes closed. The conclusion, with the Western-style choir, makes the song end on an intense note, and does not disappoint at all. In the duet version, similar notes start off the song, but here, Rekha soon takes over with a short aalaap until Rahat steals the limelight from her, with his high-pitched, soulful and rustic voice. Conversely, the arrangements in this version are more to the Western side, with a dynamic soft rock template, consisting of guitars and drums, in a fast pace. This version, too ends with an awesome improvisation, this time with the Western chorus singing something, while simultaneously, Rekha sings some beautiful classically-crafted lines in the foreground. Lyrics by Neelesh are something you just can’t afford not to pay attention to! If you miss the wonderful lyrics, it’s something truly unfortunate for you. They’re just brilliant, and the same in both versions. Something you can’t miss!! Very thoughtful, and one of the best Salman songs in recent times! Both versions are great in their own places! #5StarHotelSong!!

 

7. Tu Jo Mila / Tu Jo Mila (Dekhna Na Mudke) / Tu Jo Mila (Reprise)
Singers ~ K.K. / Javed Ali / Papon, Lyrics by ~ Kausar Munir

To bring the album to a conclusion, we have another soft and melodious song, this one appearing in three versions! It would take you back to the ‘Tum Mile’ days, mostly because of the two versions by singers like K.K. and Javed, whose songs from that album were stupendous. It really is a treat to hear them singing for Pritam again after two years. K.K’s version comes up first, and he proves that he is an expert at such songs, his sugary-sweet voice just perfect for such compositions. The arrangements, mostly soft guitar strums, which get loud only in the hookline, and that too, the pleasant kind of loud. Breathtaking strings are also present in the arrangements. The sitar is a wonderful surprise thrown in by Pritam, and takes listeners aback when they hear its inclusion in a Westernized melody as this one. The second version has Javed coming behind the mic, and he too, sings with maximum care and ease, proving that he is no less than K.K. in singing such songs, either. His diction in some places is intentionally different from what it should be, like ‘Dharkan’ for ‘Dhadkan’, but it just sounds sweet and cute that way. His version sounds more sweet than K.K’s but that might be because the arrangements are slightly, just slightly, softer, and his voice texture is more fine. Lastly, comes Papon’s version, totally different than the other two in both the treatment, composition and even arrangements. It turns the positive song, into a slightly repentful and mourning song, with some shades of sadness and retrospect. Papon’s metallic voice helps this feel to enter the song very easily, and his wonderful vocal aalaaps, are a treat to hear. The antara has been given a new tune, not as catchy and instantly addictive as the other two, yet applause-worthy, mostly because of the intense arrangements that invoke those goosebumps. It has been given a truly theatrical feel to it, instead of the filmy romance that the other two have. Kausar’s lyrics are commendable, and worth noticing. Pritam’s tune might sound like it has been heard before, but is highly addictive nonetheless, and doesn’t let your mind wander anywhere else. A song which provides a grand finale to this huge, and beautiful album!! Pritam back in form!! #5StarHotelSong!!


Bajrangi Bhaijaan is one of the best albums for a Salman Khan-starrer in recent times. An assorted basket of variety, it offers silly, romantic, pensive, humorous and catchy stuff all in the same container. Not so many moments are in the soundtrack, when the listener gets bored. Rather, there are numerous moments when he is left spellbound and mute, just like the little girl in the movie. Pritam’s comeback after a whole year, and it was really worth the long wait!!

 

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: Zindagi Kuch Toh Bata > Tu Jo Mila > Tu Chahiye > Chicken Kuk Doo Koo > Bhar Do Jholi Meri > Aaj Ki Party > Selfie Le Le Re

 

Which is your favorite song from Bajrangi Bhaijaan? Please vote for it below! 🙂

 

Next ‘dish’: Bangistan, Chef: Ram Sampath