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

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

Raabta Album Cover

 

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

To buy this album on iTunes CLICK HERE


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


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

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

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

– Amitabh Bhattacharya

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

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

 

2. Raabta (Title Track)

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

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

– Irshad Kamil

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

Rating: 4/5

 

3. Sadda Move

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

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

– Irshad Kamil & Amitabh Bhattacharya

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

Rating: 3/5

 

4. Lambiyaan Si Judaiyaan

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

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

– Amitabh Bhattacharya

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

Rating: 2/5

 

5. Main Tera Boyfriend

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

Na Na Na Na!

– J-Star & Jitendra Raghuvanshi

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

Rating: 3.5/5

 

6. Darasal

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

“Inkaar mein jo chhupa hai woh ikraar ho!”

– Irshad Kamil

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

Rating: 4.5/5


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

 

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

Album Percentage: 71.43%

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

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

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

 

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

 

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

FROM THE MOZART OF MADRAS TO THE MASTER BLASTER… (SACHIN: A BILLION DREAMS – Music Review)

Music Album Details
♪ Music by: A.R. Rahman
♪ Lyrics by: Irshad Kamil & Kaly
♪ Music Label: Junglee Music / Times Music
♪ Music Released On: 18th May 2017
♪ Movie Releases On: 26th May 2017

Sachin: A Billion Dreams Album Cover

 

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

To buy this album on iTunes CLICK HERE


Sachin: A Billion Dreams is an upcoming docu-drama starring Sachin Tendulkar, directed by James Erskine and produced by Ravi Bhagchandka and Shrikant Bhasi. The film is a biopic that covers many aspects of Sachin’s professional and personal life, as narrated by the cricketer himself. Sachin is probably the most phenomenal star in the history of cricket, since he has so many fans and followers and well-wishers. For a biopic of such an important personality in sports, the makers make an apt decision for the music director of the film by finding his equivalent in the music industry — A.R. Rahman. Now, I know this won’t be a conventional Hindi film album with song-and-dance routines. What I’m expecting is a heart-moving and soulful score for this film. So let’s see whether Rahman, with his three songs in the film, can bring out the greatness of Tendulkar through his music!


1. Hind Mere Jind

Singer ~ A.R. Rahman

“Abb sabhi maan lo, baat yeh pyaar se,
Maante ho bhala, kyun sadaa haar se,
Jo shikhar ke liye hai bana Hind hai,
Woh meri jaan hai, with meri jind hai,
Aa rahi hai sadaa, dil ki har taar se,
Abb sabhi maan lo baat yeh pyaar se!”

A.R. Rahman kicks off the album with an aptly placed patriotic song. Sachin Tendulkar is probably one of the most well-known idols of the country and he is also very dedicated towards his country, and so it is no surprise that the first track in the album happens to be a patriotic number. What is a surprise, though, is the manner in which the Mozart of Madras composed this patriotic number. The song is composed in a very tranquilizing manner, something Rahman very often likes to work with. At first, the composition seems odd, but after a couple of listens you get used to it, and it grows on you. And after that it sounds magical!  The mukhda is a bit odd in the way it abruptly starts off with the “Oh-oh-oh-oh-oh, oh beliyaa” but it gradually gets better. The hookline is alsp quite commonplace. But the part that hooked me to the song, is the Antara which takes a delightfully tranquil Qawwali-ish mode, a la ‘Kun Faaya Kun’ (Rockstar), something that Rahman excels in. Also, who would’ve expected that kind of a treatment to be given to a patriotic song! But then, it was Rahman himself who did it years ago, in ‘Yeh Jo Des Hai Tera’ (Swades). The “Oh-oh-oh-oh-oh” loop is very catchy and it is probably the line that will hook most people to this song. Rahman’s arrangements are grand without being over-the-top. The song starts with a wonderful sound, like a flute. And after that, a synthetic shehnaai-like portion steals the breath away. When the melody of the song actually starts, there is predominantly piano arrangements, with a metronome ticking in the background. How simple, but the piano chords really make it sound grand. The sitar addition is just beautiful, while the claps during the “Oh-oh-oh-oh-oh” interlude are some booming arrangements. It is in the antara, again, when everything becomes more scintillating. A beautiful female chorus hums a trademark Rahman-ish melody, and then the Qawwali-ish portion starts, where Rahman, the mastermind that he is, adds the harmonium which increases the depth of the antara manifold. Rahman’s voice has a certain resonance, which no other singer in Bollywood at this point of time, can emulate. His voice gives the song another dimension altogether; it is so impactful. Irshad Kamil’s lyrics are aptly patriotic, of course. A very soothing patriotic song, on the lines of ‘Yeh Jo Des Hai Tera’ (Swades).

Rating: 4/5

 

2. Sachin Sachin

Singers ~ Sukhwinder Singh & Kaly, Rap Lyrics by ~ Kaly

“Raste chaahe hon ghane hi,
Hai ujaala tere haathon mein,
Ho adhoora khwaab toh phir,
Neend kaise aaye raaton mein?
Abhi aadhi kheli toone baazi,
Abhi chotein dil ki taazi taazi,
Abhi dil ko hai karna raazi,
Teri hauslon ne paa leni hai manzilein!”

After that heart-moving patriotic song, Rahman comes up with a ‘Sachin’ anthem. And the song is quite cool. Yes, the composition is quite blander than I would’ve expected somebody like Rahman to compose, but what made the day for me, was the way he used the ‘Sachiiiin, Sachiiin’ chants that make the stadium vibrate, as the hookline of this song. The sheer innovativeness with which that portion is done, made me think about the song completely differently. The padding around the hookline, though, is a bit underwhelming, and it has a quite run-of-the-mill sports anthem-like sound to it. Sukhwinder Singh’s vocals are topnotch, and he creates the ambience that will remind us of all of Sachin Tendulkar’s amazing feats in the history of cricket. As always his energy level is unmatchable. Kaly, the rapper, too does a fine job. Rahman’s arrangements are mostly digital percussion again, but I must say, the beats are very groovy, though at the same time, very typical and clichéd. There’s another uncredited female portion in the interlude, which was the peak point of the song, next to the “Sachin” chants. Irshad Kamil very appropriately praises the God of Cricket in his writing. An anthem that works only partly with its composition, but has a top-class hookline, and amazing vocals!

Rating: 3/5

 

3. Mard Maratha

Singers ~ A.R. Ameen & Anjali Gaikwad

“Dam dam dam Tain Tain Tain Tain Mard Maratha Tain Tain re!”

A vocal loop that reminds me of so many of Rahman’s Tamil songs kicks off the last song on the album, a fun and enjoyable children’s song that will surely make you get up and dancing to its beats. Rahman composes it in a way that will instantly appeal to the listeners, and especially the younger children. That vocal rhythm keeps repeating throughout the song, and keeps the listeners glued to the song. The mukhda is quite catchy as well, and very effectively leads to the vocal rhythm again, which serves as the song’s hookline. Rahman keeps the catchiness constant throughout the song; the antara is also very impressive. Not just the composition, but even the arrangements and vocals stand out in the song. The composer employs a very typical Maharashtrian dholki beat, that works in favour of the song and sets up a nice Maharashtrian feel to the song, apt because Sachin is from Maharashtra. The beginning has a nice Irish flute, that helps in getting the listener hooked. The interlude has a nice dhol-taasha part, coupled with nice Indian banjo after that. And of course, the dholki remains constant. Rahman’s guitars help infuse amazing energy to the song wherever they play. The vocals are very impressive, with two children singing joyously, but perfectly. They hit the right notes everytime, and even showcase for us, some very impressive rapid aalaaps. Rahman’s son, Ameen, does a good job, but his female co-singer, Anjali Gaikwad steals the show when she sings mind blowing aalaaps. Irshad Kamil’s lyrics are fun and enjoyable, just like the song. Sachin’s young fans will love this one!

Rating: 4/5


Sachin: A Billion Dreams is aptly short, sweet and simple. With a patriotic song, an ode to Sachin, and a children’s song, the album is quite a mixed bag.However, it doesn’t seem like one of those albums that I will listen to over and over again, and it is definitely not one of Rahman’s best. He showcases his experimentalist side in ‘Mard Maratha’, but the other two songs lack that.Nevertheless, they are good songs for a film in which I least expected songs. The Mozart of Madras puts aside his garish orchestration and complex compositions and delivers a sweet and simple album for the Master Blaster!

 

Total Points Scored by This Album: 4 + 3 + 4 = 11

Album Percentage: 73.34%

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

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

Recommended Listening Order: Hind Mere Jind = Mard Maratha > Sachin Sachin

 

Please vote for your favourite song from Sachin: A Billion Dreams! Thanks! 🙂

COLOUR THAT HAS FADED AWAY!! (PINK – Music Review)

Music Album Details
♪ Music by: Faiza Mujahid, Shantanu Moitra & Anupam Roy
♪ Lyrics by: Faiza Mujahid, Tanveer Ghazi, Anupam Roy & Irshad Kamil
♪ Music Label: Junglee Music / Times Music
♪ Music Released On: 30th August 2016
♪ Movie Releases On: 16th September 2016

Pink Album Cover

Pink Album Cover

 

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

To buy this album on iTunes CLICK HERE


Pink is an upcoming Bollywood courtroom drama / thriller film, starring Amitabh Bachchan, Taapsee Pannu, Kirti Kulhari, Andrea Tariang, Angad Bedi and Piyush Mishra. The film is directed by Aniruddha Roy Chowdhury and produced by Rashmi Sharma and Shoojit Sircar. After ‘Piku’, Shoojit is back; he doesn’t direct this, but gives the Bengali director Aniruddha Roy Chowdhury (‘Buno Haansh’ fame) a break in Bollywood. The movie is based on women empowerment. Of course, great music for this film would be a pleasant surprise, although I’m not expecting much from it. The number of composers behind the album happens to be three. The first one is Anupam Roy, back to Bollywood after his debut in Shoojit’s previous film ‘Piku’, with two songs in this album. Second is Shantanu Moitra, another Bengali composer with his base in Bollywood, but he has been doing a not-so-well job in Bollywood after his last album that I enjoyed, ‘PK’ came out. All he composed for was ‘Wazir’ (only two songs, both above average) and hopefully, the one song by him in this album will restore my faith in him! 😀 Lastly we have débutante composer Faiza Mujahid, a Pakistani singer/composer, who has composed one song for the movie. Starting off the album with few hopes, let’s see how colorful it can become!!


1. Jeenay De Mujhe
Singer ~ Faiza Mujahid, Music by ~ Faiza Mujahid, Lyrics by ~ Faiza Mujahid

The album starts off with debutante Faiza’s entry into Bollywood, a feel-good, feel-free, rock anthem, with the central theme of freedom. The composer has tried to make an enjoyable anthem which all the girls throughout the world can relate to. The composition that results, though, tells you that this isn’t exactly what she would’ve wanted it to turn out to be. It is something that entertains on and off, something that has no tune that would make listeners love it. The whole thing seems to be rather over-ambitious. The way the composer tries to convey the idea is cringeworthy. After hearing the song, there is nothing that pulls you back to the replay button. The arrangements are ordinary rock arrangements, with guitars and drums placed exactly where you would expect them to be placed. Nothing else features in the song to male you like it. Faiza seems to have done very little effort in making the song memorable and the arrangements innovative, but she has done something innovative in the vocals of the hookline. Innovative in a negative way. She screams out the hookline at the top of her voice, to indicate the theme of freedom. Her lyrics too, fail to impress, sounding quite ordinary as well. The one thing I did like though, was the retro diversion in the second interlude, and the rock guitar solo after that. Quite a boring attempt to make a smashing entry into the industry.

 

2. Kaari Kaari
Singer ~ Qurat-ul-Ain Balouch, Music by ~ Shantanu Moitra, Lyrics by ~ Tanveer Ghazi

This next song brings in the instant feel of a very mature composition, right before the actual melody even starts! The prelude itself, makes you ready for a wonderful song ahead. The European strings open the song so attractively, that you can’t help but playing it over and over again just to hear that magic again and again. After the failed attempt by a debutante to open the album with a bang, Shantanu takes over and fixes things, with his experienced arrangements and composition skills. Whenever I think of Shantanu Moitra’s compositions, I am reminded of his happy-go-lucky composition style, where the happiness is overflowing and his sugary-sweet tunes. However, I’ve got to admit, he is just as good at composing dark, haunting tunes, just like this one here. Shantanu has come up with a composition that is apt for the situation here, and the haunting tone coupled with those wonderful plucks of the guitar, makes it sound even better. Shantanu’s composition is awe-inspiring. The mukhda is something that instantly hooks you onto it, while the antara perfectly keeps that feeling going. While the mukhda has those wonderful guitar plucks to give it its tempo, the antara has wonderful studio beats, with drums keeping beat. And then after it is over, the guitars kick in again. The composition of the antara is just too wonderful; something that you will most likely never forget. Shantanu’s arrangements too, are wonderful, and besides the guitar plucks throughout the song and the drums in the antaras, beautiful strings grace the rest of the song. A grand orchestra amazes even in the hookline, while it really opens up when the antaras end, when there is a wonderful orchestral piece. The first interlude has a wonderful sitar piece, while the second interlude actually takes you back to the Beethoven era, where there is a wonderful stop to the song with a very slow-paced orchestra. After that, the mukhda plays once more before the second antara, which is a really ingenious idea by Shantanu! After the second mukhda, yet another wonderful orchestral piece is played, this time accompanied by piano notes! The arrangements are just too good to explain completely! And then there are the vocals. Shantanu discovers a great find in Qurat-ul-Ain Balouch, a Pakistani singer, whose rustic voice is what appeals the most! The young singer has a very mature and deep voice, which is the highlight of the song. She sings every note of Shantanu’s touching composition with such emotion, that the song actually touches your heart, and doesn’t remain a song with hollow emotion. Tanveer’s lyrics are beautiful as well, giving more reasons to love the song and adding even more emotion in it. Shantanu strikes gold with this one: a wonderful emotional song following the women empowerment theme, and excelling in the arrangements department. And by excelling I mean EXCELLING! #5StarHotelSong!!

 

3. Tujhse Hi Hai Roshni
Singer ~ Anupam Roy, Music by ~ Anupam Roy, Lyrics by ~ Anupam Roy

With the next song, the last composer, Anupam Roy steps into the album. The song starts off quite abruptly, with a ordinary, but groovy piano loop introducing us to Anupam’s lovable composition. The composer uses his typical composition style, and weaves a tune which is easily appealing to the ears and light on the ears as well. It resembles his songs from ‘Piku’ quite a bit (not surprising, because they themselves resembled each other a lot!) The mukhda is sweet in its simplicity, while the antara sees things getting more interesting with variations in the tune and a more Westernized treatment to the song. The hookline is something that isn’t extraordinary, but manages to appeal to you anyway. The arrangements are more interesting here, though, than they were in ‘Piku’. While those songs were quite minimally arranged, or calmly arranged, this one has a lot going on in the background. The drums are the main attraction, obviously. And the piano loop is something that gets stuck in your head after you hear the song for a repeated number of times. The composition, though not something that people would like right away, manages to make you smile and feel good after it’s over. The rock elements have been added in the song very nicely, and it gives it more of an upbeat feel, like a pop song, rather than having a melancholic and nostalgic and very contemplative song. Anupam sings it well, with his slight nasal twang. His voice isn’t boring at all, and though not perfect technically, it manages to attract the listener’s attention. His lyrics too, are quite good, not too simple and not too complicated. Though reminiscent of Anupam’s debut album ‘Piku’, the composition works due to the new arrangements. #5StarHotelSong!!

 

4. Pink
Singer ~ Jonita Gandhi, Rap By ~ EPR Iyer, Music by ~ Anupam Roy, Lyrics by ~ Irshad Kamil

The last song on the album is the most upbeat of the lot; the most commercially viable of the lot. And though it is commercially viable, it is definitely not for those audiences of Bollywood music who love to dance on Punjabi songs. It is for that mass of Indians, who are constantly complaining about Bollywood music being bad, uninteresting, boring, bleh, etc, and go on praising songs from the West. Composer Anupam Roy here, has wonderfully tried to make a song that will be closest as possible to the English pop singles, and even succeeds to some extent! I mean, the composition is very groovy and catchy! The beats are groovy and the singing is energetic! The song in its treatment, is just like an English pop song, and kudos to Anupam for that! He has managed to bring that flavour into the song quite perfectly. The tune is so catchy, that you start grooving to it. However, it repeats itself twice and gets quite boring at some time in the song, and even sounds too outdated (by the standards of such pop songs) at some time. This is a tune we have heard many times before in various hit English pop songs! The anthemic ring of it definitely surpasses the first song of this album though! The arrangements are good, with techno sounds being the primary attractions here. Some very Latino styled horns in the hookline appeal to the listener a lot. They’re also the horns that start the song off. That tune is amazing! Coming to the vocals, Jonita is a wonderful choice for them. She proves yet again after ‘Sau Tarah Ke’ (Dishoom) that she is great at such songs, but the diva inside her is kind of suppressed here, while she was singing completely freely in that song! Her English diction is amazing, and there I get reminded that she’s an Indo-Canadian. She sings the hookline, “My world goes Pink!” wonderfully. The rapper EPR Iyer, on the other hand, puts in more of the feel of an English pop song, as he sings around Jonita throughout the song. He doesn’t even sound like he’s an Indian when he sings in English; more like an American! His rap is okay, but when he says “Put your hands up for the pink anthem” towards the end of the song, it sounds great! The lyrics by Irshad Kamil are average as well, but they put forth the freedom theme well. A better composition would’ve helped the awesome arrangements!


Pink is an album that definitely turns out to be as expected. Not many songs in total, and out of those too, only two are exceptional. The three composers try to get an album that conveys the themes of freedom and women empowerment very well, but it turns out to fail in its purpose. Two of the songs will help both to attract audiences and as great background pieces in the movie, while one song will serve as a club song, if it reaches the public, that is. The other song seems to be an odd one out in that nothing is going well in it, and it also turns out to be a bad debut for Faiza Mujahid. As for Anupam Roy, his outdated tunes are saved by good arrangements. The only winner in this album is Shantanu Moitra. Overall, the color of this ‘Pink’ has faded quite a bit!!

 

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: Kaari Kaari > Tujhse Hi Hai Roshni > Pink > Jeenay De Mujhe

 

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

 

Next “dish”: Banjo, Chefs: Vishal-Shekhar

QUITE A SHORT, BUT ENJOYABLE ‘MADAARI’ SHOW!! (MADAARI – Music Review)

Music Album Details
♪ Music by: Vishal Bhardwaj & Sunny Bawra-Inder Bawra
♪ Lyrics by: Irshad Kamil
♪ Music Label: T-Series
♪ Music Released On: 5th July 2016
♪ Movie Releases On: 15th July 2016

Madaari Album Cover

Madaari Album Cover

 

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

To buy this album on iTunes CLICK HERE


Madaari is an upcoming Bollywood social thriller film starring Irrfan Khan in a central role, and Vishesh Bansal, Jimmy Shergill, Tushar Dalvi, Nitesh Pandey and Sadhil Kapoor in other supporting roles. The film is directed by ‘Drishyam’ & ‘Rocky Handsome’ fame, Nishikant Kamat, and produced by Irrfan Khan, Shailesh Singh, Madam Paliwal, Sutapa Sikdar, and Shailja Kejriwal. The movie is about a man who loses everything he has in a man-made disaster, and his search for the answers as to the reasons for the disaster, during which he encounters shocking discoveries. His search for justice in a thriller manner, is the gist of the movie. After ‘Drishyam’, which was so thrilling, we are naturally expecting a lot from this. However, ‘Drishyam’ was lacking a bit in the music department in that its songs weren’t universally appealing. (Though I loved them except one). And I’m confident that the songs in this movie too, aren’t going to be the regular song-and-dance-routine songs that we get to see in Bollywood. They will be like those of ‘Drishyam’. Even ‘Rocky Handsome’ had some Bollywood-ish songs. What’s more, this movie, as opposed to the five songs in ‘Rocky Handsome’ and the four in ‘Drishyam’, has merely two tracks. After a long album like ‘Fever’, I should be partying at the moment, but I’m not because of the names attached to the music! Two songs by two musical entities, the first being the famous and renowned-for-his-unconventional-music Vishal Bhardwaj, who left us with unconventional but haunting songs in ‘Talvar’ (coincidentally, another thriller starring Irrfan). The second is duo Sunny-Inder Bawra, who debuted verrrrryyy impressively with ‘Rocky Handsome’, especially that gem of a haunting song, ‘Rehnuma’ by Shreya. So, I was let down seeing the number of songs after knowing the names behind them, but then I get all the more chances of calling it stuff like ‘chhota packet bada dhamaka’ and all that nonsense, so… Yeah. :p Let’s see what this two-track-long soundtrack offers! By the way, before we start, I noticed that there’s a single lyricist, Mr. Irshad Kamil, who has written for both the song, inspite of the songs being composed by different people! 😀 And I also noticed Vishal Bhardwaj has been separated from his partner-in-creating-great-songs, Gulzar!


1. Dama Dama Dam
Singer ~ Vishal Dadlani, Music by ~ Vishal Bhardwaj

It is a social thriller, so a satirical track is necessary! And this soundtrack starts (it is weird to say ‘starts’ when it is one-half of the album! 😂) with just that. With Vishal Bhardwaj {from now on in this song’s review, VB, to differentiate between the Vishals} in charge of the music and arrangements, and Vishal Dadlani {VD} behind the mic, nothing can go wrong, if we look at their past collaborations — ‘Dhan Te Nan’ (Kaminey) and ‘Aao Na’ (Haider). VD is like fluid — give him any container, he’ll take its shape. That’s evident here as well. Though he may have sung many satirical songs before, he sounds really good singing this one, and the sarcasm and mocking tone in his voice really stands out, as it should. His husky voice is perfect, and brings out the satire in Irshad’s words very well. VB however, disappoints with a tune that is not so gripping. In ‘Talvar’, he had treated us with a similar political satire, ‘Patli Gali’ sung by Sukhwinder. That had a catchy tune, and that made it work. These songs really need a catchy tune to work, and though the composer has tried to come up with a catchphrase, ‘Dama dama dam dam dam dam dam doo’, it comes across as weird, kiddish and kind of over the top. Arrangements are good, with great percussion, and the dumroo giving great beats throughout the song. That was expected given the name of the movie and the song. 😂 But the dumroo is hidden amongst other techno beats, rock guitars and a bit of EDM/dubstep tried by VB. The interlude houses a very nice and enjoyable rabaab-ish instrument tune, that is so beautiful. The tune of the antara is complex, which makes it sound better than the rest of the song. Towards the end, a slow-paced portion gets the hookline sung in chants by VD. And the claps in the background make it feel even more genuine. Irshad Kamil writes good and sarcastically funny satirical lyrics, with great use of metaphors, and makes it worth listening. The tune plays the spoilsport of this song, that would’ve become totally enjoyable if it hadn’t been so!

 

2. Masoom Sa
Singer ~ Sukhwinder Singh, Music by ~ Sunny Bawra-Inder Bawra

A haunting harp loop starts off the song, with a flute and xylophone combination joining it later on. Low-pitched humming starts off, with low-pitched cello strings adding depth to the ambience. Sukhwinder starts off in a voice quite different from what we imagine him singing in usually. The song is an emotional song, and Sunny-Inder, who gave another wonderful emotional song ‘Aye Khuda’ in their debut ‘Rocky Handsome’, are experts in haunting us with their melancholic music. Their composition is top-class and probably one of the most haunting sad songs I’ve heard after those in ‘Sarbjit’. The emotion is not just superficial, but it actually goes and touches your heart. It starts off softly, but quickly gets to its peak, and drops down from the peak at the hookline, which is also the best line in the whole song. Mukhda and antara, both have this wonderful vibe surrounding them, though melancholic. Coupled with a lavish blend of traditional instrumentation, the composition sounds even more deep and touching. The opulent orchestration consists of grand and authoritative strings, duff percussion that oh-so-cordially invites those goosebumps to come and have a look at what’s going on outside the body, and luxurious flutes, which always put the sugar into the bitterest of arrangements. However, here’s the sugar in the sugar, so don’t be surprised if you get Diabetes due to the arrangements! Sunny-Inder, who had arranged ‘Aye Khuda’ (Rocky Handsome) on very, very minimal instruments, making it practically unplugged, rectify that mistake here, by using the grandest of instruments there are. All of those put together give the song a template that is purely unbeatable! And coming to Sukhwinder (my keypad who is an expert at spelling just suggested to me to spell his name as ‘Sikh Wonder’, and I’m like, wow, he is a Sikh wonder indeed! The autocorrect is right for the first time! :P) Anyway, coming to Sukhwinder, he renders the song with such ease that it is almost impossible to believe it without hearing! The song has a vast range of highs and lows, and dynamics differ on each line, but Sukhwinder manages them all effortlessly, being the living legend that he is. He doesn’t seem to be bothered by transitions like those; he does it so seamlessly. Irshad’s lyrics are just stupendous. It is definitely describing the feelings of the father who lost his son. Sukhwinder gets a song worthy of his caliber after a LONG time! Sunny-Inder take you on a very emotional ride in this song, each and every moment of which gets encrusted into your brain!! A song to hear on loop! #5StarHotelSong!!


Madaari was not exactly supposed to have songs, and if it did, they were supposed to be situational and instrumental in carrying the story forward. Here, we get exactly such two songs, which help the story of the film. Vishal Bhardwaj, though upsets with his composition, gets everything else perfect in his song, while Sunny-Inder just ace their song. Making great use of their opportunity to create an emotional song, even when a stalwart like Vishal Bhardwaj was on board, they deliver a song that I will definitely cherish for long. Considering the genre of the movie, this ‘Madaari’ (meaning, street performer) show was supposed to be short, but though it’s short, it turns out to be quite enjoyable!

 

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

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

Recommended Listening Order: Masoom Sa > Dama Dama Dam 

 

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

THE SULTANATE OF VISHAL-SHEKHAR IS BACK TO REIGN!! (SULTAN – Music Review)

Music Album Details
♪ Music by: Vishal-Shekhar
♪ Lyrics by: 
Irshad Kamil
♪ Music Label:
 YRF Music
Music Released On: 31st May 2016
♪ Movie Releases On: 
8th July 2016

Sultan Album Cover

Sultan Album Cover

 

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

To buy this album on iTunes CLICK HERE


Sultan is an upcoming Bollywood sports drama film, starring Salman Khan and Anushka Sharma in the lead roles. The film has been directed by Ali Abbas Zafar, and produced by Aditya Chopra. The story revolves around a Haryanvi wrestler who goes by the name Sultan (Salman Khan), who has problems in his professional life. His struggle to get back into the wrestling scenario forms the story of ‘Sultan’. The story seems the usual Bollywood story for a sports film, but the execution is what matters. While we wait for the execution to come in front of our eyes, the music album is here for us to cherish. The album marks the comeback of duo Vishal-Shekhar, who disappeared after a mediocre album, ‘Happy New Year’ (2014). They gave that foot-tapping song in ‘Fan’, again for YRF earlier this year, again for a Khan, Shahrukh. This time they come back to compose for YRF’s ‘Sultan’, which is coincidentally their first Salman Khan film!! That’s kind of hard to believe isn’t it? Such a talented duo and composing for Salman for the first time! 😀 What was Salman doing all these years? Playing table tennis with Himesh and Sajid-Wajid? Apparently, he has moved on from his clichéd composers and after Pritam’s stylish and full-of-variety ‘Bajrangi Bhaijaan’, and Himesh’s old-fashioned, but enjoyable ‘Prem Ratan Dhan Payo’ last year, he comes back this year with a new choice of Vishal & Shekhar, who are geniuses when it comes to being innovative. Expectations are sky-high and there are so many reasons. a) Vishal-Shekhar’s comeback. b) Vishal-Shekhar’s first for Salman. c) Vishal-Shekhar composing for YRF.. (remember ‘Ta Ra Rum Pum’ and ‘Tashan’?) Something phenomenal indeed is expected. Something mind-blowing and something innovative — just because Vishal-Shekhar are on board. They have composed a big nine-track album, with seven songs, one version and one theme. Let’s see how many of them rise up like a real ‘Sultan’! Really hoping this comeback makes it really big (once again) for the duo after their rough patch recently, the last great album being ‘Hasee Toh Phasee’ (2014)! They must emerge as Sultans!


1. Baby Ko Bass Pasand Hai
Singers ~ Vishal Dadlani, Shalmali Kholgade & Isheeta Chakrvarty, Rap by ~ Badshah

The soundtrack opens up with a fun-filled dance number that has been composed by the duo to really suit Salman’s presence in it. The song starts off with a wonderful rhythm, that you can set your feete tapping to immediately, as soon as it starts. Composed of techno sounds, dhadd, and manjeeras,the rhythm really hooks you right away, and Isheeta’s folk portion doesn’t really help in making you run away from the song. In other words, the song starts off really catchily, just as it should!! Vishal-Shekhar have really moulded themselves into a complete folksy manner, and delivered a composition that would easily connect with the masses. It is very typical, very Salman types, yet it instantly catches onto you. The hookline, kind of composed on the base rhythm of ‘Selfie Le Le Re’ (Bajrangi Bhaijaan), impresses with its briskness. The techno noises after the short hookline are wonderful, and so is the playful flute! The mukhda by Vishal and Shalmali, really grabs your attention. Arrangements in the song are fabulous. The use of techno has been done really impressively. The brisk interventions of the flue are just lovely! They really stole my heart. Traditional instruments like harmonium, dholaks, manjeeras, tumbi, dhadd, impress as well in their small parts. Vishal-Shekhar really know how to fuse everything together into a catchy package. There is a rap by Badshah completely styled like an antara, as it is very cleverly joined with the hookline after it is over. Badshah’s rap is fun to hear, but I miss the very raw Haryanvi feel of Honey Singh’s Haryanvi rap here. Anyway, it is enjoyable. Shalmali sings in her soft voice, which I like better than her other, low-pitched voice. She does the Haryanvi accent very well. She too, has a small stanza to sing after a bit of Badshah’s rap, after which Vishal comes back for the hookline. For Vishal, I’ve no words to express how much I loved his rendition. He sings with the same infectious energy, that he puts into all his other songs, so it is not a surprise. The way he sings the hookline, though resembling his rendition of the hookline of ‘Selfie Le Le Re’, still sounds so mind blowing and cool. Irshad Kamil is back to his fun, enjoyable lyrics. He can easily mould himself to write so many different types of lyrics and they always appeal! He takes the hookline and writes such fun-plus-funny lyrics around it, a usual male v/s female battle as we have in Bollywood dance numbers many times. An infectious, catchy number, perfect as the first song in a Salman album. Vishal-Shekhar have composed a perfect song for Salman, right in their first stint for him! Energetic vocals, enjoyable lyrics, and booming arrangements all make this one a WINNER! #5StarHotelSong!!

 

2. Jag Ghoomeya / Jag Ghoomeya (Female)
Singers ~ Rahat Fateh Ali Khan / Neha Bhasin

A beautiful guitar loop starts off the next song, and you know Vishal-Shekhar are back at doing their thing with the soulful romantic songs. The song is a romantic song, with shades of Vishal-Shekhar’s style, yet suiting Salman’s style perfectly. The composition is a breezy, love ballad with a really happy-go-lucky touch to it, and graced with a beautiful folk rhythm. The mukhda is very charming, and the hookline really lives up to its name — it hooks you completely. The rhythm of the hookline is just too catchy to dislike. It is the antara though, where Vishal-Shekhar really work magic. It has been composed in a manner that reminds you of Vishal-Shekhar’s work in ‘Tashan’, for some reason unknown. Maybe the folksiness makes it connect to ‘Tashan’. The line “jaisi Tu hai vaisi rehnaa” is very pleasant, and my personal favourite from the song. It has some charm in it. The female version has the tempo cranked down a bit, and that appeals so, so much! The duo excels in the arrangements too, as always. In the male version, their brilliance in arranging music is seen in the way they add folk guitars, acoustic guitars and rock guitars into the same song. Percussion is brilliant, with a folksy but electronic dafli and dholak rhythm backing the song. Shakers have been used very cutely. The first interlude has a very majestic strings portion which reminds one of ‘Zehnaseeb’ (Hasee Toh Phasee). It has a strong hangover of that song. However, the mandolin is what steals the show. It is very cute and pleasant to the ears. In the female version, however, Vishal-Shekhar really impress. They have arranged it very beautiful with almost nothing but a folkish guitar in the background. Percussion is very beautiful, and very less and soft too. For me, this is the winner even though it offers less! To talk about vocals, Rahat’s soulful voice brings that rustic feeling to the song (and also brings the Salman-iyat 😛 ) and sounds very familiar, yet appeals. Again, it is the female version which emerges as the winner. Neha has tried something new this time, with an innocent romantic song. Her husky voice perfectly makes for the rustic setting of the movie. The accent is something to fall for! I couldn’t help but miss Harshdeep Kaur here, though! Not that Neha’s rendition is bad in any way!! 😀 Her voice simply reminded me of Harshdeep’s and then I started wanting to hear the song in her voice. 😛 Kamil’s lyrics are sweet, simple, innocent; in short, amazing. Amazing simplicity and innocence in this romantic song. Something worth hearing on loop! For me the female version is better, but both are a #5StarHotelSong!!

 

3. 440 Volt
Singer ~ Mika Singh

I saw the title and singer’s name of the next song and told myself, “Finished. The goodness of this album is over. It’s all over, dude. You were an idiot to think that the album would be so great.” After all, I’ve not been liking Mika’s songs of late; the same, old, repetitive meaningless party tracks. But boy, was I wrong! The song is utterly enjoyable! Nothing less than that. Enjoyable to the fullest. Each and every second is something to cherish and enjoy. I don’t know what Vishal-Shekhar fed Mika before recording the song, but here he sounds very, very different! He doesn’t belch out his words like always, he doesn’t eat any of the syllables, and neither does he try to sound like a pop star. Instead, he pronounces everything perfectly, sings in a very soft textured voice, and tries to sound CUTE! And it works! He does sound cute. Don’t believe me? Hear it! The duo have given him a song quite unlike his style, yet perfect for him! It is a slow-paced, but very catchy and groovy song based on the filmi Qawwali template. It is one of the most entertaining Qawwali spoofs I’ve heard this year. And then there’s that ‘Fake Ishq’ (Housefull 3). [Okay, now ‘Housefull 3’ has really become an example, hasn’t it? Sorry! 😅😅 Couldn’t resist from writing that, though!] Vishal-Shekhar have composed something that is immensely attractive, something that doesn’t only have a catchy hookline to do all the work, but a hardworking (in getting us addicted!) mukhda and very diligently composed antaras. The antara is a very weirdly addictive, slow piece that you can’t get out of your head. The part in the hookline when Mika repeats “Chhoone Se Terey” is just so crazily gooooddd! (Can’t think of a synonym for ‘good’. That’s why I elongated it. No time! 😂 ) The way Mika sings in a Haryanvi accent fulfills my dream of hearing him sing that ever since he didn’t sing the title track of ‘Boss’. (Which I had thought he had sung when I first heard it). The duo’s arrangements are very creative. The rock factor works really well in filmy Qawwalis, so there it is. The harmonium and tablas are also awesome. A wonderful electronic substitute for the tabla has been added by the duo, which you can hear at 2:47 in the song. That space is usually taken by the tablas in any Qawwali. While he first interlude has a full-on rock guitar solo, the second goes the calm way with a Spanish sounding tune on strings and tablas. Irshad Kamil writes very entertaining lyrics, perfectly suitable for a lovestruck Romeo. The hookline is so funny, yet creative. “Lagey 440 Volt Chhoone Se terey”. Now don’t say I unnecessarily hate the lyrics of ‘Hous– oops! ENTERTAINING to the core!! Something very creative and innovative! P.S. Mika as a Qawwali singer sounds awesome! #5StarHotelSong!! (P.P.S. Sorry for the essay)

 

4. Sultan
Singers ~ Sukhwinder Singh & Shadab Faridi, Backing Vocals ~ Abdul Sajjad, Zuber Hashmi, Arun Ingle, R N Iyer, Mandar Aapte, Kaustubh Datar, Rahul Chitnis, Nitin Tupe, Swapnil Godbole, Mangesh Chavan, Nitin Karandikar, Vijay Dhuri, Jitendra Tupe, Mayuresh Madgaonkar

The title song, arrives quite late into the album, and starts off very softly. Later, a voice quite like that of Vishal Dadlani joins the rock guitars that start off the song, and sing some motivational lines. We’re kind of figuring out what’s going on, when suddenly, an electrifying Sukhwinder Singh takes things into his hands and with him, the song goes uphill, and how! An energizing electric guitar hook starts playing, to be joined later on by energetic drums and a wonderful chorus. The composition is also just ad energetic, and definitely motivational. The duo redo their own ‘Tashan Mein’ (Tashan), but in a very different manner. A way better version of the seemingly unbeatable song, in terms of dynamism and vigour. The hookline is very unconventional as it ends abruptly with the chorus singing “Rre sultan”. The khoon and mitti refrain is very catchy, and suits the theme, doesn’t it? All the parts of the song are energetic, and full of the spirit to work and win. The rock arrangements are not over the top, and because of the commercial nature of the rock song, it will appeal to all, unlike other rock songs which aren’t so commercial. You can barely hear anything besides the rock guitars and drums, which I must say, are very classily done. There are some parts in the antara when the rock simmers down, but other than that, rock is everywhere. Sukhwinder and Shadab are a fit duo to sing the song, with Shadab getting very less in comparison to Sukhwinder. Sukhwinder is clearly the king of all this. A wonderful techno-sargam entertains highly in the first interlude. Irshad Kamil’s lyrics are highly motivational and more than a character-themed title song, like Salman’s other title songs where the leading hero is a larger-than-life supercop (Ahem, ‘Dabangg’!), the song sounds like a pure motivational and inspirational song. The energy of Sukhwinder and Shadab combined with the energy of Vishal-Shekhar’s guitars and drums, and the intelligence of Kamil’s pen, makes for an enjoyable and worthy listen! One of Salman’s best title songs!! He’ll be like “Achho title song paayo .. Paayo… Aayo.. Laayo… Gaayo.. Bio —” Where’d that come from? 😕 #5StarHotelSong!!

 

5. Sachi Muchi
Singers ~ Mohit Chauhan & Harshdeep Kaur, Backing Vocals ~ Marianne D’Cruz, Nisha Mascarenhas, Rajiv Sundaresan & Neuman Pinto

Now, the next song is really beautiful. Vishal-Shekhar create a very happy-go-lucky romantic song, very unconventional. The song starts with a wedding baaja type band, playing the tune of the hookline, which sounds really out-of-place, and confusing. However, things clear themselves up when the song starts after the band moves on. A wonderful banjo + harmonica instrumentation sets things into place, and creates a very American folk ambience. (You know, cowboys. 😛 ) Without thinking about what cowboys are doing in Haryana, I start grooving to the feel-good, breezy music. However, it took me very long to really start grooving a lot to the music. The song grows on you as slow as a snail. But when it finishes growing upto however much it wants to grow, it sounds very good to the ears. The same thing happened to me. The composition, though a little weak, sets in after a few listens and seems to very attractive. The Western breeze in the arrangements is something not heard recently in Bollywood. (I don’t really like it when it comes in Bollywood music, though. Sounds boring, generally, too!) Mohit and Harshdeep sing the composition perfectly, with the right amount of gusto. Especially in the hookline, “yeh khwaab hai, chaahatein…. Tere kehne Se li Maine parvaazein”, Mohit along with the backing chorus sings very awesome. The harmonica and banjo sound mind-blowing. The lighthearted composition works really well after some time, just that it takes some time to mark its place in the otherwise commercial album. Irshad’s lyrics are just as lighthearted as needed. This time, a two-sided love song. 😀 A song with less appeal, but will slowly emerge as an undoubted #5StarHotelSong!!

 

6. Bulleya
Singer ~ Papon, Backing Vocals ~ Altamash Faridi & Shadab Faridi

While Mika sang a filmy Qawwali earlier in the album, Papon is here with a full-fledged traditional Qawwali of his own. Vishal-Shekhar have composed a totally sweet, innocent composition for this Qawwali, fit for mehfils. Papon starts off with a very lovely AdLib, after which Vishal-Shekhar kick in with the beautiful Qawwali rhythm, complete with the Faridi brothers singing in a heavenly manner, and a harmonium striking the chords of our hearts. Papon rejoins with very sugary lines written wonderfully by Kamil. He renders them very beautifully, and those waah’s cant stop from escaping from your mouth. The way the duo connects this part to the hookline, is when you really get transported to another world. And the hookline is what keeps you there. And you stay there for the remaining duration of the song. A beautiful entrancing arrangement of dholaks, tablas, dafli, harmonium and chimtas, complements Papon during his heavenly rendition. The foot-tapping rhythm is what makes the song sound so beautiful. The rhythm in the hookline is indescribable. It is also the composition that has brought out the bliss in Papon’s voice. Vishal-Shekhar’s divine and spiritual composition is what makes you love everything about the song. The interlude has a wonderful rock guitar portion, which doesn’t sound out-of-place in the spiritual song at all. The Faridi bros are excellent in their spiritual interventions in the song. Lastly, Irshad is a genius. He has written such impressive romantic, spiritual and sad lyrics, which are excellent. It is like a request from the boy to his lover, instead of the usual sad romantic songs where the boy assumes that the girl is leaving him and starts wailing. 😂 The way the spiritual touch has been put into the lyrics, is wondrous. Divine, spiritual and blessed. Something to hear on loop! Perfect ‘Coke Studio’ material from Vishal-Shekhar! Papon, you are a rockstar!!! #5StarHotelSong!!

 

7. Tuk Tuk
Singers ~ Nooran Sisters & Vishal Dadlani

This song starts with a weird AdLib like one in a Qawwali. I am guessing that has been sung by Shekhar. Anyway, the AdLib makes way for some entrancing, divine techno music. It is so beautiful, that you can’t stop from swaying. Piano, chimes and techno sounds have been wonderfully fused together to make something really addictive and entrancing. The Nooran Sisters start off with their usual folksy Punjabi rendition, which starts off really promising. And then, it drops down so fast. The hookline arrives so fast, you are not sure what actually happened. Suddenly, the techno trance breaks and you find yourself in a very typical Punjabi tumbi-dhol arrangement (with very low volume, like Amit Trivedi’s style) with a very averagely composed hookline. It takes quite some time for the song to pick up pace again, and that is when Vishal comes in with his out-of-this-world rap! His rap is actually meaningful. The song is another meaningful, inspirational one, which completely grips you until the part I mentioned arrives. After Vishal’s raps though, the Punjabi part sounds perfectly fine and acceptable. It is the “re bole dhola dhol tadak dhin” line that plays the spoilsport in the song. It just sounds out-of-place here. Everything else falls into place perfectly. Even the antara, which has a Punjabi folk arrangement, sounds great. So why does that hookline sound odd? The flaw is in the abrupt composition. The EDM and techno music is really addictive, and the programming on the Noorans’ voices is very cool. The fusion is really something to appreciate, and something other composers must follow soon!! Irshad’s lyrics are very inspirational, and the metaphors are very clever. Something that would have been exceptionally innovative, but spoiled by the hookline!!

 

8. Rise of Sultan
Singer ~ Shekhar Ravjiani, Backing Vocals ~ Abdul Sajjad, Zuber Hashmi, Arun Ingle, R N Iyer, Mandar Aapte, Kaustubh Datar, Rahul Chitnis, Nitin Tupe, Swapnil Godbole, Mangesh Chavan, Nitin Karandikar, Vijay Dhuri, Jitendra Tupe, Mayuresh Madgaonkar

To close this very much awaited album, we have something on the lines of a theme song. Again motivational in spirit, this track takes the khoon-mitti refrain of the title song and has it crafted into a wonderful background piece. The composition as we know it, it purely motivational and so it has a very positive effect in this track. It makes the song sound so otherworldly. Shekhar leads the vocals with a horde of backing vocalists following him, without which it would’ve sounded lifeless. What I really want to praise is the MINDBLOWING percussion. They are so energetic and vigorous, you can’t help but love them. The rock guitars do not leave this opportunity of showing their prowess either, and impress yet again, along with their new companion, the percussion. The song suits the storyline of the film, as it starts slow and gets high-spirited towards the end, with the strings and brass kicking in later on. It is symbolic of the “Rise” of the character, Sultan. A perfect title, I must say! An INVIGORATING end to the impressive album! #5StarHotelSong!!


Sultan turns out to be way better than expected. Yes, I know my expectations were huge anyway, but not so high! I had never expected such a great album, especially when there is Salman’s commercialism to cater to. But Vishal-Shekhar really prove themselves. They are experts in music arrangements, and they use this plus point to raise the level of each and every song in the album. If there is a typical Salman dance number in ‘Baby Ko Bass Pasand Hai’, there is also a spiritual Qawwali in ‘Bulleya’ and an enjoyable track in ‘440 Volt’. An album full of variety, and I’m thinking, one of Salman’s best albums since 2010. Ali Abbas Zafar has brought out the best from the duo, considering the movie’s genre. If Vishal-Shekhar can deliver so well in a film that doesn’t need such good music, I can’t even imagine what they will do in films like ‘Banjo’ and ‘Befikre’ coming later this year! 😉 The sultans of Bollywood are back to reign!!

 

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: Bulleya > Jag Ghoomeya (Female) > 440 Volt > Sultan > Jag Ghoomeya > Rise of Sultan > Baby Ko Bass Pasand Hai > Sachi Muchi > Tuk Tuk

 

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

 

Note: ‘Sultan’ will be included in July 2016 monthly awards 🙂

Next “dish”: Raman Raghav 2.0, Chef: Ram Sampath

“I” M LOVIN’ IT!! (I – HINDI VERSION – Music Review)

Music Album Details
♪ Music by: A.R. Rahman
♪ Lyrics by: Irshad Kamil
♪ Music Label: T-Series
♪ Music Released On: 29th December 2014
♪ Movie Released On: 15th January 2015

I Album Cover

I Album Cover

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

To buy this album on iTunes CLICK HERE


is a Tamil that has released in Telugu and Hindi as well. The film stars Chiyaan Vikram and Amy Jackson in lead roles, and has been directed by renowned filmmaker Shankar. The film has been produced by V. Ravichandran and D. Ramesh Babu. In the South, the film’s music album has been creating waves ever since its release in September this year. That’s reasonable, considering that the film is being marketed as an A.R. Rahman musical, naturally increasing the buzz! Also given the fact that the Tamil album was the bestselling album of the year on iTunes India, I was too excited to wait for the Hindi album! And after that, due to unavoidable circumstances, I wasn’t able to review anything for two weeks, so here I am posting the review very, very late! 😅

And yes, I am returning to my original style of writing. I found it more comfortable and the old style was also one of the reasons for the delay of this review…and all that followed. 😅


1. Issak Taari
Singers ~ Nakash Aziz & Neeti Mohan

Who better than the Mozart of Madras knows how to infuse rowdiness and class into the same song? Yes, Rahman once again shows his excellence in composing catchy tunes, that may sound extremely weird at first, but later on make you go crazy like anything! The techno tunes he has used, make you listen intently for anything interesting, and sure enough, some unexpected dhols enter to make the crazy experience crazier still. On top of that, Nakash Aziz has sung the song out-of-this-world-ly! The amount of expression and energy in his voice makes it clear why Rahman chose him to do the honours! Even Neeti, in her brief part of saying just “ishaq taari” again and again in different tunes, impresses a LOT! Each time she sings it, it sounds so fresh! Her backing vocals towards the end… Bravissimo! Irshad Kamil’s lyrics are awesome too! They wonderfully reflect the feelings of a lovestruck Romeo, she same time they make us laugh. “Kaale tavey pe gorey omelette si, apun ki woh kaali aankhon mein yun chamke!” This line itself is GENIUS! 😁 Gonna make you crazy like no song has made you recently! Issak Taari with this song! #5StarHotelSong!

 

2. Tum Todo Na (Male Version) / Tum Todo Na (Female Version)
Singers ~ Ash King & Sunidhi Chauhan / Bela Shendey & Ash King

{Let me specify a few things here before you bombard me with tomatoes and potatoes and eggs for the flaw in the credits: Both the versions are technically duets, so I don’t see what problem T-Series had to name the songs as Version 1 & Version 2. But the male singer has more portions in the so-called Male Version, hence the name. Same with the Female Version. So let’s bear with this terrible flaw of T-Series. 😒😝}

Grand piano welcomes us into this song, which is after some time joined by beautiful flute. The unique voice texture of Ash will instantly grab your attention. This time, Rahman has succeeded in composing a beautiful Broadway-ish composition. It will give the feel of sitting in a theater and watching a musical play. The way Rahman has pulled off the Western style without any flaws, is amazing! A few minutes into the song, comes a grand musical piece, which you don’t want to miss for all it’s worth! Sunidhi’s part (as stated earlier, very short) doesn’t impress as much, but provides a bit of relief in this intense, sad song. The interludes have been brilliantly created, with piano and flute awesomely complementing each other. The conclusion to the song is something that haunts you for a long time and triggers those goosebumps. Irshad’s lyrics are good, but sometimes sound odd, because after all, it is a dub. The so-called Female Version does not manage to create half the ambience that the Male Version did, probably because of Bela Shendey not quite performing up to the mark. In Tamil, this version was better, but in Hindi, sadly, the choice of singer has terribly altered my choice. Everything else in the Female Version however, is beautiful, like Rahman’s arrangements, softer than the Male version. Ash’s cameo towards the end is also nice. A goosebumps-invoking haunting melody, with the power to get you emotional for a while. I would vouch for the “Male Version”, which is definitely a #5StarHotelSong!

 

3. Tu Chale
Singers ~ Arijit Singh & Shreya Ghoshal

Taking a look at the singers itself, anyone familiar with Bollywood music (or, for that matter, any Indian film music) can easily get an idea of what’s in store for them. Just as expected, the song takes you to a different world altogether. Simple, ordinary guitar strums open up the song. Though they are very simple, they come across as so catchy because of the way they are presented. Arijit, singing for Rahman for the second time now after ‘Kochadaiiyaan’, just nails it here too, just as he did the first time he sang for Rahman. The beautiful melody is literally enhanced by his singing, so much so, that he surpasses Haricharan who sang the Tamil song. Shreya with her classical-based portions impresses as she always does and her sweet voice suits the composition perfectly. Her di na tirkit taani na parts are just beautiful! The classical-based melody and the contemporary arrangements by Rahman prove to be great fusion and sound great with each other. The two antaras which are different from each other, both impress. The composition would definitely remind you of the Rahman of ‘Taal’ or ‘Jeans’. Rahman has added brilliant arrangements, mostly that of guitar supported by flute. Irshad’s lyrics are brilliant too, and again, dubbing has been done perfectly! An awesome, beautiful, melodious romantic song, which has been enhanced by the perfect choice of singers! Must listen! #5StarHotelSong!

 

4. Aiyla
Singers ~ Shiraz Uppal & Natalie Di Luccio

The next track probably offers some of the craziest stuff you’ve heard lately. First of all, the lyrics do not make any sense at all, but sound awesome nevertheless with the unique composition. Shiraz comes out of his comfort zone for this song, and does a great job here, as well. The song is an upbeat and catchy song which might not attract you in the very first listen, but later will definitely grow on you. Rahman’s composition is complex and very hard to learn, what with all the twists and turns it takes. Each line is different from the other. He has used many instruments to ensure that our attention is fully towards the song, mostly techno sounds, with Arabic drums, dhols, strings and piano joining at parts to make it more attractive. However, Natalie has to be given full credit for making this song what it is with her voice and vast range of notes. The opera parts, she carries out very well, just as she does the normal parts. The length of the song might disturb some at first, but once you start liking the song, you might not be able to keep track of time! A very innovative affair by the Mozart of Madras! Something very unique and new! #5StarHotelSong!!

 

5. Lady O
Singer ~ Nikita Gandhi

Full of techno-sounds, and having an out-and-out international feel, I cannot guarantee that everyone will love this song, especially the classical music lovers. However, I’ve loved it and appreciate how well Rahman has tried to compose a fully Western modern number. Newcomer Nikita sings some unintelligible words with ease and expertise, and does well, but I missed Shalmali in this song. The beat and tempo change at around 54 seconds into the song has been done very smoothly and surprisingly, doesn’t come across as abrupt! The Antara has to be the best part of the song. Lyrics don’t really seem to play much of an important role in the song. That they’re kind of hard to make out is a different story altogether. Besides universal appeal, everything else has fallen right into place. And just because of this factor, the song has not succeeded in getting the tag which all the other songs have got. Actually, very efficiently composed in a fulltoo international style, but might not appeal to all kinds of audience! Do try it!


am — umm… Is — an album full of variety, and with all songs composed very dedicatedly and efficiently by Rahman. All to the songs work in their place and all sound awesome when heard as individual songs, as well! This is a pretty rare thing to happen, and I’m sure the composer doesn’t do it purposely, but it just happens, unknowingly. Except maybe the female version of ‘Tum Todo Na’ and ‘Lady O’ a bit, all the songs have repeat value and universal appeal. The album is enough for your to say after hearing it, “I love I!!”

 

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

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

Recommended Listening Order:

Tu Chale > Tum Todo Na (Male) > Issak Taari > Aiyla > Lady O > Tum Todo Na (Female)

(on basis of my favourite in the album — you don’t have to follow, you can always have different opinions!) 

 

Which is your favourite song from “I”? Please vote for it below! 😊

Next “dish”: Alone, Chefs: Ankit Tiwari, Mithoon, Jeet Gannguli, Raghav Sachar & Dr. Zeus

KHAN-daani DANCE ALBUM! (HAPPY NEW YEAR – Music Review)

Music Album Details:-
♪ Music by:- Vishal-Shekhar, Dr. Zeus, Manj Musik & John Stewart Eduri
♪ Lyrics by:- Irshad Kamil, Jiwan Mann, Kumaar, Farah Khan, Vishal Dadlani & Shekhar Ravjiani
♪ Music Label:- T-Series
♪ Music Released On:- 15th September 2014
♪ Movie Releases On:- 24th October 2014

Happy New Year Album Cover

Happy New Year Album Cover

 

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

To buy this album on iTunes CLICK HERE


Happy New Year is an upcoming comedy film directed by Farah Khan, and starring Shahrukh Khan, Deepika Padukone, Abhishek Bachchan, Boman Irani, Sonu Sood and Vivaan Shah. The story is about six losers, who compete in a ‘World Dance Championship’ and end up on a quest to pull of the biggest diamond heist ever. So, that story doesn’t seem all that new and fresh, but I’m sure Farah has something in mind to make it interesting and intriguing. Anyways, the Shahrukh-Deepika-Farah trio is back together after ‘Om Shanti Om’, and the same magic that was created that time is expected to be created once again now, so let’s just cross our fingers and hope Farah doesn’t go her brother’s way, by putting in too much (and by too much, I mean TOO MUCH) of cheap slapstick humour, and instead gives us a cute little comedy, which could be watched again and again. 🙂 Talking about the music, we have Vishal-Shekhar in charge of the majority of the album, with Dr. Zeus collaborating with them for one song and composing another song by himself. Manj Musik has also collaborated with Vishal-Shekhar for another song. John Stewart Eduri composing an instrumental track. What’s more, the total number of tracks is eleven! Hopes were naturally high, as they always are for a Shahrukh Khan film, and with Vishal-Shekhar working with Farah, then the hopes become tripled, and so the resulting expectations are pretty humongous! Let’s see whether they have met those expectations, exceeded them, or let us down!


1. India Waale / India Waale (Electronic)
Singers ~ Vishal Dadlani, K.K., Shankar Mahadevan & Neeti Mohan (Both Versions), Music by ~ Vishal-Shekhar, Lyrics by ~ Irshad Kamil

The song which we had heard in the trailer, and on which many people were placing bets that it would be the best track of the album, and it would be a mind-blowing, super hot, superhit track, opens up this massive album. Imagine this: you keep on waiting for your birthday, or any special day, for that matter, and when that day comes, you find yourself getting very bored, as your expectations haven’t quite been satisfied. Either whatever you wished to happen hadn’t happened, or whatever you wanted to do, you couldn’t. You must have felt like this at least once in your lifetime? Well, recall that feeling you felt, and now read the review for this song. It came across as a very, very ordinary song, because a) these kind of songs have been heard innumerable times from Vishal-Shekhar, b) The audience was expecting something new, innovative and brilliant from the song, which would surpass the craziness of ‘Deewangi Deewangi’ from ‘Om Shanti Om’, and c) Even such an awesome lineup of singers has failed to save the song from its fate. Unfortunately, what we have got is something less than a chartbuster, and it can never surpass ‘Deewangi Deewangi’ ever in its life (playlist life), and, well, it’s just too heard-before! They had promised something BIG by saying Indiawaale aa rahe hain… But actually nothing came, neither interest to hear the song on repeat, nor a feeling from the heart saying, Waah! Kya khoob gaana banaaya hai! 😛 Instead, I felt like the song is full of fake desh-prem. :/ Not so impressive! By now, you must have got that the tune is ordinary, so get this, too: the lyrics are nothing special either, and the only elements left are vocals and arrangements. Arrangements, thankfully, have been done very well, and the techno sounds have been used efficiently. The arrangements sound like 80s disco songs, and what Vishal-Shekhar did in ‘The Dirty Picture’ songs. The vocals are also powerful, and Neeti Mohan stands out in her part, and she also sounds beautiful when she sings behind the three male singers. Vishal also stands out, whereas Shankar and K.K. are mostly singing in the chorus, so they don’t have much scope to stand out as such. The electronic version is the same ordinary composition on different arrangements. Those are not of the must-listen types, but there is certainly no harm to hear it, as you’re going to hear this song all throughout Diwali. 😛 Ordinary stuff from Vishal-Shekhar and Irshad Kamil. They say old is gold, but this one is already sold!

 

2. Manwa Laage
Singers ~ Shreya Ghoshal & Arijit Singh, Music by ~ Vishal-Shekhar, Lyrics by ~ Irshad Kamil

When I heard ‘India Waale’, I was ready for the second song to be a just as ordinary, just as heard-before, just as disappointing one, but oh, was I wrong! The second song turned out to be a soulful, cute and melodious romantic song, sung by two ever-so-wonderful and talented artists, Shreya Ghoshal, and Arijit Singh. Vishal-Shekhar have woven together a beautiful melody, with hints of the 90s, and have managed to create a tune that will make sure your attention doesn’t go haywire while listening to the song. Instead, the magic of the song will grasp you and your attention, and it will make you start dol-ing to the beats. The enticing accordion tune will be the first thing to grab your attention. After that, comes the even more beautiful dafli beats, providing the catchiness and beat for you to dol as well! 😀 I guarantee that you would dol after hearing them, they are so attractive and catchy! Shreya is awesome as always, but sorry guys, this time Arijit simply stole the show! He has given his career best performance in this song. His voice never appealed to me as much as it did in this song! So it turns out that Vishal-Shekhar have finally given Arijit a filmi and a fully commercial romantic duet, whereas his other romantic duets were probably not as filmi as this, and if you do find one, by any chance, then it would surely not be as beautiful as this! The tune of his lines also attracts you so much, that it instantly becomes your favourite part in the song. Plus, the arrangements in his parts are spellbinding, and it leaves you wanting more and more each time it comes. For that matter, I would have no problem at all, if they made a separate male version of this song, just for the Arijit fans. 😀 (Which I’m not, by the way, nor his hater) Enough of Arijit, let’s move on to Irshad Kamil. He has written such beautiful and innocent lyrics here, that I can’t help but forgive him for what he wrote in ‘India Waale’. Take this line: ‘Musafir hoon main door ka, Deewana hoon main dhoop ka, mujhe na bhaaye, na bhaaye, na bhaaye, chhaanv re!’ Such beauty lies in the lines. Another one: ‘Ho.. Kisika toh hoga hi tu, kyun na tujhe main hee jeetun?’ The sheer innocence which lies in the line! Beautiful! Vishal-Shekhar, as I have said many times, have composed a very, very divine tune, which immediately sets on your tongue and literally becomes a part of your tongue, what I mean to say is that you will always have this song on the tip of your tongue, it is that beautiful! Anyways, there are many more songs, so I’ll wrap up with this song’s infinite praise now, saying Definitely one of the best songs of the year, and it easily joins the list of Vishal-Shekhar’s best romantic melodies! A must-listen and an undoubted #5StarHotelSong!!

 

3. Satakli
Singers ~ Sukhwinder Singh, Music by ~ Vishal-Shekhar, Lyrics by ~ Irshad Kamil

The team who had given us the big hit, ‘Dard-e-Disco’ is back, with just the lyricist replaced. Another huge hit was expected, but sadly, this one too, falls way below expectations. It starts with some Sajid-Wajid type music, then comes the ‘Radhe Radhe bolo jai Kanhaiyalal ki’ part which was heard in the trailer. That part excels, but unfortunately, it is the only gripping part of the song. The rest is just something which has been composed by the confused Vishal & Shekhar. Confused because, they have placed the right groovy beats required for such a song, but the tune lacks any appeal! It doesn’t stand out and make you want to hear it again and again, because it is (very frankly) NOT CATCHY! The lyrics are nothing great, either, so the only saviour for the track is Sukhwinder Singh’s unique voice texture and energy and the great arrangements. The tabla and dholak beats which come in between, sound awesome. The track proves as a great dance track or festival-type track, but it does not prove its worth as a song which you can repeatedly listen to, or even listen to many times — not in loop, because you will get bored after a while. So, a track with perfect groovy beats, and a singer with immense talent and energy, has been degraded in quality because of the ordinary composition which it is. The hookline might come across as catchy for some, but for me it is also heard many times before from Vishal-Shekhar. An ordinary composition can spoil everything no matter how good the arrangements or the vocals are! Good for dancing and festivals, though!

 

4. Lovely
Singers ~ Kanika Kapoor, Ravindra Upadhyay, Fateh & Miraya Varma, Music by ~ Dr. Zeus with Vishal-Shekhar, Lyrics by ~ Kumaar, Additional Lyrics by ~ Jiwan Mann

This can probably be the most meaningless song in the world (I mean, what can this even mean:- Main lovely ho gayiaan naam tera padhke?) It makes no sense at all. Yet, it might also be the first song which makes no sense lyrically, but which I have liked so much musically! Kanika Kapoor is back with her unique and addictive voice after making the whole country crazy with ‘Baby Doll’, and she does the same magic in this song as well! Her voice is so different but awesome, that it instantly makes your ears go in attention mode. Then whatever be the words, whatever be the tune, whatever be the arrangements, the song will still sound great. Singing for a Shahrukh Khan movie in just her second song, is a huge accomplishment for her! She has taken full advantage of the wonderful opportunity and sings well. The composition is a collaboration between Dr. Zeus and Vishal-Shekhar. They have recreated a Punjabi folk tune (and also somewhat made a darker and sultrier sequel to ‘Baby Doll’ 😛 ) very well! The beats are the exact same as ‘Baby Doll’, so the composers lose some points there, but the tune is very addictive and attractive as well. The other singers don’t have much work, but Miraya sounds good in her Arabic parts, Habibi, aashiqui, hayati, asibi. The song overall is a great item song, with something other than the typical Desi rhythm of Bollywood item songs. The upbeat portion towards the end with the dhols and percussion is awesome! The tempo shift makes the climax interesting. Doesn’t make sense, but makes for a very fun and addictive listen! Great collaboration by Dr. Zeus and Vishal-Shekhar! Since I enjoyed it, it’s a #5StarHotelSong!

 

5. World Dance Medley
Singers ~ Vishal Dadlani, Neeti Mohan, Sukhwinder Singh, Shahrukh Khan, Shankar Mahadevan, K.K. , Music by ~ Vishal-Shekhar, Lyrics by ~ Irshad Kamil

This song is just what it says it is, the title is self-explanatory. They have made a medley by playing the first three songs (the ones by Vishal-Shekhar). Neeti opens with a brilliant rendition on ‘Manwa Laage’, with awesome variation, followed by Sukhwinder, who comes in to sing his energetic song, ‘Satakli’, after which the Badshah Shahrukh himself comes to say a few lines about the patriotism in every Indian’s heart (Really, SRK? Was this needed? Well maybe it was for their Dance competition, so let’s let it be. 😛 ) Vishal-Shekhar cannot get through a song without putting in some or the other surprise element, so here comes Vishal with some amazing patriotic lines, which he sings just as awesomely. Then the India Waale return, to sing ‘India Waale’, and thankfully, wrap up this summarizing song (because it has a summary of all the comparatively better songs by Vishal-Shekhar in the album. Believe me, the worst are yet to come! With some exceptions, of course.) This song is perfect for the situation, the dance competition, so all the better songs of the album are placed here, and I would suggest only to listen to the album up till this medley and not to forget one song which I have liked which is unfortunately after the medley, (and I think the makers had also sensed this, because usually medleys are kept at the end, so they’re seemingly giving a warning — DANGER LIETH AHEAD! 😛 But they have very smartly placed a good song in between the bad songs, so as to make us hear everything at least the first time we hear the album 😛 ) And you’ll get to know which that good song is later. First you have to read about the bad song which comes next! What lies ahead might make you go loony. 😛 Anyways, this track is perfect for school annual functions which have a theme of ‘OUR GREAT COUNTRY: INDIA’! 😀

 

6. Nonsense Ki Night
Singer ~ Mika Singh, Music by ~ Vishal-Shekhar, Lyrics by ~ Farah Khan, Vishal Dadlani & Shekhar Ravjiani

Mika is up to no good these days, singing cheap and irritating songs, so when I heard this song in the trailer, the first thought that came to my mind was, “When will this guy understand?! Why doesn’t he sing something good for once?” However, I still had at least some hopes from the full song, because I do appreciate Vishal-Shekhar’s works. Then the whole song released and I felt as if Vishal-Shekhar have betrayed me by giving me some boring, uninteresting and utterly NONSENSE composition. Then I realized that I must not be the only one thinking this way, and more people must be feeling betrayed by Vishal-Shekhar and Farah Khan because and JUST BECAUSE the lyrics of the song are horrible. They must be thinking “Oh it’ll be awesome if we literally translate Hindi Proverbs into English”. But it turned out to spoil the whole song. It starts with weird noises and what follows is even worse and weirder. The techno sounds are used good, and the dafli sounds awesome. The antaras have been composed very, very amateurishly and I really can’t believe that Vishal-Shekhar have made them. The tune is something I wouldn’t even call a tune! The beats might be catchy like ‘Satakli’ but the cheapness of the lyrics just spoils it all. Mika and his illiterate rendition makes it sound even cheaper. Height of cheapness! Now decide for yourself whether you want to listen to it or not! And if you choose to hear it, decide for yourself whether you like it or not! One of the worst works of Vishal-Shekhar!

 

7. Dance Like A Chammiya
Singers ~ Sunidhi Chauhan & Vishal Dadlani, Music by ~ Vishal-Shekhar, Lyrics by ~ Irshad Kamil

The groovy tune and beats at the starting played, and I instantly got hooked to this song. After that BAD song, this one is a great refreshment! Sunidhi, unlike Mika, is just singing better and better songs nowadays. As if she’s challenging him, “Hey Mikkka paaji, I bet you can’t give so many back to back hits like me!” Well, he has given back to back hits many times in the past, but now I’m fed up of him. Back to the song, it is a typical Vishal-Shekhar item-ish song, and it instantly reminded me of ‘Sheila Ki Jawani’ from ‘Tees Maar Khan’ and ‘Chhaliya’ from ‘Tashan’. The music and the composition is for a similar type, and Vishal-Shekhar have rocked it, even though it is a very heard-before composition. So, where they lost their points in ‘India Waale’, they have recovered them with this song. Sunidhi is the undoubted queen of such energetic and naughty songs, and she proves it once again, with her flawless rendition. Again, she sounds angelic like she did in ‘Daawat-e-Ishq Title Track’, in the line ‘subah subah dardon se baaton ho badan ki’ . It is composed awesomely, and Sunidhi makes it sound even better! Vishal’s energetic interruptions are worth hearing as well. The arrangements are awesome and groovy as well, especially those tabla beats that are placed so wonderfully throughout the song. Lyrics are nothing to pay attention to, this one is just for dancing!! Overall, a superhit and super hot dance track!! Not boring at all even though it is the same old typical Vishal-Shekhar composition! #5StarHotelSong!!

 

8. Sharabi
Singers ~ Manj Musik, Nindy Kaur, Vishal Dadlani & Shekhar Ravjiani, Music by ~ Manj Musik with Vishal-Shekhar, Lyrics by Kumaar, Vishal Dadlani & Shekhar Ravjiani

The previous song was just a temporary painkiller. 😛 The atrocity of the album has returned in the form of this song, which just seems like a mishmash of Punjabi words and techno beats, but no strong base, and so it fails to impress. The singers are Manjeet and Nindy, so one would think that the song is composed by Manj only, and not a collboration between Manj and Vishal-Shekhar. Seems that Vishal-Shekhar haven’t tried to take any step forward to improve Manj’s composition, so i dont know why they have been credited! The so-called addictive song has nothing addictive whatsoever to it, and it just barely succeeds in giving a little (very little) comic effect, so it has to be placed at the right place in the movie, so as to make it famous. Or else, they can just leave it as a promotional song, and keep it at the end of the movie when the credits roll — that would be better. Lyrics by Kumaar and Vishal-Shekhar are again, not that impressive. The voices of the lead singers have been altered a lot, and Nindy’s is as annoying as always, but a bit more annoying than that. Manj sounds okay. The beats are mostly techno Punjabi beats and don’t impress at all. While the collaboration with Dr. Zeus impressed, this one with Manj Musik is a plain bore!

 

9. The Heist (Instrumental)
Instrumental by John Stewart Eduri

John Stewart Eduri, who has done the background score of the film, gets a compulsory but unwanted instrumental track in the album, and he creates a two-minute-long track which lacks any sort of punch whatsoever. It has tried to be a thriller background piece, but interest in it is lost in a very short time. The guitars are played energetically but still don’t manage to hook you to this instrumental track. One-time listen! John has not quite made great use of the opportunity of composing background music for a Shahrukh Khan film! Amateur attempt!

 

10. Kamlee
Singers ~ Kanika Kapoor, Ravindra Upadhyay, Fateh & Miraya Varma, Music by ~ Dr. Zeus, Lyrics by ~ Jiwan Mann

This song is like a reprise version of ‘Lovely’ but it has been composed solely by Dr. Zeus. So, naturally, the antaras, which were my favourite parts of ‘Lovely’ are different. This time, they aren’t interesting and catchy and I didn’t like them as much. Kanika has also sung this version as if she had a fever while singing it, very slowly and a bit stretchedly. The way she says ‘Naam tera padhke’ sounds as if she thinks that shes doing a favour on us by singing the song again. 😀 The arrangements are mostly the same, but this one has more of those female ghost sounds. Also, some string arrangements have been added. Many lines have been added like those in the interlude — ‘Akhiyaan vichcho…’ and the antaras as I said before. This version has more rap, as well. All this, but it doesn’t fare as well as its other version. Not as addictive as ‘Lovely’, but if you liked ‘Lovely’, you might like this one as well.


Happy New Year — Okay, I won’t bore you any further, because I’m sure you must be already knowing what I think of the album, by now. I would just want to say that Farah Khan might have had hopes of repeating the success of the ‘Om Shanti Om’, and even we did, but unfortunately, this album misses by a long distance! Vishal-Shekhar have tried their best, but haven’t performed as good as they did with their other two albums this year. The album isn’t bad, but definitely not very good either. I would call it above average, hence the rating. However, the songs are perfect for dancing, and functions and since it’s always important to enjoy whatever you hear, the album gets more marks there too. 😀 But most of the songs are strictly NOT for music lovers like me. For Farah — Quality is always better than Quantity! 

 

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

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

 

Which is your favourite song from Happy New Year? Please vote for it below! 🙂

 

Next “dish”:- Jigariyaa, Chefs:- Agnel Roman – Faizan Hussain & Raj – Prakash