EACH SONG, DOBAARA! (DOBAARA – Music Review)

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

Dobaara Album Cover

 

 

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

To buy this album on iTunes CLICK HERE


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


1. Kaari Kaari / Kaari Kaari (Reprise Version)

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

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

– Arko Pravo Mukherjee

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

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

 

2. Humdard / Humdard (Alt. Version)

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

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

– Arko Pravo Mukherjee

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

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

 

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

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

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

– Puneet Sharma

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

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

 

4. Malang

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

“Malang Malang Maiiiiiiiiiiinnnnnnn” 🐏

– D Wunder

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

Rating: 0.5/5


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

 

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

Album Percentage: 64.29%

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

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

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

 

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