MULTICOMPOSERS KI KHATTI-MEETHI BARFI!! (BAREILLY KI BARFI – Music Review)

Music Album Details
♪ Music by: Tanishk Bagchi, Arko Pravo Mukherjee, Tanishk-Vayu, Samira Koppikar & Sameer Uddin
♪ Lyrics by: Shabbir Ahmed, Pravesh Mallick, Arko Pravo Mukherjee, Tanishk-Vayu, Puneet Sharma & Akshay Verma
♪ Music Label: Zee Music Company
♪ Music Released On: 11th August 2017
♪ Movie Releases On: 18th August 2017

Bareilly Ki Barfi Album Cover

 

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

To buy this album on iTunes CLICK HERE


Bareilly Ki Barfi is an upcoming Bollywood rom-com, starring Kriti Sanon, Ayushmann Khurrana, and Rajkummar Rao in lead roles. The film is directed by ‘Nil Battey Sannata’ fame Ashwiny Iyer Tiwari, and produced by Nitesh Tiwari and Shreyas Jain. The movie revolves around the Mishra family, who are in search for a suitable groom for their daughter, played by Sanon. The complexities and pressure of getting married is too much for Bitti, Sanon’s character, and she decides to run away. On the run, she finds a book, ‘Bareilly Ki Barfi’ at the train station, and picks it up, only to realise that the female protagonist thinks a lot like her! Thus she embarks on a quest to look for this someone who thinks so much like her. The story seems very content-driven, but that’s not to stop it from having some good music; in fact, most content-driven films have better music than others! Ashwiny Iyer Tiwari’s first film, ‘Nil Battey Sannata’, had an awesome album completely composed by a newcomer duo, Rohan-Vinayak. This time, the makers go for the multicomposer route. Tanishk Bagchi, Tanishk-Vayu, Arko Pravo Mukherjee, Samira Koppikar and Sameer Uddin are composing the music for this film. As I am expecting an overall good album, and since every name is a known name (even Sameer Uddin, who is the one who had done those remixes in ‘Bluffmaster’ long ago) I don’t think I need to say what I expect from each of them individually! So let’s help ourselves to this ‘Barfi’!


1. Sweety Tera Drama

Singers ~ Dev Negi, Pawni Pandey & Shraddha Pandit, Music by ~ Tanishk Bagchi, Lyrics by ~ Shabbir Ahmed, Rap Written and Performed by ~ Pravesh Mallick

An aptly U.P. flavoured start to the album, the first song is a fun and upbeat dance number, along the lines of ‘Badrinath Ki Dulhania’s title song. Coincidentally, the man behind it is Tanishk, the composer of that song. The composition is very fun and enjoyable, and the composer has kept it relevantly short; such songs are least enjoyable if they ramble on for four minutes and longer. The shortness gives it a crisp feel, and leaves you wanting more. There is one mukhda and one antara, both composed entertainingly. The arrangements too resemble those of ‘Badrinath Ki Dulhania’ title song, with the dholaks (Naveen Sharma), harmoniums and bulbultarang (Pradip Pandit) and quirky digital beats. The star music is amazing, especially that sarangi bit by Sangeet, that is so easy to miss! Tanishk adds very fun sound effects like that rap by Pravesh Mallick, then a random but funny “Myujik” that just plays anytime. His digital instrumentation is fun as well. The song has been sung by three singers and the rapper. The rapper, as stated before, brings out the U.P. flavour very well, and begins on a promising note. Dev Negi is his usual fun self, while Pawni and Shraddha, the two female vocalists, with two lines each, make a difference even with the little scope! Shabbir Ahmed’s lyrics are fun too! A fun dance number that strives to be simple but sweet!

Rating: 4/5

 

2. Nazm Nazm / Nazm Nazm (feat. Ayushmann Khurrana) / Nazm Nazm (feat. Sumedha Karmahe)

Singers ~ Arko Pravo Mukherjee / Ayushmann Khurrana / Sumedha Karmahe, Music by ~ Arko Pravo Mukherjee, Lyrics by ~ Arko Pravo Mukherjee

Arko steps forth to present his song, and as is the requisite whenever Arko composes for a multicomposer album nowadays, he gets to do the romantic song of the album. Well, since he is so good at making these, it seems logical. This song here, is yet another example of his romantic song composing skills. The composition is charming, but there is one small drawback, and that is that it takes a long time to grow. It consists of many twists and turns, and isn’t instantly hooking like most of his other songs. The second antara is particularly beautiful. The hookline manages to get the audience charmed. The lyrics though, are beautiful, and are another instance of how beautiful Arko himself writes!! The song appears in three versions, though, and one does feel that it is one too many. Arko doesn’t sing this song as well as he sang ‘Kaari Kaari’ (Dobaara), ‘Dariya’ (Baar Baar Dekho) or ‘Saathi Rey’ (Kapoor & Sons), and thus, his version comes across as slightly boring. The arrangements in this version also resemble ‘Tere Sang Yaara’ (Rustom) with those extra sugary Duff rhythms and synthesizer tune (Keys by Aditya Dev). It reduces the likability a bit. Ayushmann increases the ear-friendliness of the song with his trademark charming voice, and renders it with ease. His style of rounding the vowels makes the song sound so much like he has composed it himself. The variations he takes on many notes, which Arko had not, makes the song sound more layered. The arrangements too, get more Ayushmann-ish, with acoustic guitars (Krishna Pradhan), but the Arko-ness is retained with the amazing piano notes. Thankfully, the Duff rhythms are done away with. The last version happens to be a female version; a version I personally feel was least required. So Zee Music releases videos of singers singing covers of hit songs, and I almost know that this version will be used as that. Not to take it away from Sumedha though; she sings beautifully! Arko arranges this one with a soothing flute, but nothing else really stands out! A romantic song that features so many times, we have no choice but to love it!

Rating: 4/5 for Arko’s Version, 4.5/5 for Ayushmann’s Version, 3.5/5 for Sumedha’s Version

 

3. Twist Kamariya

Singers ~ Harshdeep Kaur, Yasser Desai, Tanishk Bagchi & Altamash, Music by ~ Tanishk-Vayu, Lyrics by ~ Tanishk-Vayu

The next song has Tanishk coming back together with his partner with which he debuted, Vayu. They keep coming back together occasionally, and it is quite fun. Though their last song ‘Beat It Bijuriya’ could’ve been better, this one is a real treat. The composition is very simple, and if it were not for the amazingly quirky beats and arrangements, the song would not have sounded half as good. Of course, a very templated dhol rhythm accompanies the song, but a very quirky digital sound also comes along with that and everything sounds so innovative. The interlude is amazing, with the dhols and shehnaai. Rock guitars are really electrifying in the antara. The hookline, the way it is sung, is so cool. The pause between ‘Twist’ and ‘Kamariya’ really makes the difference. Im probably hearing Harshdeep Kaur in this zany avatar for the first time. I mean, she has sung upbeat numbers, but not so crazily funny! Tanishk-Vayu’s lyrics are a clever mix of Bhojpuri and Hindi and English. A song that calls for loud whistles and cheers in the theatre! U.P. folk meets techno music!

Rating: 4/5

 

4. Bairaagi / Bairaagi (Samira Koppikar Version)

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

Samira Koppikar, who really pleasantly surprised me with her song in ‘Dobaara’ earlier this year, jumps onto the album next, with a melancholic song that is sung by –obviously — Arijit! The song is good, I can’t take that away from it. But somewhere the composition evokes so many memories of previous Arijit songs that were composed on the same rock lounge-ish template. It actually sounds like a Pritam song when that beautiful backing chorus comes in, and that’s probably the best effect of the song. The composition too, is beautiful, and hits the heart straight. I just don’t think I would listen to it a lot. The vocals are, obviously spot-on. What can be expected when it is Arijit? Fortunately, there’s another version, possibly for the music lovers. Samira sings this one, and it starts with a heavenly chorus by her. She sings in beautifully, and is first of all supported by a wonderfully soothing folksy string instrument, evoking memories of ‘Sahiba’ (Phillauri). Later that Punjabi feel is increased, when a nice dholak-led rhythm sets in. This version is definitely better than Arijit’s. The lyrics by Puneet Sharma are aptly romantic and melancholic at the same time. The word ‘bairaag‘ is a word I don’t think I’ve heard in a Bollywood song after ‘Laal Ishq’ (Ram-Leela)! Beautiful song, but might not stay with me for long.

Rating: 3.5/5 for Arijit’s Version, 4/5 for Samira’s Version

 

5. Badass Babua

Singers ~ Abhishek Nailwal, Neha Bhasin & Sameer Uddin, Music by ~ Sameer Uddin, Lyrics by ~ Akshay Verma

A relatively newer addition to the album (as the composer Sameer Uddin wasn’t credited in the trailer or first poster of the film), this one is a funky “gangsta” song, probably made for Rajkummar’s character in the movie. The U.P. vagabond and rowdy feel is brought out with entertaining lyrics rendered with spunk by Abhishek Nailwal and the composer himself. The gangster feels are brought out by the rap, the techno beats and the overbearing sinister tone. The composition is catchy, but again, not a very lasting tune. The arrangements are more of what the song might be remembered for, if at all. The vocals are fine, and obviously the male singers have done an amazing job, or else, it wouldn’t have sounded so much like a gangster song full of attitude. Neha Bhasin is sidelined unfortunately, and reminds me of Ambili’s portions in ‘Hum Hain Bank Chor’ (Bank Chor). Entertaining, but not everlasting.

Rating: 3/5


Bareilly Ki Barfi is a relatively good multicomposer album. I think these days, the quality of multicomposer albums is definitely increasing, because makers now know the formula for it. You obviously need two upbeat numbers to increase the album’s hit status, and of course, a romantic song, a sad song (preferably by Arijit) and then a couple of versions. Zee seems to have mastered the formula, and they produce another album like ‘Behen Hogi Teri’, which is a mix of styles from different composers, yet comes together as a united album. With a mixed variety of songs, these multiple composers have come up with a nice, khatti-meethi Barfi!

 

Total Points Scored by This Album: 4 + 4 + 4.5 + 3.5 + 4 + 3.5 + 4 + 3 = 31

Album Percentage: 76.25%

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

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

Recommended Listening Order: Nazm Nazm (Ayushmann Khurrana) > Twist Kamariya = Sweety Tera Drama = Nazm Nazm = Bairaagi (Samira Koppikar) > Bairaagi = Nazm Nazm (Sumedha Karmahe) > Badass Babua

 

Which is your favourite song from Bareilly Ki Barfi? Please vote for it below! Thanks! 🙂

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

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

Jab Harry Met Sejal Album Cover

 

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

To buy this album on iTunes CLICK HERE


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

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


1. Radha

Singers ~ Sunidhi Chauhan & Shahid Mallya

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

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

 

2. Beech Beech Mein

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

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

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

 

3. Safar

Singer ~ Arijit Singh

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

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

 

4. Butterfly

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

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

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

 

5. Hawayein / Hawayein (Film Version)

Singer ~ Arijit Singh

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

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

 

6. Parinda / Parinda (Search)

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

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

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

 

7. Ghar

Singers ~ Nikhita Gandhi & Mohit Chauhan

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

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

 

8. Yaadon Mein

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

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

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

 

9. Raula

Singers ~ Diljit Dosanjh & Neeti Mohan

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

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

 

10. Jee Ve Sohaneya

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

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

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

 

11. Phurrr (Film Version)

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

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

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

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


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

 

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

Album Percentage: 93.84% {Making it surpass ‘Meri Pyaari Bindu’ and making it secure the top rank now!! 🎉🎉🎉}

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

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

Recommended Listening Order: From Track 1 to Track 13 nonstop 🙂

 

 

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

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! 🙂

SURRENDER YOUR EARS TO THIS ALBUM!! (BADRINATH KI DULHANIA – Music Review)

Music Album Details
♪ Music by: Amaal Mallik, Tanishk Bagchi, Akhil Sachdeva & Bappi Lahiri
♪ Lyrics by: Shabbir Ahmed, Kumaar, Akhil Sachdeva, Indeevar, Ikka & Badshah
♪ Music Label: T-Series
♪ Music Released On: 14th February 2017
♪ Movie Releases On: 10th March 2017

Badrinath Ki Dulhania Album Cover

Badrinath Ki Dulhania Album Cover

 

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

To buy this album on iTunes CLICK HERE


Badrinath Ki Dulhania is an upcoming Bollywood rom-com starring Alia Bhatt and Varun Dhawan. The film is directed by Shashank Khaitan and produced by Karan Johar, Hiroo Yash Johar and Apoorva Mehta. So we had a film in 2014 named ‘Humpty Sharma ki Dulhania’, which was a bit of a sleeper hit, and the cast and crew behind it happens to be the same that is behind this one. But according to the makers, it has no connection to the film except that the director, the producers and even the actors, are exactly the same. This film continues the ‘Dulhania’ franchise (If we can call it a franchise with just two films) in U.P., contrary to the setting in Punjab in the first film. Anyway, over to the musical department. Karan Johar has always delivered back-to-back hit soundtracks, and this should be no exception. I still feel guilty that I misjudged the ‘Humpty Sharma Ki Dulhania’ album terribly when it released. After a month or so, it started growing amazingly. And now I love it. So I’ll be careful this time around not to make that mistake again. Here, we get a trio of composers, starting with Bollywood’s newest hit-machine, Amaal Mallik, who has composed two songs. Next up is a newcomer named Akhil Sachdeva, with one song, which hopefully is strong enough to bag him a debutant award this year, and lastly is young talent Tanishk Bagchi, who has been composing for so many multicomposer albums here and there that I’ve lost track. Both Amaal and Tanishk have delivered good songs in the past, and with Karan Johar both have a hit record, so I can’t expect anything more than catchiness (sticking to the rowdy look of the movie’s posters and all) in their tunes. As for Akhil, I hope he has something great in hand! So let’s jump right into this soundtrack!


1. Aashiq Surrender Hua

Singers ~ Amaal Mallik & Shreya Ghoshal, Music by ~ Amaal Mallik, Lyrics by ~ Shabbir Ahmed

“Arey bhagyawaan, maan bhi jaa, ladna befizool hai,
Pyaar dikhe na kya, aankhon mein padi dhool hai?
Pyaar dikhe na kya, aankhon mein padi dhool hai!!
Taj Mahal banvaana Shah Jahan ki bhool hai,
Uske paas paisa, apne haathon mein toh phool hai!
Tune gusse mein phone mera kaata toh aashiq surrender hua!”

– Shabbir Ahmed

The rowdiness starts from the very first song. And who better to get the catchiness in that rowdiness right than Amaal Mallik, who I believe is following Pritam’s footsteps in this regard? The song is an enjoyable chhed-chhad number, the type of which Bollywood’s music records of the past abound in. But very few fit the bill and actually get everything in the right place. And though this one isn’t PERFECT, it definitely gets you grooving. Amaal’s composition doesn’t rely on complicated turns and meanders for it to get famous. Instead, it takes a very heard-before but enjoyable tune, and carries it forward to make a song that impresses with its simplicity and innocence! The tune is of a type we Indians love to dance to; play it in any wedding and people will dance like crazy even if they don’t know it! And the song will propagate just like that! People will play it somewhere, it will catch on to someone else, and then to someone else, and someone else and someone else. Like a viral fever, but a good one. :p The antaras have been composed very playfully and one cannot miss that overlying South Indian flavour that the beats infuse into the song. That brings us to the arrangements. The aforementioned beats are full of heavy percussion (Dipesh Verma and team) following a kuthu rhythm, which has been laid down by Dipesh Verma, Keyur Barve and Omkar Salunkhe. As of that was not enough, the composer decides to let his assistant Krish Trivedi go all-out with the whistles. The noises with which the song starts off are just so instantly gripping! The occasional brass instruments really bring an Indian-wedding touch to the song. Other digital beats really decorate the song, which would otherwise sound like a recording from a wedding at a village. The song aptly ends with that quintessential ‘play-the-hookline-on-brass-instruments’ trick. Vocals are perfectly enjoyable and help the song to get through to the listener. The composer himself takes the mic and sings the song very efficaciously and mischievously. But of course, nobody sings such songs as well as Shreya Ghoshal, who was a great decision for it, considering that she isn’t getting too many songs like this these days! In her short one-stanza cameo, she does very well, while Amaal carries the rest of the song on his shoulders! Shabbir Ahmed’s lyrics are a clever kind of rowdy, and at least they’re decipherable and their meaning comes out clearly! Rowdy but classy!

Rating: 4/5

 

2. Roke Na Ruke Naina

Singer ~ Arijit Singh, Music by ~ Amaal Mallik, Lyrics by ~ Kumaar

“Haathon ki lakeerein do, milti jahaan hain,
Jisko pata hai bata de, jagah woh kahaan hai..
Ishq mein jaane kaisi yeh bebasi hai,
Dhadkanon se milkar bhi dil tanha hai,
Doori main mitaaoon kaise, jaane na manaaoon kaise, tu bataa?
Roke Na ruke naina, teri ore hai inhe rehna..”

– Kumaar

Next up is a pathos-filled romantic song composed by Amaal. And Amaal has composed this one in one of my favourite styles of composition for sad songs — rustic and earthy. Quite recently we heard ‘Naina’ from Pritam’s ‘Dangal’. Quite similar to that in that the song is a sad song with a traditional tune and traditional instruments. The song starts with a heart-rending sarangi piece, and gets to your heart right away. The composition by Amaal has to be one of his maturest compositions in this genre. The mukhda does a nice job in making the ambience damp and melancholic. The soothing piece is followed by an ethereal hookline, something that isn’t blurted out by the singer and forced onto the listener, but proceeds quite calmly. The antaras have yet some more beautiful notes strung together to make a heard-before but engaging stanza. Amaal treads over both high and low octaves with the antaras, and that one odd line in the antara which is made of high notes, just finds its way directly to your heart. The arrangements do half of Amaal’s work in making listeners teary-eyed. Of course the aforementioned sarangi brings in the Indian part of the pathos, as do the wonderful tablas and the oh-so-majestic flute. But Amaal cleverly tops it with acoustic guitars (Ankur Mukherjee) and drums (Debashish Banerjee), in a kind of soft rock template. When the drums interrupt out of nowhere in the till-then very traditional arrangements, I just couldn’t help but remember ‘Kabira’ (Yeh Jawaani Hai Deewani). And then Amaal also puts to use nice oriental instruments like the mandolin (Tapas Roy) which sends chills down your spine when they play. The vocals are top-notch; Arijit infuses the rustic touch to them. He splendidly covers both low and high notes impeccably, as always. Kumaar has penned one of his finest lyrics for this song. A beautiful sad song, which excels in the instrumentation department!

Rating: 5/5

 

3. Humsafar

Singers ~ Akhil Sachdeva & Mansheel Gujral, Music by ~ Akhil Sachdeva, Lyrics by ~ Akhil Sachdeva

“Jitni haseen ye mulakatein hain, unse bhi pyari teri baatein hain
Baaton mein teri jo kho jaate hain, aaun na hosh mein main kabhi
Baahon mein hai teri zindagi, haaye
Sun mere humsafar, kya tujhe itni si bhi khabar?”

– Akhil Sachdeva

The new composer Akhil Sachdeva enters the album next, with his sole song, a romantic ballad, the type of which we haven’t not heard before in Bollywood. The composition follows the familiar template of Pakistani romantic songs, but nevertheless manages to tug at your heartstrings. The song starts with a nice Punjabi couplet rendered by Mansheel Gujral in her strong voice. The mukhda itself gets you swaying to the song, and it actually makes you feel happy. The hookline here too, is quite subtle, but you still get that forced feel. The antara is soothing, with its low notes, again, making you fall in love with them. But overall, there is nothing innovative in the composition. It kills with its simplicity. The arrangements are basically acoustic guitar (Veljon) riffs and digital beats that don’t really leave any scope for anything else. However, the newcomer adds a wonderful harmonica that magically uplifts the mood whenever it plays. The vocals by the composer are fine, not excellent. At places he sounds a lot like Atif Aslam, but doesn’t get the prolonged notes as right as Atif does. Also, his pronunciation needs a lot of improvement. He needs to work on his ‘jh’ sounds, which come across as ‘zzzzh’. I say this not in a demeaning manner though. On a whole, his rendition is soulful. Mansheel has more of a backing vocalist role here, but stuns in her parts. Akhil himself has written the lyrics here, and he uses all the possible Bollywood romance clichés in one song — ‘sunn mere humsafar’, ‘baahon mein teri kho jaate hain’, ‘tujhe maan loonga khuda‘ and whatnot. Nevertheless, the song makes for a good listen.

Rating: 4/5

 

4. Badri Ki Dulhania (Title Track)

Singers ~ Dev Negi, Neha Kakkar, Monali Thakur & Ikka, Additional Vocals ~ Rajnigandha Shekhawat, Music by ~ Tanishk Bagchi, Lyrics by ~ Shabbir Ahmed, Rap By ~ Ikka

“Khelan kyun na jaaye, tu hori re rasiya,
Khelan kyun na jaaye, tu hori re rasiya,
Poochhe hain tohe saari guiyaan kahaan hai Badri Ki Dulhania?”

– Shabbir Ahmed

And Tanishk makes a grand entry with the next song, which happens to be the title song of the movie. The song is an enjoyable one with a folksy rhythm and whose upbeat tempo makes you dance and sing along. The song starts with a wonderful folksy line, composed playfully. After that and a rap, Tanishk’s mukhda to the song begins, and it has all the required spunk for a successful Bollywood dance track. And then when we come to the hookline, he cleverly incorporates the tune of the folk number ‘Chalat Musafir’ to Shabbir Ahmed’s lyrics. (Or maybe Shabbir wrote it after he composed. Any which way, both of them went about it very cleverly!) The antara is a short stanza that efficiently carries forward the naughtiness and catchiness in the composition. Tanishk has to be commended for this composition, because I’ve never heard such a good song of this genre from him after ‘Banno’ (Tanu Weds Manu Returns) and that was what he composed with his friend Vayu. So hats off to him. The arrangements are amazing. The percussion (Dipesh Verma) is topnotch with a strong U.P. flavour to it, and the harmonium (Pradip Pandit) is another star of the song. The song is a holi song, and so the quintessential dhols (Deepak Bhatt) do the needful. The vocals are the strong point of the song. If someone doesn’t like the composition, they’ll fall in love with the song anyway, because of the vocals. Dev Negi, at his exuberant best, renders the male portions spot-on, while the three female vocalists all impress with their respective portions. Neha Kakkar, who takes the major chunk of the female portions, sounds cute, naughty and funny. The way she sings ‘muniya re muniya‘ is enough to melt your heart. Monali, whose ‘Cham Cham’ (Baaghi) is still on the majority of Indians’ playlists, and whose ‘Dhanak’ (Dhanak) is still on mine, renders the antara with ease, but doesn’t sound quite the innocent girl she always sounds, here! It is surprising that Neha sounds more innocent in this song! 😀 And when Neha takes over from Monali in the antara, I couldn’t even recognize Neha the first time I heard the song, and that’s saying something! The third lady vocalist is classical singer Rajnigandha Shekhawat, who sings the introductory folksy lines so beautifully, I’m in love with them. Ikka raps here, and his rap isn’t as irritating as it could have been. Maybe he toned it down a bit. He suits the rustic environment of the song, and doesn’t really rap anything odd. Shabbir Ahmed’s lyrics here are functional, if not good. An apt title song!

Rating: 4.5/5

 

5. Tamma Tamma Again

Singers ~ Bappi Lahiri & Anuradha Paudwal, Chorus ~ Dattatray Mestry, Archana Gore, Arun Ingle, Aparna Ullal, Mandar Apte, Mayuri Patwardhan, Nitin Karandikar, Deepti Rege, Voice-over ~ Ameen Sayani, Original Composition by ~ Bappi Lahiri, Music Recreated by ~ Tanishk Bagchi, Original Lyrics by ~ Indeevar, Rap by ~ Badshah

“Been bajaati hui…. NAAGIN!”

– Ameen Sayani

And Tanishk, with his second song, also closes the album, with another remake. If the previous song was a remake, then this one is definitely a remix. The makers have decided to rehash ‘Tamma Tamma’ (Thanedaar) for the movie. And thankfully, they retain the original track and just construct other additional around the sample. The composition by Bappi Lahiri (which was also ‘inspired’ by Mory Kante’s ‘Tama Tama’) was a rage in India when it released and the portion sampled in this song is the mukhda, hookline (obviously!) and one antara. Tanishk has rehashed this so well, I almost disliked it at first. He has used the song-break technique by stopping the song multiple times before actually getting to the hookline, something else which we hardly get to hear completely twice or thrice (or maybe more. I didn’t count!) But then, I realised that I had started liking the song. It happened spontaneously. One moment I was all about ‘Remakes are bad!’ and the next moment I was a freak dancing to a remake. Because it has been done very diligently, not to mention cleverly. Club beats have been added that really enhance the disco touch of the song, and the original voices have been muffled in such a way that actually does make the old song sound ‘old’! Tanishk has added very efficient beats to the hookline, like the electronic tabla. And the interlude, besides containing another interruption by Badshah, also contains a wonderful mandolin solo by Tapas Roy. The only tampering Tanishk has done with the original track is, he has added a new chorus to sing the hook, and it sounds pretty good too. Badshah’s rap does sound agitating at first, but Tanishk has enhanced that too with his nice electronic tabla beats. Ameen Sayani, the RJ of Binaca Geetmala, has done a voiceover, and the “been bajati hui naagin” part is particularly INSANE!!! Tapas Roy’s mandolin returns to play the hookline at the end of the song, and it sounds awesome then! An efficient remake!

Rating: 4/5


Badrinath Ki Dulhania is yet another feather in the cap of so many people. First of all, the composers, two relative youngsters doing so well in the competitive industry, Amaal and Tanishk, who have made two stellar songs each, and one newcomer, Akhil, who plays it safe in his debut. Next, the singers, who have really outdone themselves with their singing in this album! Dev Negi and Amaal Mallik for instance. After that, Karan Johar, because his productions always have enjoyable music, and he gets yet another successful album. Here is an album I would happily surrender my ears to. It is a kind of antidepressant album!

 

Total Points Scored by This Album: 4 + 5 + 4 + 4.5 + 4 = 21.5

Album Percentage: 86%

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: Roke na Ruke Naina > and then any order you like

 

Remake Counter
No. Of Remakes: 04 (from previous albums) + 02 (from Badrinath Ki Dulhania) = 06

 

Which is your favourite song from Badrinath Ki Dulhania? Please vote for it below! Thanks! 🙂

THE LITTLE FORCE OF TECHNO MUSIC!! (FORCE 2 – Music Review)

Music Album Details
♪ Music by: Gourov-Roshin, Laxmikant-Pyarelal & Amaal Mallik
♪ Lyrics by: Kumaar, Javed Akhtar & Rashmi-Virag
♪ Music Label: T-Series
♪ Music Released On: 27th October 2016
♪ Movie Releases On: 18th November 2016

Force 2 Album Cover

Force 2 Album Cover

 

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

To buy this album on iTunes CLICK HERE


Force 2 is an upcoming Bollywood action thriller film, starring John Abraham and Sonakshi Sinha in lead roles, and Tahir Raj Bhasin in a negative role. The film has been directed by ‘Game’ and ‘Delhi Belly’ fame Abhinay Deo, and produced by Vipul Amrutlal Shah, Viacom18 Motion Pictures, and John Abraham himself. The film is a sequel to Nishikant Kamat’s directorial, ‘Force’, which released in 2011. The music of ‘Force’, by South composer Harris Jayaraj, was quite nice, with many romantic songs being the best ones, and ‘Khwaabon Khwaabon’ being the thrilling USP of the album. With only one underwhelming song in that album, ‘Dum Hai Toh Aaja’, it turned out to be one of the most underrated albums of the year. This time, though, composers Gourov-Roshin take hold of the music. Earlier this year, along with Shaan, they had composed a song for ‘Great Grand Masti’, under the name Superbia. For this movie, Gourov Dasgupta and Roshin Balu, without their partner Shaan, have been roped in. The song from ‘Great Grand Masti’, I didn’t like much, so I can’t say much about my expectations from the duo. However, a guest composer in the form of Amaal Mallik also increases the chances of the album being a success. With just four songs, three by the duo and one by guest composer Amaal, I am sure the makers of the movie are more interested in the storyline than the music, but still hoping with crossed fingers that the music lives up to the music of the first film nevertheless! So let’s get ready to measure the force in the music of ‘Force 2’!


1. Rang Laal
Singers ~ Dev Negi & Aditi Singh Sharma, Voiceover by ~ John Abraham, Music by ~ Gourov-Roshin, Lyrics by ~ Kumaar

The first song on the album shouts patriotism right in your ear. The way it gets there though, is quite mediocre and average. Let me explain. The song starts off with a voiceover by John, after which comes a rap by Dev Negi. The actual melody composed by Gourov-Roshin comes after the rap, and it is good till there. I don’t deny it. But then the hookline comes and takes away whatever goodness the son had established. The hookline sounds so outdated and worn-out, and on top of that, it arrives so abruptly. The mukhda and hook don’t really blend in well with each other. There is practically no antara, and if I were to call some part of the song as one, it would be a part that consists of only a rap portion and the same tune that comes before the hookline in the mukhda. It all gets so predictable after a certain time. The song seems to rely mostly on the rap, and the patriotic voiceovers by John Abraham. The arrangements are techno sounds, that have fortunately been kept not so loud. The rock guitar that plays occasionally is impressive though. The vocals are just fine. Dev Negi impresses with the rap, but due to the very short part that he actually has to sing, he can’t shine in those parts. In the hook, he is joined by Aditi Singh Sharma, who can hardly be heard. John Abraham’s voiceovers sound out-of-place in an audio song. They could’ve just added it in the promos if they’d wanted. I really don’t like this method of including dialogues in songs. Kumaar’s lyrics are good, full of patriotism, and might be the only thing on the song meeting the requirements and expectations from this patriotic track. A disappointing start to the album.

 

2. O Janiya
Singer ~ Neha Kakkar, Original Composition by ~ Laxmikant-Pyarelal, New Composition and Music Recreated by ~ Gourov-Roshin, Original Lyrics by ~ Javed Akhtar, New Lyrics by ~ Kumaar

The second song on the album is a remake of ‘Kaate Nahin Kat Te’ (Mr. India). The song gets a club makeover from Gourov-Roshin, and as it starts, you get to know that it isn’t going to work out well, and it isn’t going to do justice to the original. The song starts off with some weird Arabic, (??) French (??) Or Spanish (??) lyrics that seem to be aping the way ‘Lovely’ (Happy New Year) started, with some similar Arabic words. (Or maybe gibberish). It is a horrible starting, with some lady sounding like she’s saying “serret lekhh baybee“, with too much emphasis on the “baby“. After that, it is pure techno music that follows. Thankfully, the duo has only used the hook of the old song, and tried to form a new song around that. Sadly, that seems to have failed. The mukhda is a typical club song composition, which fails to really create any interest. Cleverly, T-Series have named the song after the first line of the mukhda, so that no old song aficionados judge the song by its name and thereby proclaim that they’ve ruined the original. Which they have, anyway. The hookline is the same hookline that so many of us already love, but it doesn’t even sound good in the song, much less, sound good with that mukhda. The antara is a bit better in terms of composition, but you really can’t do anything when half the song engages you and not most of it. Neha Kakkar was practically expected to sing this song. She provides the little relief in the song, singing it with the required spunk. But she spoils the hookline, adding too much of nuances into it, and trying to sound a bit too cool. The last time the hook repeats, her love basically overflows, and she sings “I looovvve you love you love you love you” (at 4:03 in the song), which is enough to spoil the hookline for one last time. The arrangement is mainly techno music, that depends on a loop, to make itself noticeable. That tune plays all throughout the song, and it is quite an annoying tune. The techno music in the hookline spoils the sound of the hook as well. It all seems like such an overdose of techno music. Kumaar’s new lyrics are quite unbelievable. “O janiya, Tu nahin tha, Teri yaadon Se kiya Maine pyaar“. 😂 A song that could very well have been remade into a good romantic song, gets a club makeover and gets spoiled forever.

 

3. Ishaara
Singer ~ Armaan Malik, Music by ~ Amaal Mallik, Lyrics by ~ Rashmi-Virag

Amaal Mallik finally enters the album, after the duo Gourov-Roshin fail to create any magic. I expected Amaal to make up for the missing magic, but I must say, the result is quite underwhelming here too. Don’t get me wrong, I really love Amaal’s music. The composition this time around, too, is very soulful and emotional. Perfect for a romantic song that will grow on you like slow poison. However, I also couldn’t help but feel it was quite similar to many of his previous songs, like ‘Kuch Toh Hai’ (Do Lafzon Ki Kahani) and ‘Kaun Tujhe’ (M.S. Dhoni). The humming, he has used many times, and that particularly, was the setback for me. The mukhda is beautiful, while the hookline is so mellifluous that it just gets stuck in your head. The antara sounds very similar to the mukhda, it is hard to differentiate between the two, but it is well composed. The arrangements are minimal, with the acoustic guitars and strings really doing a great job. In an interlude, a rock guitar with a muffled voice, sounds like a lounge treatment has been given to it, and it sounds great! The star of the song, though, is definitely the mandolin. Every time it plays, it sends a chill down your spine. The entire feel of the song is all in all, quite haunting, and I would’ve enjoyed it more, had it been a bit different-sounding from Amaal’s earlier compositions. Armaan is a star, and he proves again how merely his voice can elevate a composition to another level. He adds little nuances to the composition which really make it stand out in those parts. Rashmi-Virag, as always, write awesome lyrics, and become yet another reason to listen to the song. Their writing is always full of soul and emotion, and that’s proved here too. One of Amaal’s weaker songs, due to the overlap with his previous songs. However, his arrangements, Armaan’s voice and Rashmi-Virag’s inexplicable writing, make this worth hearing at least a couple of times!

 

4. Catch Me If U Can
Singer ~ Amaal Mallik, Music by ~ Gourov-Roshin, Lyrics by ~ Kumaar

Gourov-Roshin come back into their album, with yet another overdose of techno music. The song is suitable for the thriller genre, and with the pacy techno arrangements, it has its things right. However, it falls flat in the composition. The mukhda starts off very flatly, so much so, that the listener can even get bored right away. It actually sounds like something composed just for the fun of it, and not meant to feature in a major motion picture soundtrack. The duo’s composition is painfully non-creative, and follows the path of many previous failed techno thriller songs. The hookline is just plain bad, I can’t put it any other way. The antaras have just as much in their favour as a child who hasn’t studied for the Maths exam. The duo try to cover their mediocre composition with some techno music, but it only sounds good at the beginning, where it does some nice little disco thing that is impressive and reminiscent of the 80s disco era. All throughout the rest of the song, are stale and boring techno sounds that fail to interest the listener. Some occasional Arabic drums do the trick though, being the only catchy sounds in practically the whole album. Amaal’s vocals haven’t been tuned properly, and firs of all, he shouldn’t have sung this song. Someone with a more strong voice like Suraj Jagan or the like should have been approached. Even Amaal seems uninterested in singing the song, as I can make out from his voice. The duo could’ve done some autotuning there, because other people even use it for singers who don’t even require it. Kumaar’s lyrics are pretty mediocre. SKIP!


Force 2 seems to be one of the worst albums of the year. With not even one track being completely lovable, the album falls short of expectations from every which way. What Harris Jayaraj did in the first installment, and what Gourov-Roshin give in the second, have many miles’ difference between them. Amaal’s guest song does become the best song of the album, but could’ve been better in itself too. But with T-Series relying on what the audience wants and depending on old songs remade to do the trick, I doubt that could’ve been possible. A FORCELESS ALBUM, WITH AN OVERDOSE OF TECHNO MUSIC!

 

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

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

Recommended Listening Order: Ishaara > Rang Laal > O Janiya > Catch Me If U Can

 

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

LAIDBACK BREATHS! (SAANSEIN – Music Review)

Music Album Details
♪ Music by: Vivek Kar
♪ Lyrics by: Kumaar
♪ Music Label: T-Series
♪ Music Released On: 26th October 2016
♪ Movie Releases On: 11th November 2016

Saansein Album Cover

Saansein Album Cover

 

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

To buy this album on iTunes CLICK HERE


Saansein is an upcoming Bollywood horror film, starring Rajneesh Duggal, Sonarika Bhadoria and Hiten Tejwani. The film has been directed by Rajiv S. Ruia, and produced by Goutam Jain and Vivek Agarwal. The story is about a club singer, who, every night after her performance, disappears without talking to anyone or meeting anyone. She’s probably possessed.. Come on, Bollywood, we know you better than you do yourself! Anyway, the movie is a horror/romance film, and in such movies, I expect wither a chilling and spine-tingling score, or a sappy, romantic, typical Bhattish score. The music of the film has been entirely composed by Vivek Kar, which makes this his first solo album ever. He is fresh from the success of his song ‘Cycle Se Chalaang’ (Saat Uchakkey), and now he is here with a complete album of a horror film. Going by the songs he composed in his previous albums (‘Zindagi 50-50’, ‘Meeruthiya Gangsters’, ‘Direct Ishq’, ‘One Night Stand’ etc) I think he’s going to give the second category of music I expect for such films (the typical romantic songs), but I do expect a lot more as it is his first solo album. So, without further ado, let’s go through the music of ‘Saansein’, and see how horrific it is!


1. Mera Ishq
Singers ~ Ash King, Arijit Singh & Swati SharmaBacking Vocals ~ Dev Negi & Joi Barua

Vivek Karta presents, as the first song on the album, a fresh and pleasant romantic number, that does impress, but fails to bring that climax point throughout its whole length. I’ll explain. So, the song starts off, with a soothing English verse, that has the backing vocalists Dev Negi and Joi Barua pronouncing words in a quite hilarious way. However, as soon as the main melody kicks in, you starts finding the song to be not as bad as you thought it would be. The mukhda starts with Swati singing some lines in a very soothing but heard-before-ish tune, which sounds a lot better than the songs she sang after her launchpad ‘Banno’ (Tanu Weds Manu Returns). Then Arijit enters with a nice, goosebumps-giving tune, that I think would have sounded quite ordinary had he not sung it. And then, the whole song is passed over to Ash King. It is like Arijit & Swati are backing vocalists like Dev and Joi. Anyway, the hookline sounds brilliant, until you remember the antara of that old song, ‘Yunhi Kat Jaayega Safar’ (Hum Hain Raahi Pyaar Ke), after which the hook sounds like a direct lift-off from the old song. The antaras of this song are soothing, and probably the best part of the song, but what I don’t understand is, why Arijit keeps singing only the same line. He sings it so beautifully that I don’t know why Ash has been given the other parts, which seem tailor-made for Arijit! We saw Ash overshadow Arijit earlier this month in ‘Alizeh’ (Ae Dil Hai Mushkil), but here, Arijit overshadows Ash with just his one line against Ash’s almost-entire song. The English verses just sound bad and quite laid-back. Arrangements are soothing too, until you delve deeper and understand how normal they are. The rhythm is nice, with the digital sounds sounding great occasionally, but the programming is horrendous. The sound isn’t clear, resulting in the instruments seeming to be mixed into each other. The flute though, is beautiful! 🙂 Kumaar’s lyrics are more ordinary stuff in an already ordinary song. Seems harmless at first, but the faults start popping up as you delve deeper. A good way to spoil a nice composition.

 

2. Tum Jo Mile / Tum Jo Mile (Unplugged) Singers ~ Armaan Malik / Amit Gupta & Pratap Dodla

The next song on the album fares a lot better than the first one, in that it gets the composition just as right as the first song, but that composition is also carried forward well, and embellished with good recording. The composition, though it might sound very heard-before, just like the previous song, does interest the listener, if not fascinate. The mukhda starts the song off well on a mellow note, while the hookline works well. Though it is one of those self-proclaiming hooklines, I really can’t imagine how else the hookline could’ve been incorporated into the song. The initial notes of the hookline somehow reminded me of the line “Abb toh humein…” from ‘Kandhon Se Milte Hain Kandhe’ (Lakshya) but then rather quickly dissipates and changes course. The hookline also consists of a small line with the mandatory word, “Rabba” in it. That part is quite good too. The antara is pleasant too, and again, heard-before, but functional. There is a nice little conclusion stanza at the end, which I quite liked. The main reason the song seems to work, is the vocals, which have been done amazingly by Armaan Malik, who infuses his charm into everything he sings. His voice perfectly suits the composition, and I’m glad Vivek chose him as the singer. The unplugged version on the other hand (which, by the way, is not even unplugged — it has the same arrangements as the original version for the most part of it, just starts off a bit unplugged) doesn’t fare as well, because the lead singer Amit Gupta seems misplaced there. He doesn’t sing the very formulaic song with as much charm as Armaan, thereby exposing the genericness of it. Pratap Dodla joins Amit in this version for backing vocals, I suppose, as I can’t really make out who’s voice is which. The arrangements in the first version are quite typical digital beats, with a nice piano intro to it, while strings shine throughout. However, in the ‘unplugged’ version, the violin gracefully forms the prelude, and interludes, and how I wish that this arrangement had been given to Armaan’s version of the song! Lyrics by Kumaar are quite formulaic as well, with him making note to include ‘humsafar’, ‘Dil’, ‘pal do pal’, ‘Dil’, ‘rabba’, ‘Dil’, and maybe more ‘Dil’, a good many times. After all, they’re the mandatory, quintessential words! Generic-sounding, but the first version is nevertheless a #5StarHotelSong!!

 

3. Tum Ho Mere
Singer ~ Najam Bajwa

The next song doesn’t start off too promisingly, with many melancholic ‘Woahh’s making up your grand welcome into it. And after that, the song barely fails to interested you even a bit more. The whole composition is lazy, and terribly slow-paced, with nothing interesting ever happening. The hookline is painfully complicated, with the singer just repeating the line “Tum Ho mere yaa ho nahi?” a gazillion times. By that time, the girl must already have even given her answer! The arrangements don’t help at all, to make the listener like the song. The beats are outdated, and there is no instrument that stands out amidst the dusty and laidback feel of the song. I could hear the piano and strings, but it is too plain and also buried too deep inside the arrangements. The guitars are audible mostly, but they are played so slowly, that you question whether they are guitars or sloths. The vocals are another reason to not listen to the song. Debutant Najam Bajwa doesn’t seem like he was fit for a solo song, but he nevertheless drawls his way through this. Kumaar’s lyrics have already been talked enough about, I guess. Easily skippable!

 

4. Dil Yeh Khamakha / Dil Yeh Khamakha (Reprise)
Singers ~ Dev Negi / Nikhil D’Souza

The next song too, starts off in such a way that you get frightened whether it isn’t the same melancholia of the previous song repeating itself all over again in this one. But to be honest, this song gets lots and lots better as it progresses. The composition does start off on a faltering note, but then steadies itself, and by the time it reaches the hookline, you happily keep listening to it. It is the first time I have witnessed such an improvement from the initial notes to the hookline of a song! The hookline is beautifullyand hauntingly amazing. The composition sounds even a bit of something Rahman would compose. The antara continues what the hookline started off, making the song actually sound complete and wholesome in itself. The song appears in two versions and I must say, both singers have done a great job at it. Dev Negi, with a more newbie approach to it, sounds innocent in his rendition of the pleasing composition, whereas Nikhil D’Souza brings more of a professional approach to it, singing in his trademark style, which he used to sing in for Pritam and the Bhatts. Both singers provide a fulfilling touch to the song, though. The arrangements remain the same in both versions. The unexpectedly brilliant electronic tabla beats amazed me, while the nice digital sounds in the hookline reminded me of Viju Shah’s excellent arrangements, which were quite similar, and way ahead of their times in the 90s. (‘Mushkil Bada Yeh Pyaar Hai’ from ‘Gupt’ being one of my most favourites!) The whistle is nice, and the chimes bring in a fresh factor to the song. Piano was expected, and it does a nice job here. Kumaar’s lyrics again, are very typical. One of the better song of the album, maybe the best too! Both versions are a #5StarHotelSong!!

 

5. Royi
Singer ~ Shibani Sur

The last song on the album is what actually blew me away. Rightly kept as the album’s last song, this song has everything that a song should, in order to impress my musical sensibilities. The composition again, starts off very slowly, but this one hooked me from the start — perhaps the introduction of a female solo singer provided the necessary change in the album. Whatever it is, the composition is great. The mukhda, the hookline and the antaras are inexplicably finely crafted. The slow composition did the trick here, which didn’t quite work in the other songs. Also, the nice little semi-classical touch was enough to blow me away. The arrangements, with nothing much happening, gave a nice lounge-ish feel to the song. Whatever does happen though, is attractive enough for the listeners to enjoy. The digital beats, for one, are really cool! The vocals by débutante Shibani Sur, a trained classical singer, are awesome, and her husky voice is a perfect match to the quite drowsy feel of the song. The little nuances she performs in the antara lines, is to fall for! She handles her high notes, as well as the low ones, very well. Hoping to hear more of her in Bollywood in the future, and kudos to Vivek for presenting her beautiful voice in front of us all. Kumaar’s lyrics are quite better here, and have some meaning, other than the usual melancholia he wrote in the album. The best took long enough to arrive. A perfect grand finale to a not-so-perfect album! #5StarHotelSong!!


Saansein kind of meets my expectations. It certainly met my expectation that it would consist of typical Bhatt-style romantic songs under the name of spooky songs, but it didn’t quite meet the expectation I kept towards it being Vivek’s first solo album and chance to score a nice soundtrack. The tracks are nice, no doubt, but the compositions in most of them seem very laidback, and that’s the turn off. Two of the tracks are fantastic, while the other three try to fiddle with the rapidly-disappearing genre of typical Bhatt romance, which even the Bhatts will move on from soon, as far as I presume! This album lacks fresh air…!

 

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: Royi > Dil Yeh Khamakha = Dil Yeh Khamakha (Reprise) > Tum Jo Mile > Mera Ishq > Tum Jo Mile (Unplugged) > Tum Ho Mere

 

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

ONLY ONE THING STANDS!! SIMPLICITY!! (ONE NIGHT STAND – Music Review)

Music Album Details
♪ Music by: Tony Kakkar, Meet Bros, Jeet Gannguli & Vivek Kar
♪ Lyrics by: Kumaar, Jasmine Sandlas, Manoj Muntashir & Shabbir Ahmed
♪ Music Label: T-Series
♪ Music Released On: 6th April 2016
♪ Movie Releases On: 6th May 2016

One Night Stand

One Night Stand

 

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

To buy this album on iTunes CLICK HERE


One Night Stand is an upcoming Bollywood romantic thriller, starring Sunny Leone, Tanuj Virwani and Nyra Banerjee, directed by Jasmine D’Souza, wife of Tony D’Souza, the director of films like ‘Blue’, ‘Boss’ and the upcoming ‘Azhar’. The movie is produced by Pradeep Sharma & Furquan Khan. The latest trend of multi-composers for a single album has been followed for this album too, with four composers, namely Meet Bros, Tony Kakkar, Jeet Gannguli and Vivek Kar. I have started hearing the album with very little expectations (just saying), so it’s up to these four to impress me with the music for this movie. Meet Bros have been impressive this year, so expecting more of that from them. Jeet hasn’t quite touched the standards with his two songs in ‘Sanam Re’, but I know he has the potential to even raise the standards, so hoping he does some of his exceptional magic here. As for Tony, he has been going on and off when it comes to giving good songs — I can only hope for the best! Vivek Kar, a relative newcomer, hasn’t really impressed with any of his earlier songs (all for very small-budget films), so I don’t know what to expect from him here. With that, here I go to start hearing the songs of this album!


1. Do Peg Maar
Singer ~ Neha Kakkar, Music by ~ Tony Kakkar, Lyrics by ~ Tony Kakkar

The album starts off with the quintessential Bollywood club song about drinks, to say it modestly. Tony has never impressed me with his upbeat tracks, just because he goes a bit too over-the-top with them. The EDM is always overdone, the composition is always too self-imposing on the listener, so much so that it actually does get stuck in the listeners’ heads, but unwantedly. The vocals are always over-stylish. This song, too, faces the same problems. Tony tries to create something catchy, but it comes across merely as annoying and irritating. right from the beginning, that heavy EDM hits your ears and sounds really cheap, which I’m sure wasn’t what Tony wanted. The mukhda has that really bad “trying-to-sound-cool-but-failing-miserably” feel to it. The first time you hear it, you won’t even think it has a tune. At least the antaras are better on that front, but just a little; the overall sound is still cheap. Tony has employed his sister Neha to sing (or rather, cough) this one. I say ‘cough’ because Neha has used a really weird froggy voice here, sounding as if she has a problem with her throat. Again, trying to be cool. Arrangements are nothing but techno beats and loud bombardments of EDM. Even Neha, who usually sounds so energetic in her songs, seems to be bored here. The less said about Tony’s lyrics, the better. It isn’t something he will look back to fifty years later and say, “What a soulful piece I’d penned down!” However, there is one thing that happens with this song, and which happens with all such songs — if you keep hearing it, it will infect you and never leave your brain! So stop before that happens. Usually for bad songs, I say stuff like “hear it only for blah and blah”, but this time, there’s nothing for which you should hear it! Just skip it! A cheap start to the album.

 

2. Ijazat
Singers ~ Arijit Singh, Music by ~ Meet Bros, Lyrics by ~ Shabbir Ahmed

The next song provides respite from the harsh opening to the album. Meet Bros step into the album to save the day. Their latest with Arijit, ‘Girl I Need You’ (Baaghi), was excellent, so this one was expected to be on the same lines. However, the two songs are poles apart in treatment and other aspects. Acoustic guitars very responsibly manage the opening of the song, with strings joining. Arijit starts off with a melancholic tune, very Bhatt-ish in flavour, but at the same time, not exhausting at all. As he progresses, all  you can do is drown in the ambience created by Meet Bros and Arijit’s vocals. I think it is the first time Meet Bros have gone completely Bhatt-ish in their composition, and they core full marks. They don’t go too typical, though the hookline is predictable; instead, they come up with a song that has good luck just like some of those songs in Bhatt movies, which are no different from the rest, but just seem better than the rest for some reason. Arijit uses his drowsy voice, but this time, it appeals; I guess due to the sultry composition. The composition is excellent. In the hookline, a wonderful portion where Arijit touches the high notes all of a sudden, has been composed so wonderfully, and sung just as effortlessly by Arijit. It is the part when he sings “Aaadat haiiiii ohhhhhh”. It gave me the goosebumps! Arrangements are like a typical Bhatt song — guitars, strings, piano. The only new addition that is really attractive is the accordion that sounds ever-so-scintillating. You have to hear it in the first interlude, where its use has been made to the fullest. The second interlude is also awesome, with a wonderful strings solo, played in a Hindustani classical way. Shabbir surprises highly with his good lyrics, and he has written some stuff that really sounds very good and even better with Meet Bros’ music. Meet Bros strike gold again, this time with something heard-before and with very few innovation! But they still manage to make it a #5StarHotelSong!!

 

3. Ishq Da Sutta
Singers ~ Meet Bros & Jasmine Sandlas, Music by ~ Meet Bros, Lyrics by ~ Kumaar, Rap by ~ Jasmine Sandlas

This one does start off well. A twinkly sound opens the sound with various cool and addictive techno sounds. Then it sounds like a pop song since the singers tell their own names in the song (that’s so irritating in pop songs!! We read the credits!) However, that doesn’t matter at all. The song is yet another club song, but not exactly out-and-out clubbish, until the line before the hookline. Meet Bros’ song is totally dependent on the arrangements to score well. The composition is weak, with a very small part to like, for example, the line I mentioned which comes before the hookline — “nashe mein aaj phisalke..”. The hookline, too, is enjoyable. Meet Bros’ interruptions are cool, too! They definitely know how to keep the listener from getting bored. So, though the composition is predominantly weak, some parts here and there grab your attention. The arrangements, on the other hand, are just as Meet Bros would have wanted them to be — addictive, catchy and cool! I never like techno arrangements much, but here, Meet Bros have impressed me with it. Piano and guitars along with the clubbish sounds, really sound great! The arrangements really make sure the listener doesn’t get bored even if the composition is weak. Especially the arrangements in the second interlude, before Jasmine’s rap, are too cool. Meet Bros’ part in the song is too catchy, and doesn’t seem forcedly cool at all. I guess they have cool-ness already inside them. Coming towards the vocals, Jasmine doesn’t sound too good. Yo Yo Honey Singh’s find, I didn’t like her in her debut song, ‘Yaar Na Miley’ (Kick) either. Here, she sounds way too masculine, and I wonder why someone like Hard Kaur wouldn’t have worked. Oh, right, she’s older and might not have the same charm as before, right??? :\ (Sarcasm) Kumaar’s lyrics are not good either, but they suit this type of song. Jasmine’s English rap is pathetic. Meet Bros’ not-so-cool composition excellently enhanced by their too-cool arrangements, but destroyed by Jasmine’s trying-to-be-too-cool voice, doesn’t fare so good.

 

4. Ki Kara
Singers ~ Shipra Goyal, Music by ~ Vivek Kar, Lyrics by ~ Kumaar

Vivek Kar steps into the album for this song, which, again, starts off excellently. Guitars and piano make a wonderful start for melancholic romantic songs in Bollywood, and it’s also a commonly used beginning in Bollywood. The song is wholly and solely in Punjabi, written by Kumaar, so there I kind of had a problem understanding half the words. 😅 Vivek’s overall composition is good, but it gets pretty monotonous and boring at a certain point. The pace, for one, is quite slow, and the arrangements are not captivating at all. Though the composition is decent, the arrangements could’ve had the power to lift it up, if only a bit. Shipra sounds pretty good, but in some parts she sounds exhausted, maybe deliberately. She sings in a low voice, which doesn’t sound so good on her. I can’t help but think how good she sounded under the direction of Vishal-Shekhar in ‘Ishq Bulaava’ (Hasee Toh Phasee). The hookline of the song is good, but again, could’ve been more captivating! The arrangements, as I said before, are a bit on the weaker side. Guitars, both acoustic and electric, sound good, and so do the flutes. But almost half the song has very little arrangements, or they are too soft, and so because of the monotonous composition, the song sounds boring in those parts. In fact, the first time I heard it, I couldn’t pay attention to the song at all; it didn’t let me! Disappointing! A song that could’ve been better!

 

5. Le Chala
Singers ~ Jubin Nautiyal, Music by ~ Jeet Gannguli, Lyrics by ~ Manoj Muntashir

Jeet steps in for his one and only song in the album, and how he impresses! Right from the starting piano notes, which are very captivating, to the end of the song, you can forget about everything else except the song. It is a sweet, romantic song with a happy ring to it, unlike ‘Ijazat’, which was a bit sultry. This one will surely appeal to those who love such romantic songs. Jeet doesn’t try to make the song sound too modern, and instead, makes the composition sound a bit dated, but that is the real magic in the song! The hookline is the perfect example of it; it is nothing we haven’t heard before, but it still appeals just because of the simplicity. The mukhda is the ideal start to the song, and works just like a mukhda should, which is to captiavte listeners in the first minute or so of the song. The antaras get a bit of a melancholic tinge, but still, they stand out, because of the 2000s feel. Jeet’s instrumentation is beautiful. Piano and guitars again, with variosu digital beats. Jeet uses both acoustic and electric guitars very well! The way an electric guitar riff plays in the background during the hookline, sounds very great! The first interlude is a wonderful sitar solo, but played in such a way, you almost mistake it for a piano! The second interlude is a great strings orchestra with horns blaring out beautifully. Jubin is an excellent choice for the song, and handles each and every note with his awsome voice that is smooth as cream! 😀 Manoj’s lyrics are beautiful and soulful, just as the song, though simple. Simplicity at its best!! And with this simplicity, the song wins your heart! The best song of the album for me! #5StarHotelSong!!

 

6. Tum Mere
Singer ~ Dev Negi, Music by ~ Vivek Kar, Lyrics by ~ Kumaar

Vivek comes back for the last song on the album, which is a reprise of his first song, ‘Ki Kara’. Unlike ‘Ki Kara’, this one captivates and hooks the listener right from the beginning! I was so surprised by this one! Electric guitars, a few acoustic guitars and a beautiful synthesizer tune start off the song. Dev Negi takes total control over the vocals, and does it with ease and power. The first time I heard it, I didn’t even notice it’s the reprise of ‘Ki Kara’, as I wasn’t able to pay attention to ‘Ki Kara’. The second time I heard them both, I realized that they have the same tune! Vivek gets it right this time, with perfectly captivating arrangements. The electric guitars are very catchy and instantly likable and also noticeable, unlike ‘Ki Kara’. Also, the pace of this song is faster, and it has an overall upbeat tone, unlike the whiny and monotonous nature of the first one. The composition is the same, but as I said, arrangements make a HUGE difference! It makes the composition which was sounding boring and monotonous, suddenly sound upbeat! Dev Negi’s voice is also cool in this one. That high-pitched synthesizer (I think) tune never leaves your head, and keeps coming in the song, so that it establishes a place in your mind. 😀 Kumaar has reprised the lyrics wonderfully, to make them sound more like they’re being sung from a male’s point of view. A good end to the album, and a saviour for Vivek after his other song that had disappointed. #5StarHotelSong!!


Considering that I was expecting really little from this album, Ine Night Stand turns out to be decent. Tony disappoints even more than anything, while Vivek gets it right with one out of two tracks. Meet Bros do well in both tracks, but ‘Ishq Da Sutta’ could’ve had better vocals and composition. Jeet, however, impresses with his sole song, by going on the road of simplicity. I noticed that in this album, all the good songs are really simple compositions, which aren’t anything new, but nevertheless, they appeal! The ones that try to impress going the modern way, lose it some place or the other. Therefore, in this album, only one thing stands, and that is simplicity! 🙂

 

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

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

Recommended Listening Order: Le Chala > Ijazat > Tum Mere > Ishq Da Sutta > Ki Kara > Do Peg Maar

 

Which is your favourite song from One Night Stand? Please vote for it below! Thanks! 🙂

 

Next “dish”: 1920 London, Chefs: Sharib-Toshi & Kaushik-Akash (JAM)