NOVEMBER 2017 ROUND-UP #2 (QARIB QARIB SINGLLE, TUMHARI SULU, AKSAR 2 & DIL JO NA KEH SAKA – Mini Music Reviews)

NOVEMBER ROUND-UP #2

November 2017 Round-Up #2

This Round-Up covers the rest of the albums of the November 2017 releases. Due to ‘Padmavati’s withdrawal from the 1st December release date, ‘Firangi’ and ‘Tera Intezaar’, have moved their dates to 1st December, so they will be included in the December Round-Up. The albums featured in this post are:

1) Qarib Qarib Singlle – (Music: Vishal Mishra & Rochak Kohli)
2) Tumhari Sulu – (Music: Tanishk Bagchi, Guru Randhawa, Rajat Nagpal, Amartya Rahut & Santanu Ghatak)
3) Aksar 2 – (Music: Mithoon)
4) Dil Jo Na Keh Saka – (Music: Shail-Pritesh)



♦ Qarib Qarib Perrfect: QARIB QARIB SINGLLE Music Review

♪ Music by: Vishal Mishra, Rochak Kohli & Ali Merchant
♪ Lyrics by: Raj Shekhar & Hussain Haidry
♪ Music Label: Zee Music Company
♪ Music Released On: 10th November 2017
♪ Movie Released On: 10th November 2017

Listen to the songs: Saavn
Buy the songs: iTunes


Relative newcomer Vishal Mishra gets two songs in the film, and I must say, these two songs are definitely going to consolidate his place in the industry, even though I think it had been consolidated right from the moment he debuted (that spark that a good debutant possesses is always discernible). I say so because both his songs can be counted as his Bollywood career’s best music as yet. The opening track, Khatam Kahani, is outright hilarious, putting to great use the Nooran Sisters’ folksy voices to concoct a song with a strong Rajasthani folk element, and still having an amazing melody. Harmonium, khartals and dholaks provide us with the required expense to travel to the land of kings. Raj Shekhar’s comic lyrics enhance the listening experience, and they are quite comparable to the lyrics of ‘Haanikaarak Bapu’ (Dangal), when the lovers agree to kill each other. 😃 After the delightful and upbeat folksy number, Vishal puts in extra effort to create a sad song that is just as soulful as the first song is peppy. Jaane De, though nothing that we’ve not heard before — the seven-beat rhythm, on Atif’s sugar-sweet vocals — is a treat to listen to, mostly thanks to Mishra’s amazing composition, not to mention Raj Shekhar’s excellence that reflects in the lyrics. The words have such a poetic twinge to them, it just calms the soul. Arrangements are soulful too — the guitars and tabla being most prominently beautiful. A nice Spanish guitar interlude is a perfect interval from the melancholia.
Rochak Kohli also gets to present two songs, the first a journey-based one, again with amazing lyrics by Hussain Haidry. The unexpected twist midway through the song really puts one off guard, but it is really innovative. The composition of the rest is quite pleasant, with a nice and groovy lilt to it, and Rochak Kohli presents it with a nice drumbeat. {He is quite good with drum beats — ‘Rozana’ from ‘Naam Shabana’ earlier this year was another song where he presented great drum work!} Papon’s feathery voice is perfect for the song. Rochak’s second song Tanha Begum, is at the peak of experimentation, and is probably the most experimental song I’ve heard this year so far, which is at the same time so entertaining. It is a clever take on Nawab Wajid Ali Khan’s classical song, ‘Baabul Mora’, which was also remade earlier this year in ‘Poorna’ by Salim-Sulaiman. This time though, Hussain Haidry’s lyrics give it a modern twist. Actually, the modern lyrics are interspersed with some very old-school lyrics, and the contrast is brought out even better with Antara Mitra handling the old-school parts with an amazing imitation of Suraiya, while Neeti Mohan handles the modern portions with an amazing rock template supporting her. Rochak’s composition for the whole song is different, and quote innovative: only the lyrics of the hook from the Nawab’s old song have been taken.
Ali Merchant steps in last moment to make a hastily-made Qarib Qarib Singlle Mashup, which is probably the worst track on the album. Also, it is just a mashup of ‘Khatam Kahani’ and ‘Tanha Begum’. The beats are mismatching and don’t fit in with the folksy vibe of the songs. These two songs don’t even REQUIRE a remix!


An enjoyable album from two young composers, where both of them bring out the best in them! The album is (barring the mashup) Qarib Qarib Perrfect!

 

Total Points Scored by This Album: 4.5 + 5 + 4 + 4.5 + 1 = 19

Album Percentage: 76%

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

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

Recommended Listening Order: Jaane De > Khatam Kahani = Tanha Begum > Tu Chale Toh > Qarib Qarib Singlle Mashup

 

Remake Counter:
No. Of Remakes: 40 (from previous albums) + 01 (from Qarib Qarib Singlle) = 41

{Will have to count ‘Tanha Begum’ as a remake since I had counted ‘Baabul Mora’ (Poorna) as one}



♦ Light-Hearted Album Where the Mellow Song Scores High! : TUMHARI SULU Music Review

♪ Music by: Tanishk Bagchi, Guru Randhawa, Rajat Nagpal, Amartya Rahut, Santanu Ghatak, Laxmikant-Pyarelal & Haji Springer
♪ Lyrics by: Guru Randhawa, Javed Akhtar, Vayu Srivastava, Siddhant Kaushal & Santanu Ghatak
♪ Music Label: T-Series
♪ Music Released On: 4th November 2017
♪ Movie Released On: 17th November 2017

Listen to the songs: Saavn
Buy the songs: iTunes


Remake specialist Tanishk Bagchi leads the album, with two out of the five songs. Since he is the currently in-demand remake specialist, it would be treason not to demand yet another rehash from him. This time, the song chosen is Mr. India’s ‘Hawa Hawai’, which has been named Hawa Hawai 2.0. If I’m not wrong though, this is Hawa Hawai 3.0 because Mikey McCleary remade it already in 2011. 😆 The song itself is peppy, and a perfect celebratory number. Kavita’s vocals being retained is the best part of the song, while I can’t figure out where Shashaa’s voice is. The composer plays around with technology and cleverly copies and pastes the gibberish bits into different parts in the song, creating an overall whimsical and enjoyable effect. His second song too, is, coincidentally, based on the metaphorical flying. Manva Likes To Fly is the standard Tanishk experimental song, where the composer plays around with technology to merge electronic sounds and Indian classical sounds. The classical instruments in particular here, sounds beautiful. Shalmali’s voice is perfect for the uplifting nature of the song, and Vayu Srivastava as usual writes positive lyrics that make you smile by default.
Next up is the much overrated, in my opinion, Ban Ja Rani, in which Guru Randhawa represents his pop song composed by Haji Springer, in a way that it doesn’t fit into the movie’s setting at all — but since when has that mattered? The whistling is the catchiest part in this song. Amartya Rahut too, in his song, Farrata, tries to create a nice and upbeat song complete with a children’s chorus (Adithyan leads and sounds very cute) and enjoyable ukuleles. However, the song fails to create an impact. Armaan Malik fails to make the song sound better, and the composition is many notches lower than what Amartya offered in the recent ‘Tu Hai Mera Sunday’.
What really grabbed my attention is newcomer Santanu Ghatak’s Rafu, a beautiful semiclassical number, which really gave me the goosebumps. Written as soulfully as it has been composed, and sung just as beautifully by Ronkini Gupta, who has sung previously in ‘Aankhon Dekhi’ under the music direction of Sagar Desai. She is a voice to counter Kaushiki Chakraborty’s classical singing prowess.


This blend of music directors manages to provide the film it’s required happy-go-lucky touch, although very superficial. It is ironically the most mellow song, by debutant Santanu, that steals the show.

 

Total Points Scored by This Album: 3.5 + 4 + 3 + 3 + 4.5 = 18

Album Percentage: 72%

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: Rafu > Manva Likes To Fly > Hawa Hawai 2.0 > Ban Ja Rani = Farrata

 

Remake Counter:
No. Of Remakes: 41 (from previous albums) + 01 (from Tumhari Sulu) = 42


♦ Aksar Sune Huye Gaane: AKSAR 2 Music Review

♪ Music by: Mithoon
♪ Lyrics by: Sayeed Quadri
♪ Music Label: Tips Music
♪ Music Released On: 7th November 2017
♪ Movie Released On: 17th November 2017

Listen to the songs: Saavn
Buy the songs: iTunes


The only song from the album that stands out right away is Aaj Zid, a wonderful romantic song with a groovy techno rhythm. Mithoon proves he is not only able to just make addictive romantic songs, but also club numbers. Well we knew that if you remember ‘Woh Ajnabee’ from his earlier days. Arijit sings wonderfully, and it is all in all a very nice and upbeat song, without letting go of the sensuality that should be a part of such a film’s music. The other two songs are the usual pathos-filled Bhatt-ish songs I have started to get afraid of hearing nowadays. Jaana Ve is so crybaby-ish, it is sad, and Arijit’s voice being auto tuned in the hookline is sad too, because he is a singer who doesn’t need autotuning! The antara of the song gives signature Mithoon goosebumps though! About Tanhaiyaan, the lesser said, the better. Pakistani pop is one genre which composers never experiment with, and present it as it is every single time. Here too, the fake emotions fail to penetrate our eardrums and touch the heart. The album is not even magnificent lyrically, which I would usually expect from a Sayeed Quadri-written album! But he seems to have moulded in with the stereotypical Bhatt setting as well.


An album which we have ‘Aksar’ heard. Definitely not as good as Himesh’s album to the first film.

Total Points Scored by This Album: 4 + 3 + 2 = 9

Album Percentage: 60%

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: Aaj Zid > Jaana Ve > Tanhaiyaan



♦ Shail-Pritesh Sarbjit Mein Jo Kar Sake, Yahaan Nahin Kar Sake!: DIL JO NA KEH SAKA Music Review

♪ Music by: Shail-Pritesh
♪ Lyrics by: A.M. Turaz, Devshi Khanduri & Sandeep Singh Kamboj
♪ Music Label: T-Series
♪ Music Released On: 7th November 2017
♪ Movie Released On: 17th November 2017

Listen to the songs: Saavn
Buy the songs: iTunes


With the title track of Dil Jo Na Keh Saka, I find that Shail Hada has lost that magic touch that used to be present in his voice until ‘Sarbjit’; he sounds terribly off tune in some places, while his co-singer, Shreya Ghoshal has been terribly miscast, and tries to fit into the mould of the song but fails. Shail-Pritesh’s composition is quite the typical 90s romantic song, and so fails to create much impact. However, the duo gets it amazingly right in the much more breezy and pleasant Bandh Khwabon Ki, in which Shail Hada thankfully returns to normal, barring some places. The composition here is thankfully, more contemporary and relatable. The finger snaps are really enjoyable, and the guitars are refreshing too.
Going to the retro portion of the album, Khwabon Ko Ankhon Mein is an enjoyable jazz number, and soulful too. The piano is splendid, as is the brass portion, because if the brass in jazz is bad, then it isn’t jazz. Aditi Paul sings beautifully too, touching the high notes effortlessly. The last romantic song on the album, Tanha Tanha Ghum Ke Dhunde Dil, is a pleasant and breezy love ballad, again, a bit more inclined towards the previous decade than the current. Nevertheless, it provides for a fun couple of listens, after which its beauty kind of wears off. Jubin handles the vocals well, and with the 90s-ish composition and his voice, it sounds like a runaway song from ‘Kaabil’. The guitars are good here too, and very simple. Aditi Paul has less to do here, so she pales in comparison to Jubin. Obviously.
Out of the upbeat songs, Band Viyah Da Baje, builds on Shail-Pritesh’s earlier ‘Tung Lak’ (Sarbjit), but still manages to turn out enjoyable — Divya Kumar & Pratibha Baghel with their energetic voices infuse life into the complicated composition — surprisingly the first really complicated tune on the album, and intricacy is the thing Shail-Pritesh and their mentor Sanjay Leela Bhansali are known for! The ‘Tung Lak’ hangover stays till the end though, especially in the female portions. The second upbeat song, Nadaniyan Kar Jaati Hai, is a youthful club song with a very avoidable composition and just as avoidable vocals. It turns out to be the worst on the album!


Shail-Pritesh can do much better than this, but I guess they are much, much better at those classical melodies like they presented in ‘Sarbjit’, and they must stick to that!

 

Total Points Scored by This Album: 2.5 + 3.5 + 3.5 + 3 + 3.5 + 1.5 = 17.5

Album Percentage: 58.33%

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: Bandh Khwabon ki = Band Viyah Da Baje = Khwabon ko Aankhon Mein > Tanha Tanha Ghum Ke Dhundhe Dil > Dil Jo Na Keh Saka > Nadaniyan Kar Jaati Hai



So that’s it for November, stay tuned for the Monthly Awards, which will be up in a moment!

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

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

Jab Harry Met Sejal Album Cover

 

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

To buy this album on iTunes CLICK HERE


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

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


1. Radha

Singers ~ Sunidhi Chauhan & Shahid Mallya

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

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

 

2. Beech Beech Mein

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

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

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

 

3. Safar

Singer ~ Arijit Singh

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

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

 

4. Butterfly

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

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

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

 

5. Hawayein / Hawayein (Film Version)

Singer ~ Arijit Singh

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

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

 

6. Parinda / Parinda (Search)

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

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

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

 

7. Ghar

Singers ~ Nikhita Gandhi & Mohit Chauhan

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

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

 

8. Yaadon Mein

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

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

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

 

9. Raula

Singers ~ Diljit Dosanjh & Neeti Mohan

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

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

 

10. Jee Ve Sohaneya

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

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

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

 

11. Phurrr (Film Version)

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

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

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

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


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

 

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

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

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

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

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

 

 

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

DHAAKAD DUO PRITAM-AMITABH WIN THIS MUSICAL DANGAL!! (DANGAL – Music Review)

Music Album Details
♪ Music by: Pritam Chakraborty
♪ Lyrics by: Amitabh Bhattacharya
♪ Music Label: Zee Music Company
♪ Music Released On: 14th December 2016
♪ Movie Releases On: 23rd December 2016

Dangal Album Cover

Dangal Album Cover

 

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

To buy this album on iTunes CLICK HERE


Dangal is an upcoming Bollywood sports drama / biopic starring Aamir Khan, Fatima Shaikh, Sanya Malhotra, Sakshi Tanwar, Zaira Wasim and Suhani Bhatnagar. The film has been directed by Nitesh Tiwari, and produced by Aamir Khan, Kiran Rao and Siddharth Roy Kapur. The film revolves around the life of wrestler Mahavir Singh Phogat (played by Aamir), who teaches his two daughters, Geeta and Babita Phogat to master the sport. The movie looks like a fun but emotional struggle of the family, and I’m looking forward to watching it. Of course though, till the 23rd of December, we all have the music album of the movie to entertain us. The music has been composed by Pritam, who has not even yet come out of the fresh success of his latest super-hit album ‘Ae Dil Hai Mushkil’. This happens to be Pritam and Aamir Khan’s second time working together, the first being ‘Dhoom 3’, which, as most sequels are, was a bit underwhelming. This movie being a sports film, I was skeptical whether there would be any scope for Pritam to shine as much as he did in ‘Ae Dil Hai Mushkil’, but again, we remember music albums like ‘Phantom’ and ‘Barfi’, movies where music might not have played too much of a role, but Pritam nailed it with his music and stunned critics as well as listeners. So let’s hope Pritam continues his hit spree with this album as well! With this album, Pritam offers 6 more songs to add to his 6 songs from ‘Ae Dil..’, so without further ado, let’s start!!!


1. Haanikaarak Bapu
Singers ~ Sarwar Khan, Sartaz Khan Barna, Backing Vocals ~ Kheta Khan & Dayam Khan

“Toffee chooran, khel khilaune, kulche naan parantha,
Keh gaye hain tata jabse, Bapu toone daanta!
Jis umar mein shobha dete, masti, sair, sapaata,
Uss umar ko naap raha hai, kyun ghadi ka kaanta?”

It is with the first song itself, that Pritam assures that whatever our doubts were before hearing the album, he is going to provide his utter best and not leave a single chance to give good music, whatever be the genre of the film. So of course, the film shows the struggle of Mr. Phogat’s daughters right from their childhood, in which case a children’s song is a must, isn’t it? And so, Pritam, very diligently, delivers a children’s song as the very first song of the album. And what a smashing opening it makes for! The composition is another one that falls into Pritam’s category of insane, fun songs, and is one that will instantly connect with the audience, especially the part of the audience that it is clearly aimed at — The kids! More specifically, the kids who have a very strict father, like the girls in the movie do. 😀 The song starts with a cute little ad-lib by the young boys, paving a nice way into a folk-flavoured rhythm that goes “ding dang ding dang…” and at the same time, makes you groove. And it is the mukhda which makes the song finally get going finally. The catchy tune, rendered by those cute young voices, just can’t let you hate it! The raps that act as fillers in the interludes are so entertaining, that the instruments almost don’t matter! (People wanting to sue me because of less recognition and rights for instruments, please note the ‘almost’ 😛 ) The antara showcases even more of the Folk flavour, by slowing the tempo down, sort of like how it is in Qawwalis, and that tune too is amazing! Pritam has employed great folksy nuances to complement his buoyant composition, the rock guitars (Vadim Zilberstien & Amandeep Singh) being the most prominent. What infuses the folksy feel into the song, though, are the lively harmoniums and that wonderful rhythm (Iqbal Azad, Hanif Dafrani, Aslam Dafrani & Yusuf Sheikh) that plays all throughout. The duffs and other folksy percussion have been used so wonderfully, not to mention the awesome occasional drums (Alan Hertz). I completely loved the fusion of Western and Folk music that Pritam has utilised in this song. The second interlude has a wonderful banjo solo, that is just a pleasure to listen to! Back to the rock guitars, it just rejuvenates you when those guitar strums play unexpectedly in the middle of a verse. The song ends on a nice high-energy conclusion, complete with whistles and the “ding dang” rhythm making it a grand finale. The vocals are impressive. Pritam’s earthy finds, Sarwar & Sartaz Khan, two young folk singers, render the song beautifully. That naughtiness that was required to render the song, has been very professionally brought into the song by them. Their diction of certain words is very fun and entertaining, like ‘torture’. But the backing vocalists, two more young boys, namely Dayam & Kheta Khan, also make the song sound better with their occasional embellishments throughout the song. The genius mastermind that he is, Amitabh Bhattacharya excels with the pen in this track. His witty nuances constitute the majority of the song, while also dissipating the subliminal message of letting children enjoy their childhood. Lines like “Bapu sehat Ke liye Tu toh haanikarak hai” (Father, you are injurious to health) and “Mitti ki gudiya se bole Chal body Bana, yo toh torture hai ghana re yo toh torture hai ghana” (He tells a young girl to do body building, this is sheer torture!) and “Discipline itna khudkhushi Ke laayak hai” (So much discipline, that it is enough for us to commit suicide), though marinated in sarcasm and exaggeration, do evoke laughter from you, even though they are a bit far-fetched. 😀 The jest contained in this song is enough to make you rolling with laughter. Finally, Bollywood evolves from songs that worship blindly, to songs that are straightforward like open letters. To those cute boys, please sing more in the future! #5StarHotelSong!!

 

2. Dhaakad / Dhaakad (Aamir Khan Version)
Singers ~ Raftaar / Aamir Khan

“Tanne chaaro khaane chitt kar degi, Tere purje fit kar degi,
Datt kar degi Tere daanv se badhke, pech palat kar degi,
Chitt kar degi, chitt kar degi!
Aisi dhaakad hai, dhaakad hai, aisi dhaakad hai,
Aisi dhaakad hai, dhaakad hai, aisi dhaakad hai!”

The next song redefines Bollywood’s meaning of ‘rap’ and actually takes rap for what it means. The song is a Haryanvi hip-hop rap song, that is full of attitude and spunk. Though it is completely a rap song, it is that harmonium tune by Pritam that gets the listener hooked right from the beginning. The arrangements too are very captivating. More on them later. So as I was saying, or writing, the song starts off quite subtly with a rap that does not instantly grab you in. However, gradually, as the rhythm sets in and you get accustomed to the very innovative setting of the song, the song sounds nothing but catchy. Raftaar’s rap has this flow to it that makes you want to hear it over and over again. Especially the lines I’ve written above, that part sounds so good!! However, Raftaar only plays half the role in making the song sound so good. Because Pritam has decorated the background music with such cool sound effects, that it is difficult to keep your concentration on one particular thing. The song itself starts with a very stunning prelude, which gives us an insight into the Haryanvi setting of the song, with the sarangi (Rajesh Kumar) welcoming us into the song very warmly and getting us ready for some folksy fest, when unexpectedly, some techno sounds and digital beats start playing and those nice sound effects bring a modern touch to the song. The Folk percussion and the manjeeras too help the song to get elevated right at the beginning. Raftaar’s spunky rendition is just perfect. There couldn’t be a more full-of-attitude delivery of the verses. He also puts in those awesome backing vocals that interrupt in between the lines, like ‘haanji’, ‘kasam se’, ‘by God’, ‘ibb yo suno’ and whatnot. Those phrases just sound awesome in their randomness. Aamir’s version has Aamir starting off well, and with a lot of attitude, but you just get disconnected from the song midway. Nevertheless, it acts as a nice makeover of the actor’s goody-goody image. :p He does deliver the words very fast, and that one rap in the middle which Raftaar had rendered amazingly, Aamir too aces easily! About that ‘nineteen-to-the-dozen’ rap, though, there are many musical additions by Pritam behind whatever Raftaar or Aamir are saying. A nice techno base offers a modern touch, while electronic tablas steal the show and that been/pungi (Mukesh Nath) that sounds oh-so-earthy, is just awesome. Pritam places the techno elements in the song in places they are least expected. And that harmonium which plays everytime the rapper says “Tere purje fit Kar degi..” is just mind blowing!!! Amitabh’s lyrics are equally full of attitude. I doubt Raftaar being a rapper could’ve written the lyrics! A step towards the uplifting of the rap genre in Bollywood, this song acts as a nice relief from the rap songs of today. #5StarHotelSong!!

 

3. Gilehriyaan
Singer ~ Jonita Gandhi

“Ek nayi si dosti, aasmaan se ho gayi,
zameen mujhse jalke, muh banaake bole, Tu bigad rahi hai!
Zindagi bhi aaj kal, gintiyon se oobke,
Ganit ke aakdon ke saath ek aadha sher padh rahi hai!”

With the next song, the fun and naughty flavour of the album is gone, and replaced by a subtlety and innocence which can only be got in the best of romantic songs. With that fun flavour, even the rustic, folksy nature of the former tracks is replaced by an almost urban, modern touch. So Pritam has composed a song tracing the feelings of the girls when they go to the city for their training, and what results is a lilting composition that sucks you in right away. The mukhda is the hookline itself, and what a relief it is! It is so fresh and relaxing, that you cannot even imagine to hate it! The part that goes “Kyon zarasa mausam sarphira hai ya mera mood maskhara hai..” is beautiful! Pritam’s tune instantly gets you hooked, and you can’t do anything except sit and listen until the magic is over. The antara just continues the magic, and those two lines of the antara sound scintillating and surreal. The way Pritam connects the antara then, to the hook again, is fantastic! The hook has that lilt to it, which you normally feel when you are on top of the world, happy, jolly and indifferent to whatever’s going on around you! That lilt has been infused into it because of the amazing arrangements. The guitars (Nikhil Paul George) are so beautiful, that you just can’t ignore them, not to mention those finger snaps at the end of every line. The strings (The Symphony Team conducted by Christian Lorenz) are amazing, coupled with a nice choir piece to them. The mandolin can be heard in places, while the matkas are beautiful in the hook. The whole thing results in a wonderful positive vibe that does nothing but make you feel content and satisfied. It is Jonita that explores herself the most in this song. While she has sung quite some soft numbers for Rahman, it was her first such song with Pritam (the club numbers ‘Sau Tarah Ke’ from ‘Dishoom’ and ‘The Breakup Song’ from ‘Ae Dil Hai Mushkil’ being her previous songs with Pritam) and Pritam has made her sing so calmly and smoothly that it actually sounds fairy-land-ish and lulling. When she touches the high notes, her voice just directly touches your heart. Amitabh’s lyrics are genius here as well, and those lines from the antara are just ingenious!! A song that will make a place in everybody’s playlist for this year’s best songs! Melodic! #5StarHotelSong!!!

 

4. Dangal
Singer ~ Daler Mehndi

“Thhos majboot bharosa, apne sapnon pe karna,
Jitne munh utni baatein, gaur kitnon pe karna,
Aaj logon ki baari, jo kahe, keh lene de,
Tera bhi din aayega, uss din hisaab chukake rehnaaa..!
Arey, bhed ki hahakaar ke badle sher ki ek dahaad hai pyaare,
Dangal Dangal!”

The album’s title song comes quite late into the album, but how! The song is a pulsating, racy, energetic song that can be described just half of how great it actually is! Pritam has outdone himself here and produced such a heart-rending, motivational song, with such a beautiful composition, that I really have to salute him! The song starts off with those backing vocalists that we heard in the trailer of the film, and they sing that line with such conviction and energy, that it’s simply magical! The song immediately plunges into the mukhda that is the hookline, and then takes a small detour to the actual mukhda, which is amazing. (“Dhadkanein chhati mein…”) The composition of these two parts is enough to grab the attention of the listener and get him hooked! The backing vocals line keeps repeating throughout and it sounds just as exhilarating each time it plays. Though the hookline is oh-so-dependent on the repetition of the words “dangal dangal”, it still remains fresh in your mind after the song is over, and doesn’t come across as boring,because the padding around it has been composed rather professionally. Of course, what else can you expect from Pritam? The antara has a very emotional touch to its tune, and that was a welcome touch added by the composer. Everytime the verse connects with the hookline, you feel some thrilling sensation, and that just means that the motivational song has succeeded in its intentions! Arrangements are awesome as well! Of course, the usual rock guitars (Amandeep Singh & Roland Fernandes) and drums (Alan Hertz) that are used by everyone in such motivational title songs, are present. But leave it up to Pritam to give an already fortified and established cliché, an unexpected twist. He adds a nice Punjabi percussion to the song, and I must say, the percussion (Iqbal Azad, Girish Vishwa, Babloo Kumar, Ramjan Khavra, Ahmed Khavra) has added a nice and very intense quality to the music. Though it is a bit reminiscent of the ‘Rang De Basanti’ title song, which also had Daler Mehndi singing amidst heavy Punjabi percussion, this one too will make a place for itself in history. Moving on to the vocals, I can’t really praise Daler Mehndi enough! This year he has ventured into Bollywood thrice — once with Sachin-Jigar in ‘Raj Karega Khalsa’ (A Flying Jatt), then with Shankar-Ehsaan-Loy in the ‘Mirzya’ title track, and now this. Each time, he has showcased his awesome singing prowess and prices that he is the lion of Bollywood music. He uses his distinctive voice to awe the listeners in this track too, and doesn’t fail to live up to the energy that Pritam has created with his tune and arrangements. The backing vocalists (unfortunately uncredited by Zee Music), as mentioned earlier, are awesome! Amitabh goes to a different league altogether with the lyrics of this song. The struggle of the main character has been perfectly described through his words. The antaras are amazing, and somewhere I find that the words also apply to Pritam himself, who rose up from those demonic allegations of plagiarism and reinvented himself. The words are very touching and are sure to get some tears (even one will do, but don’t cheat and add glycerine please!) in your eyes! An adventurous title song, rendered beautifully by Daler Mehndi! Pritam has tried something different and succeeded with flying colours!! #5StarHotelSong!!

 

5. Naina
Singer ~ Arijit Singh

“Naina, jo saanjhe khwaab dekhte thhey,
Naina, bichhad ke aaj ro diye hain yun,
Naina, jo milke raat jaagte thhey,
Naina, seher mein palkein meechte hain yun”

The melancholia sets in with the next song. Pritam composes another song to accompany his songs in the league of ‘Channa Mereya’ (Ae Dil Hai Mushkil), ‘Kabira’ (Yeh Jawaani Hai Deewani) and ‘Ashq Na Ho’ (Holiday). The same feeling of melancholia hits you as soon as this one starts playing. The song starts with a small verse that sounds a bit like that concluding Punjabi couplet of ‘Channa Mereya’ in certain notes. However, it soon passes through that small resemblance phase, and as the miraculous hookline takes over, you soon forget about whatever small resemblance both songs showed. The hookline is amazingly poignant, and touches the chords of your heart immediately, and then the mukhhda just consolidates their position in your heart. The antara too, is very soul-stirring, and the high notes in Pritam’s composition help that part to connect with the audience. The melody has some old-world charm to it, something that is missing in most of today’s songs. The arrangements are beautiful as well, and the Composer goes with the typical Duff rhythm to accompany the composition. Calm guitars help the song to grab the attention of the audience before the actual melody starts playing. A wonderful sitar provides a nice source of relief in the interlude, only to be followed by an accordion-mandolin combo. In other parts though, the Duff does the needful, and though I have gotten bored of this rhythm in other songs, it sounds fresh here, maybe because of the poignant melody. And that violin that appears out of the blue at 2:18 in the song!! It sounds so retro and soothing! 😀 Violins also join in to conclude the song during the last hookline. Arijit renders the song beautifully, but part of the sameness of this song and the others I mentioned at the beginning, is that Arijit has sung them. Nevertheless, he is good at his delivery and does what he’s best at. Amitabh’s lyrics are splendid and a great to listen to, especially with Pritam’s heart-touching melody. A song that might go unnoticed, but is actually a gem! #5StarHotelSong!!

 

6. Idiot Banna
Singers ~ Jyoti Nooran & Sultana Nooran

“Main boli banna manne picture dikha de, Balcony ki do tho ticket kata de,
Yoon toh Sara theatre tha khaali, Banne ne ek ticket hi nikaali!
Bola ke interval take dekh le Tu, Interval ke aage ki main dekh loonga,
Ek ticket se kaam chale toh do leke Kya karna?!
Idiot hai mera banna!”

The last song on the album definitely suits as a grand finale to the album. The song is a wedding song, clearly a song where the ladies of the town are singing and dancing, and the men are nowhere to be seen. The song follows the convention of songs like ‘Mere Haathon Mein Nau Nau Chudiyan’ (Chandni), ‘Didi Tera Devar’ (Hum Aapke Hain Koun) and ‘Gore Gore Se Chhore’ (Hum Tum) where the girls are singing about the men, and making fun of them. And with the men being made fun of, we listeners too get let in on a few secrets as we enjoy the track. Pritam’s composition perfectly sums up the essence of village weddings, and has a distinct Haryanvi flavour to it. The backing vocalists (again uncredited) become a nice addition as they help with the gossiping and whatnot. They start the song off on a very upbeat and ‘Cutiepie’-ish note. The mukhda too, seems as if it has been taken out of ‘Cutiepie’ (Ae Dil Hai Mushkil). Again, the resemblance only lasts for an insignificant amount of time, and wears off right away. The hookline is catchy, and very fun. The antara is functional, but since the song is primarily situational, it doesn’t matter, as the fun lyrics help us through the song. Arrangements are fantastic, almost a replica of ‘Cutiepie’ but less loud and less in-your-ears. The dholaks are what reminded me of ‘Mere Haathon Mein’ (Chandni) and the shehnaai in the interlude is very fun and cute, though reminiscent of Salim-Sulaiman’s shehnaai in ‘Baari Barsi’ (Band Baaja Baaraat). The rock guitats and drums stand out here as well, and the harmonium sounds charming. The Nooran sisters with their ebullient voices, harmonize perfectly with each other and though their voices, usually left free to their natural extent, sounds a bit suppressed and restricted here, the magic produced is the same. Amitabh Bhattacharya’s lyrics are very humorous, and really make for a fun listen. The words I have showcased are just one of the three funny incidents about the Banna. (Groom) Bringing the old Bollywood traditions back into Bollywood as they were!! #5StarHotelSong!!


Phew!! Dangal is stunning! Each and every track has a different distinct flavour to it — one primarily a children’s song, another a rap song, yet abother a lilting romantic song, and a electrifying motivational song, a poignant melody, topped by a fun village-ish wedding song. Pritam has delivered songs that don’t even scream “Pritam has composed us!”. None of the songs sound like a Pritam song! How interesting it is, that all the sings from Pritam’s last album, ‘Ae Dil Hai Mushkil’ had that distinct Pritam flavour, while all of the songs in this album (save maybe ‘Naina’) don’t! Anyway, the album is one of Pritam’s best, and also Aamir Khan’s best albums in quite some time. (‘PK’ being good, ‘Dhoom 3’ being okay, and ‘Talaash’ being the last great album of his movie.) The variety of tracks that this album offers, is amazing! All I can say is that, the ‘dhaakad’ duo Pritam-Amitabh have won this Musical ‘Dangal’ and ended 2016 on a high, with a bang!!

 

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: Dangal > All the rest! 😀

 

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

 

THE YEAR’S ALBUMS ARE OVER!!! STAYTUNED FOR THE ANNUAL ROUND-UP! 🙂

EPIC AND LEGENDARY!! COME FALL IN LOVE.. WITH THIS ALBUM!! (MIRZYA: DARE TO LOVE – Music Review)

Music Album Details
♪ Music by: Shankar-Ehsaan-Loy
♪ Lyrics by: Gulzar
♪ Music Label: T-Series
♪ Music Released On: 8th September 2016
♪ Movie Released On: 7th October 2016

Mirzya Album Cover

Mirzya Album Cover

 

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

To buy this album on iTunes CLICK HERE


Mirzya – Dare To Love is an upcoming Bollywood romantic period drama, directed by the famous Rakeysh Omprakash Mehra, and produced by Rohit Khattar, Rakeysh Omprakash Mehra, P.S. Bharathi and Rajiv Tandon, and Cinestaan Film Company. The film stars new talents Harshvardhan Kapoor (Anil Kapoor’s son) and Saiyami Kher (Tanvi Azmi’s niece). The film is inspired from the famous Punjabi folklore of “Mirza-Sahibaan”. Well, after great movies like ‘Rang De Basanti’, ‘Delhi-6’ and ‘Bhaag Milkha Bhaag’, I’m sure Rakeysh Omprakash Mehra has put in more than his best for this ambitious film, and I was hoping this magnum opus worked out well; sad that it didn’t! Meanwhile, we got to enjoy the music of the film, and whether the film works or not, we are always here to enjoy the music, which is expected to be great, just like all of Rakeysh’s other film’s music was. Seeing how successful his decision of roping in the most successful musical trio of Bollywood, Shankar-Ehsaan-Loy, turned out in his last outing ‘Bhaag Milkha Bhaag’, Rakeysh ropes them in for this ambitious project as well. But this time, he changes his usual lyricist Prasoon Joshi, and ropes in the mastermind Gulzar, who had also worked with him on his first film ‘Aks’. Gulzar was the perfect choice when it comes to a movie like this; clearly, a theme-based movie, which will need songs strictly following its narrative. Another point I would like to note is that Daler Mehndi has scored the background music of the film, and six of the fifteen tracks in the album are his background vocal tracks — less than a minute long, and nothing that can be described individually, so I would advise you to hear them while watching the movie if you don’t like such tracks. First of all, let’s see how Shankar-Ehsaan-Loy’s nine tracks constituting the actual reviewable part of the album fares! Hopefully, Shankar-Ehsaan-Loy shoot the arrows right on the bullseye!


1. Mirzya
Singers ~ Daler Mehndi, Sain Zahoor, Akhtar Chanal, Jyoti Nooran & Sultana Nooran, Chorus ~ Shankar Mahadevan, The Salvation Singers, Nikita Deshpande & Sapna Pathak

The title track arrives first on the album, and it is something that will leave you awestruck by the end of it. It is Pakistani folk singer Saieen Zahoor (spelled by T-Series as Sain) who gets to open the track, and his voice is very representative of the setting and locale of the film — a rural area. It is fascinating things such as this that constitute the best moments of the song. Shankar-Ehsaan-Loy seem to have taken great efforts in making this one what it is. The song is a great showcase of beautiful folksy rhythms and melodies, and I’ve never seen the north-western folk music represented in such a beautiful way in films recently (Thank you, Badshah and Yo Yo Honey Singh!) All the singers associated with this song are natives of that region, but surprisingly, the music-makers themselves, aren’t! What a magnificently remarkable work they’ve done! The composition has many layers, tones and undertones. At first listen, it sounds like a very happy-go-lucky folk song, until you start noticing the sinister and emotional undertones too! The song starts with Saieen’s folksy voice singing a verse that hookss you instantly, and then his wonderful “Mirzyaaaaa hoo-ohhh” starts off the actual song. Daler Mehndi steps in, with all his energy focused onto the song, bringing out a brilliant performance. His famous high notes don’t fail to fascinate here either. The hookline is genius at its peak. The mukhda has Daler Mehndi singing an awesome high-pitched portion, and along with Saieen, he carries it out with impeccable finesse. But the high point a of the composition is whenever Daler sings “Oh mirzyaaaa“. The “Gol gol ghume zameen…” line, too, has been composed beautifully. The antara is led by the Nooran Sisters, and their part is very cuteand likable. Akhtar Chanal is in there somewhere, not getting much scope to shine individually, but I’m sure his voice is making a difference somewhere or the other. The backing vocals are beautiful, and their roles are so important in making the song what it is. Towards the end, they sing a wonderful, dreamy portion that goes like “Sunn teri oh dastaan re mirzya“, and it is so good!! The Salvation Singers’ intermittent vocals in between the lines of the song, are too good to miss. This is one of those songs where the backing chorus plays a very important role. Coming to the arrangements by Shankar-Ehsaan-Loy, they are very energetic and catchy. The rhythms by Taufiq Qureshi instantly catch your attention, and you can’t forget the rhythm on which the song is composed. The dhadd plays throughout the song, infusing the Punjabi touch to it, while the earthy string instruments are something you don’t get to hear everyday. Towards the end Naveen Kumar’s BRILLIANT flutes and pungis play a very upbeat folksy piece which makes you smile. At the end of the song, you just can’t help but think how skillfully Shankar-Ehsaan-Loy have crafted the music and composition for this song. Gulzar’s lyrics are clearly folk lyrics out of which we can understand some things here and there, and so it might appeal to less people, but I loved whatever I could discern! The way he has employed a story-telling manner to put forth the legend of Mirzya, is commendable. A title track that is as legendary as the legend it is supposed to be describing! Something as fascinating as this can simply not go unnoticed or unappreciated!! #5StarHotelSong!!

 

2. Teen Gawah Hain Ishq Ke
Singers ~ Siddharth Mahadevan & Sain Zahoor, Chorus ~ The Salvation Singers & Loy Mendonsa

The sound of a woodwind opens up the next song and you can easily understand that this one is going to be a fresh romantic song with a folksy aura to it. Sure enough, that is just what you get. It is Saieen Zahoor again, who gets to start the sing off with a very enchanting couplet, that made me get goosebumps. And what follows is pure bliss. Shankar-Ehsaan-Loy get it right with the composition, a breezy and enjoyable one which is as fresh as you can imagine. Of course, the trio has excelled in making these songs, but this one seems to top them all. The composition is a breeze of fresh air. After Saieen’s couplet, Siddharth sings a wonderful vocal rhythm which goes ‘Tannanaa Nannanaa” and the wonderful Salvation Singers accompany him in the “Hoo-oh-ohh“. The mukhda is something that instantly gets you hooked. The hookline is entrancing, if not anything else. The low notes of the mukhda make you ready for a very soft and quiet song which stays in the low notes for the whole time, but the antara is an exception, where the trio expertly let the composition traverse into high notes, and it sounds equally tranquil. Towards the end, Saieen does a wonderful closing aalaap, which is worth looking out for! The Salvation Singers and Loy do a wonderful job in supporting Siddharth, who is clearly at his best here. The man usually gets high-pitched, high-energy, dynamic songs where he is forced to yell (though it sounds good, nothing against that!) but this seems to be the very first song where he has actually been able to sing in a normal pitch, voice and without risking his throat! 😀 And the result? It is a very melodious, mellifluous voice that I couldn’t ever imagine Siddharth Mahadevan producing! Leave it up to Shankar-Ehsaan-Loy to discover new singing styles in singers, even if the singer is the son of the first third of the trio. 😀 It is the arrangements that add the necessary charm to the song. With those guitar riffs playing throughout the song, it is impossible to not get lost in the music! It is Shankar-Ehsaan-Loy’s trademark, those riffs! In each song they have some or the other musical loop, be it that vocal one in ‘Mera Yaar’ (Bhaag Milkha Bhaag) or the digital one in ‘Gallan Goodiyan’ (Dil Dhadakne Do) which starts off the song. Along with those guitars, the trio has a wonderful folk percussion instrument called the dimdi (played by Abhay Rumde) which helps to get the folksy feel. There are other sounds like chinks on glass, which must be the genius of Taufiq Qureshi at work. 😀 It is the backing chorus made up of the Salvation Singers and Lot that make the song as breezy as it is. Last but definitely not the least, Gulzar’s lyrics come into picture. What a brilliant hookline he has written! “Teen gawah hain ishq ke, ikk rab hai, ikk tu, aur main!” (There are there witnesses of love, one is God, and you, and me!) I don’t know where he gets such ideas from, but much to our enjoyment, he gets them anyway! 😀 Shankar-Ehsaan-Loy ace this one, and deliver what must be the breeziest love song I’ve heard in a while! Kudos to Siddharth Mahadevan for showing this side of him! #5StarHotelSong!!

 

3. Chakora
Singers ~ Mame Khan, Suchismita Das & Akhtar Chanal, Chorus ~ Shankar Mahadevan & Suchismita Das

You would be a nasty, ugly little liar, if you said that you weren’t waiting for some or the other kind of a dance track in this movie. When it’s a folk-themed movie, based in Rajasthan, and when you have composers like Shankar-Ehsaan-Loy on board, wouldn’t you be eager to hear a dance song? Yes you would, at least I think you would. And so, the next song presents itself as a folksy dance track. Of course, there can’t be a straightforward dance track when it comes to Shankar-Ehsaan-Loy either! They have to twist it some way or the other. And so what do they do? They conveniently infuse techno beats into the Rajasthani folksy song. And the result is stupendous!! The composition has the very much necessary folk touch, and calls out to you right away. The mukhda starts with a very enticing “Arey Haalaaaaaa” by Mame Khan, a contemporary folk artist who has sung in Coke Studio Season 2 for Amit Trivedi, indicating that a folksy melody is following. The mukhda is very catchy, and both Mame Khan and Shuchismita Das sing wonderfully to make it sound entrancing. The hookline, “Lipat lipat chal gayo re dola” is sooooo good! The trio has made up a very appealing melody for that. The antara is made up of many twists and turns, all of which just make the song sound even more beautiful. With one singer singing half a line, which is later continued by the other singer, this part is definitely not to be missed! The song may be raaga-based, but it really doesn’t seem to be, with the arrangements that the trio has given. A wonderful techno sound has been added to the song, reminiscent of the times when the trio has introduced such songs to Bollywood, and in particular, the entire sound reminded me of ‘Koi Kahe Kehta Rahe’ (Dil Chahta Hai). The other folk instruments play an important role in making the folk aspect of the song stand out — particularly the percussion. The vocals are magnificent, though I do bear a grudge against Shankar-Ehsaan-Loy for having autotuned Mame Khan’s voice! 😦 It sounds good autotuned too, but I feel the folksy aspect would’ve stood out if it had been left as it was. Suchismita sings wonderfully as she always does, but gets little space to be noticed among Mame Khan’s wonderful singing. Akhtar Chanal, once again, is sidelined and I think he’s the person who sings those mystical-sounding chants at the start of the song, which I thought sounded a lot like Gulzar! 😀 Shankar Mahadevan’s backing vocals are amazing, and he leaves no space empty, making sure every second of the song is filled with some sounh or the other! Gulzar’s lyrics are great, here as well, perfectly describing love in a very metaphorical manner. The underlying suggestion that the line “Aasmaan par udey chakora, chaand pakadne jaave, ishq udey jab tez dhaar pe dono pankh kataave” gives, also explains the pain of the two lovers. A fun song, with undertones of emotion and love! Genius stuff from Gulzar, and brought to life very effusively by Shankar-Ehsaan-Loy, Mame Khan & Suchismita Das! #5StarHotelSong!!

 

4. Aave Re Hitchki
Singers ~ Shankar Mahadevan & Mame Khan, Chorus ~ Sapna Pathak, Arsh Mohammed, Rehan Khan, Firoz Khan & Farhan Sabri

When the gratifying sound of the sarangi opens a song, the song more often than every time, turns out to be a very beautiful one. And this one is another song which can be added to that list. The song wonderfully starts off with an enchanting sarangi piece, played by Mame Khan’s troupe. And then the roopak taal sets in to make the ambience more soulful and soothing. It is the first line of the composition itself, that brings out the goosebumps. The tune is so sweet and charming, that you just can’t NOT like it. The way the mukhda is made up of three parts, the first one being the first line, “Nidra mein kisne...”, the second being “Sandesa aayo na chhithiyaa bhijayi…” and the third going on a different scale and tune with “Dhoop mundhere chadh gayo dola..“, is a masterstroke idea. And the hookline, oh!! It is so charming, that you end up falling in love with it by the time it has played twice. There are actually two very wonderful hooklines or refrains in the song — the title of the song being one, and the second being a just as wonderfully composed (in fact, sounding better!) “Talaiyya sookhi, keekhar sookha, bheetar sookha re“. The seamless transition from each line of that hookline, is what makes it so beautiful. The antara traverses very calm notes, that instantly connect with the listener. And towards the end there’s a wonderful bit of the song, which goes “Mann tarse, ghan barse“.. And the way the trio has composed these two words in so many different tunes, also with the tune of the hookline, is such a pleasure to hear! 😀 What can I say about the vocals? Shankar Mahadevan is at his graceful best. The RAAGA-based composition couldn’t be sung better by anyone but him, and I particularly loved how he sings the high notes! The backing chorus effusively sings the hookline, and makes it stand out amazingly. The arrangements are nothing to miss, either! The trio has appointed a number of instruments to help to make the song sound grand. I must bring out the sarangi, (by the Mame Khan Troupe) which has been played the most beautifully throughout the song. One part in the interlude where the hookline’s tune has been played on the sarangi, is just awesome. And then there are the brilliant, BRILLIANT guitars (Neill Mukherjee) which support the composition on every note. The Spanish Guitars in the interlude particularly, are worth hearing a million times! Dholaks (also by the Mame Khan Troupe) are also great. But one of the most intriguing sounds in the song, is Shankar Mahadevan’s flawless “HICHH!” in one of the hooklines, which you really have to watch out for! 🙂 Gulzar’s lyrics are worth a salute, and I can’t really say anything much except that you should go and hear them and also try to decipher them, and when you do, wait for the smile that’ll come on your face! 😀 A masterpiece from Shankar-Ehsaan-Loy, fit for repeat listening, and wonderfully bringing out the rajasthani folk part of the movie! #5StatHotelSong!!

 

5. Hota Hai
Singers ~ Jyoti Nooran, Sultana Nooran, Saieen Zahoor, Akhtar Chanal & Daler Mehndi, Chorus ~ The Salvation Singers & Shankar Mahadevan

The angst in the album was missing, until this song comes along in the playlist. The way it starts, you wouldn’t think it would turn into a sinister, dark-sounding, angsty song later on! The Nooran Sisters start off with a very groovy vocal beat, which is basically Shankar-Ehsaan-Loy showing off at how well they compose such groovy vocal loops. This song is the song around which the gist of the story is centered. The line “Chot kahin lag jaati hai par zakhm kahin par hota hai” is the tagline of the film, and Shankar-Ehsaan-Loy wonderfully incorporate it into the song. The way the composition is not delimited by a fixed tune, and is rather flexible, in that the folk singers can be seen at their liberty to sing anything anytime, is just fabulous. I personally loved the way Akhtar Chanal & Saieen Zahoor interrupt throughout the song with weird vocals, that actually bring you to like the song even more. But the song belongs to the Nooran Sisters, who are at their best in bringing a whole different kind of suspense to the song, and vivaciously bring forth the ideas of Gulzar saab. The composition itself is filled with very dark undertones and the dark sound of it all does nothing but attract you. There is a wonderful line in the song sung by Shankar Mahadevan along with the Salvation Singers. And to top it all, at the end, Daler Mehndi comes back with his hard-hitting “Ohhhh mirzyaaaaa” from the title song. The composers have made sure that the composition, despite all of its unconventional-ness, reaches out to the listener and grabs him, not instantly, but a bit more each time. It is the awesome arrangements that give the song half of its greatness. The techno beats and the typical Shankar-Ehsaan-Loy club beats fuse with a mesmerizing folk act by the Nooran Sisters, Saieen and Akhtar. The sarangi (Delshad Khan) in the interlude is just wow. And then there are the khartals (Mame Khan Troupe) which attract your attention. And the harmony between Jyoti and Sultana Nooran is unmatchable! Gulzar’s lyrics are all about how love is deceptive and blah blah, but the way he has portrayed it, is worth listening. Something unconventional, that might not get the desired praise and acclaim, but definitely touched my heart! #5StarHotelSong!!

 

6. Ek Nadi Thi
Singers ~ Jyoti Nooran, Sultana Nooran & K. Mohan, 

This song starts with a wonderful heart-touching aalaap by one of the Nooran Sisters (really can’t distinguish which one!) The real magic though, starts when Mohan Kanan with his very deep voice starts to sing the sweet melody of the song, and it is from this moment that you really start grooving to the song. The beats too, are worth grooving to! The song is arranged on nothing but acoustic guitars and claps and snaps, giving a very homely and minimalistic feel to the entire affair. The composition by the trio is so catchy and absorptive at the same time, that you just can’t forget it once you hear it. The hookline is just something that seems to have come from the composers’ hearts. The antara continues the freshness of the song, and the harmony that the Nooran Sisters create with K. Mohan, who is probably the only lead singer on the album who is not known for folk, is pretty awesome! The high notes touched by the Nooran Sisters and the low notes rendered by Mohan, complement each other very well, despite so much contrast. I can hear Shankar Mahadevan leading the Salvation Singers in the background, and it sounds so beautiful, that sometimes, you will find yourself focusing more on his parts than the parts of the lead singers! I wonder why T-Series hasn’t credited them like they have for the other songs! The arrangements mesmerize you with their simplicity — who has ever heard a song arranged merely on acoustic guitars and claps and snaps, when the song is in an album made for a folksy movie? Well it is allthe work of the mastermind percussionist Taufiq Qureshi! Towards the end, the two entities, Nooran Sisters and K. Mohan, perform a wonderful harmonic interpretation of the hookline, with one of them saying one line and the other following the first, with the classic style of starting right in the middle of the first singer’s line. Gulzar’s words make it known that the nadi (river) that he’s talking about is Sahibaan, and he has woven a metaphorical story around her through the song. Simplicity takes over in this otherwise quite complicated album! #5StarHotelSong!!

 

7. Doli Re Doli
Singers ~ Shankar Mahadevan & Mame Khan

The wonderful opening lines sung by Mame Khan bring an opulent start to the next song, which is a very unconventional bidaai song! The opening lines by Mame Khan sound like the start of a garba, but then stop sounding like one almost at once, and when you get to know, much to your disappointment that the song isn’t a garba, you get excited on knowing that it is, indeed, a soft jazz song! Yes, you read it right! A bidaai song with a jazz backdrop! After Mame’s introduction is over, Loy’s keyboard comes in and steals the show, coupled with a wonderful trumpet (Victor Garcia) that was definitely not anticipated! And while all this magic is happening, Shankar is busy at the mic, singing a tranquilizing aalaap. When the first line of the melody hits you, you can’t believe your ears for a minute, but then your ears decide to digest the fact that the composition is so melodious, and though it has a sad undertone, you can’t help feel your mood lightened up a bit after hearing. The classical-based composition coupled with the emotional soft jazz arrangements consisting of showstopping keyboard solos by Loy, not to mention the drums (out of which the cymbals are played oh so wonderfully! — credits to Kalyan Pathak). The signature melodica played by Shankar himself, is the epitome of classiness in the song. That brings us to the vocals which are by Shankar too, and couldn’t be better! I can’t praise him enough for this song! The way he brilliantly breezes through those aalaaps in the song (they’re almost everywhere — try to locate each and every one of them, as they’re not to be missed!) Gulzar, on the other hand, writes away at a heartrending piece of poetry, which puts forth the sentiments of the bride during bidaai, very well. Lines like “Chaukhat pyaar Jo pair dhare toh, main len den chukayo baabul” (I have repaid all the debts to my parents after I cross the threshold of their house) tell you why Gulzar is such a renowned writer. 🙂 The sweetness of the album reaches a new level with this song. Something that is as unconventional as this, has to be par excellence! #5StarHotelSong!!

 

8. Kaaga
Singer ~ Kaushiki Chakraborty

After all that folk and the jazz of the previous song, you’re really not ready for what awaits you in this song. As soon as it starts playing, an opulent symphony strikes you and you feel as of you’re in some orchestra performance, where one of the stalwarts like Mozart, Beethoven, Bach, Chopin, Haydn and the like. The violins really fill your heart and mind with some pleasing and soothing quality, but also leave you craving for more after it all ends. BUT WAIT!! We haven’t finished yet! I still have to tell you about the start! So, back to the beginning of the song. After that wonderful symphony — which, sadly, T-Series and Shankar-Ehsaan-Loy haven’t given any sort of musician credits for (which is simply not done, okay! You don’t NOT give musician credits for some song I really wanna know the musician credits of! 😦 ) — so yeah, after that symphony, a sweet twinkling sound (xylophone most probably) takes you to the main melody of the song, and who waits for you there? The fantastic classical singer, the majestic Kaushiki Chakraborty. With her each and every note, she manages to take away some fraction of your breath, and that’s why you call it breathtaking! Her AALAAPS are simply amazing, and it is her magnificent vocals that decorate the already magnificent composition and arrangements by the trio. Wonderful use of strings and the flute, makes this song what it is. The brass portions give a very otherworldly feel, and you feel as if you are in outer space. Gulzar’s lyrics are nostalgically refreshing! Something in which Kaushiki, Shankar-Ehsaan-Loy, and Gulzar, all are at their very best! And special bows to the musicians!!! #5StarHotelSong!!

 

9. Mirzya Theme – Broken Arrows
(Instrumental)

To end the album, we have an instrumental that is bound to get you teary-eyed, to the extent that even if you’re in Shangri-La while listening to it, you will get that inabominable feeling of pain and hurt in your heart. Shankar-Ehsaan-Loy yet again bring in the strings — this time the violin, to bring out the emotion in the piece. The trio cleverly takes the backing chorus’ humming tune from ‘Teen Gawah’ and weaves it into a mellow, sombre and emotional piece, which is quite brimful of emotions. The violin does the job in the first half of this piece and in the second half, the relay is seamlessly passed on to the flute, which is the best choice ever! Again, T-Series and the trio haven’t provided any musician credits of any sort, so I take it for granted that they played the instruments themselves. Anyway, it is a beautiful way of the composers and director telling us that all that happiness in the ‘Teen Gawah’ sequence was just illusory, so don’t pay it any attention, because we all know the fate of Mirza and Sahibaan. A track that will play in the back of your head in your free time and try to make you feel like you’re in a movie and your life is depressing, so try to limit that depression to the characters of the movie and listen to the song, to have a wonderful experience! Emotion at its best! 🙂 #5StarHotelSong!!


Mirzya – Dare To Love is an album that really forces you, not dares you, to love it. Nine wonderfully arranged musical pieces with awe-inspiring vocals by attractive rustic voices, coupled with groovy beats from the maestros Shankar-Ehsaan-Loy and the vision of a mastermind like Rakeysh Omprakash Mehra, makes this album one to die for. The choice of singers is fantastic — Shankar-Ehsaan-Loy gather up a team of folk singers and wonderfully employ them throughout the album. The Nooran Sisters and Saieen Zahoor, particularly, strike gold through this album. The Noorans spectacularly make their presence felt throughout the album. The two Pakistani folk singers, Saieen and Akhtar Channal, though they get less scope, don’t fail to impress you, while Mame Khan and his musician troupe, hailing from the deserts of Rajasthan, amaze you with their rustic vocals. The two very smooth-textured voices on the album, Suchismita Das and Kaushiki Chakraborty, both from West Bengal, do magic in their relatively small roles on the album. K. Mohan and Siddharth Mahadevan, practically the only commercial singers of the new generation on the album, do a splendid job in their respective songs, though the Noorans do overshadow Mohan in his song. Shankar Mahadevan himself spectacularly sings two of the songs, which are two of my favorites from the album too! Not to mention the wonderful harmonies of The Salvation Singers!! Just splendid! 😀 And last but not the least, Daler Mehndi with his splendid baritone voice surpassing all with his rendition of the title song, and his theme tracks that are interspersed throughout the album. A special mention to his voice that goes “Ohhhh mirzyaaaaaaaa” at the end of every television promo of the movie. 😍😍😍😍 When will the goosebumps get to sleep!? Gulzar’s words perfectly make this album a repeat-listen-worthy album, and it is in albums like this that my emotions overflow so much and I rave about the album, not noticing that my “conclusion”, which is supposed to be the shortest part of the review, is just a complete introduction altogether. I guess that the last time I did so was in ‘Bombay Velvet’. So, without further ado, let’s go on to my verdict! This miraculous album will make you fall in love… With itself!

 

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: Why ask!? Why rub salt on my wounds!! 😢😢😡

 

Which is your favourite song from Mirzya – Dare To Love? Please vote for it below!

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

DHOL, HEART AND SOUL!! (TANU WEDS MANU RETURNS – Music Review)

Music Album Details
♪ Music by: Krsna Solo, Tanishk-Vayu (Tanishk Bagchi & Vayu Shrivastav) & Surj RDB
♪ Lyrics by: Raj Shekhar, Vayu Shrivastav, NS Chauhan & Surj RDB
♪ Music Label: Eros Music [‘Mari Gali’ on T-Series]
♪ Music Released On: 29th April 2015
♪ Movie Releases On: 22nd May 2015

Tanu Weds Manu Returns Album Cover

Tanu Weds Manu Returns Album Cover

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

To buy this album on iTunes CLICK HERE

To hear ‘Mari Gali’ on Saavn CLICK HERE

To buy ‘Mari Gali’ on iTunes CLICK HERE

Hear ‘Mari Gali’ on YouTube:


Tanu Weds Manu Returns is an upcoming Bollywood romantic comedy film, starring Kangana Ranaut, R. Madhavan and…. Well, Kangana Ranaut. (Double Role!! 😛 ) The film has been directed by Anand L. Rai and produced by Kishore Lulla and the director. As the title suggests, the film is a sequel to the 2011 hit film, ‘Tanu Weds Manu’, and both Kangana and R. Madhavan reprise their roles from the first movie. However, kahaani mein twist hai! Kangana is playing the role of another character as well, and that is Kusum, a Haryanvi athlete. And the music goes to the same person, who debuted into Bollywood with the first movie, Krsna Solo. (Don’t get confused by the addition of ‘Solo’ after his name 😛 ) Also, duo Tanishk-Vayu and Surj (RDB) each have been given one song each. The first movie had a spectacular album, full of fun dance numbers as well as soulful traditional Punjabi folk Qawwalis and Sufi songs. Given that it was one of the best albums of 2011, one expects more from the album of the sequel!! So, does Krsna, along with the two guest composers, give us what’s expected? Read on to find out!! 🙂


1. Banno
Singers ~ Brijesh Shandllya & Swati Sharma, Music by ~ Tanishk-Vayu, Lyrics by ~ Vayu {Shrivastav}

The album to the sequel of a hit Punjabi film should have a grand opening, in my opinion. And what else is better to start it off, than an extremely catchy, wacky and insane Punjabi wedding song!? The guest composers Tanishk Bagchi and Vayu Shrivastav work together as a duo, to compose the wonderful grand opening to the album. Since it is a Punjabi wedding song, people are bound to compare it to the other Punjabi wedding songs from Kangana’s past films, like ‘Jugni’ and ‘Saddi Gali’ (Tanu Weds Manu) and ‘London Thumakda’ (Queen). However, I have to say that, though the song is full of that recognizable Punjabi touch, it is something that will soon… Or rather, it already has, gained an identity of its own. First of all, what should I say about Tanishk & Vayu’s awesome composition! Whatever I say, will be an understatement! They have composed, in their Bollywood debut itself, something that is bound to catch hold of you so tightly, that it won’t ever leave you. The first time I heard this song, it instantly got stuck in my head, and that energetic vibe instantly appealed to me. Especially the hookline, which will definitely make you laugh the first time you hear it! Of course, the tune gets credit, but more than that, the wonderful and gripping arrangements help the song make a greater impact on the listeners’ ears. A perfect blend of techno sounds, voice programming and traditional Punjabi instruments — Dhol, nagada, tumbi and the rustic feel given by the harmonium and flute, all just enhances the feel of the song. Lyrics have to be mentioned, and they are about the carefree nature of the main character, described in an entertaining way through Hinglish lyrics that can easily be understood, and also memorized thanks to the nice rhythm and tune. Lastly, the two brilliant voices behind this cracker of a song — Brijesh Shandilya & Swati Sharma. The way Brijesh renders the major portion of the song in his folksy voice, makes the cute tune sound even cuter, and Swati’s hookline, efficiently programmed at the right places, makes you go back to hear the song again just for her part. She has joined the likes of the Nooran Sisters, Kakkar Sisters (Neha & Sonu) as the unconventional, yet appealing female voices of Bollywood. With that, it makes Tanishk-Vayu’s future journey in Bollywood all the more easier, given the blast of a song they’ve created here!! #5StarHotelSong!!

 

2. Mat Ja Re
Singer ~ Ankit Tiwari, Music by ~ Krsna Solo, Lyrics by ~ Raj Shekhar

And with this song, Krsna has entered the soundtrack. The song is a sad song, composed on the typical 90s template, complete with the daflis, and the composition that just reminds you so much of that era. The only thing that might have some shades of the contemporary music scene, is none other than Ankit Tiwari. However much I have taunted him in my past reviews, now is the time to actually appreciate him. The wonderful composition by Krsna has a pleasant flow to it, making you sing along. And this is possible, because the composition is very simple and quire easy to pick up as well! And Ankit has expertly rendered it without the characteristic autotune of his, which he carries with him wherever he goes. He brings both the emotion and romance into his voice and very sweetly sings the whole thing, making you drown in the composition. Arrangements cannot be ignored at all! Every second holds a new surprise for us in this song. Krsna has made sure nobody who starts to hear this song leaves it without listening to the whole song. How? By placing various attractive instruments throughout the song. The dafli rhythm plays on through the whole song, joined by strings, flutes, harmonium, and wonderful Latin-sounding guitars. That really touches the heart and makes you want to go on listening! Lyrics are also something great from Raj Shekhar, following the sad song pattern, yet appealing to the ears and mind. Ankit’s best rendition till date, and a heart-touching composition by Krsna, with equally heart-touching lyrics! Not to mention the out-of-this-world arrangements! #5StarHotelSong!!

 

3. Ghani Bawri
Singer ~ Jyoti Nooran, Music by ~ Krsna Solo, Lyrics by ~ Raj Shekhar

If it was ‘Jugni’ in the first film, in this film it is ‘Ghani Bawri’ that will have the masses in the single-screen theatres in villages dancing to its tune. Nothing can start as dynamically and as energetically as this song. After the sad song by Ankit, when this song starts, you will suddenly be shaken out of your trance and into a totally mad and crazy mood for the next four-odd minutes. Jyoti Nooran gets her third song in Bollywood, this time without her sister, and she starts off this track with an electrifying vocal rhythm, that is sure to grab your attention right away. The instant energy boost that this song gives you, no energy drink will ever give you! The bubbliness of the song is just too much to describe! It is one of those songs which is so cute and bubbly, showcasing the bubbliness of the character in the film, that it just can’t get out of your head for quite some time. Krsna’s tune, of course, is really captivating, but the heroine of this song is, hands down, Jyoti Nooran! Her energy is unbelievable, and how she maintains it all throughout the song at the same level, is beyond my understanding. Kudos to her for this crackling performance! Be sure not to miss her rap part, in the second interlude. It just sounds funny to hear a folk singer like her rap, and that too, in Punjabi! Krsna has placed wonderful Punjabi arrangements to entertain us side by side, as Jyoti is too wonderful to ignore. There is one line in the song sung by a man, which I guess is his, and he has sung it wonderfully! The song will gain the same popularity and attention as ‘Katiya Karoon’ (Rockstar), to which it sounds very similar, too, as far as the arrangements go. Raj’s lyrics very well use Haryanvi terms to make it an interesting listen. One of the liveliest and most captivating Punjabi songs of the recent months!! A refreshing break from cheap Punjabi rap, where we get to hear the true essence of Punjabi and Haryanvi music! #5StarHotelSong!!

 

4. Old School Girl / Old School Girl (Haryanvi Version)
Singers ~ Anmol Malik / Kalpana Gandharv, Music by ~ Krsna Solo, Lyrics By ~ Raj Shekhar

Just about less than two weeks ago, I reviewed an album full of jazz numbers, ‘Bombay Velvet’. All the music reviewers, and all the music lovers loved that album, as it stuck to the requirements of the script and adhered to the era in which the film was set. At the same time, it gave us a great variety of jazzy songs. But it’s not only ‘Bombay Velvet’ that has jazz songs. Recently, Bollywood has been witnessing a sudden influx of jazz songs in almost every movie that comes and has a situation for such a number. With the Jazz bug biting Bollywood, and biting it hard, we can help ourselves to yet another jazz song in Bollywood, this time, in such a place, where it is highly unexpected — a Punjabi-themed soundtrack! It is a song written purely in English by Raj Shekhar, and what he has written, is just so sweet, that you can’t ignore it. Anmol sings beautifully, and carries the jazzy tune on her shoulders. Yes, there are points where her voice sounds way too muffled to understand what she’s even saying, but never mind. To help her, are the awesome and apt arrangements that Krsna has placed in the track. Of course, the regular jazz trumpets, trombones, drums and saxophones can be heard. And that piano is awesome too! The lilting tune by Krsna really wins half the battle for the song. Complex, yes, but endearing, definitely! On the other hand, in the “Haryanvi Version”, things become a bit more desi, with the same English lyrics, and you can just imagine how funny that would sound! Yup, newcomer Kalpana Gandharv gets to carry out this version, and she does so with such grace and finesse (here you say “Ahem. Ahem. Seriously?” 😂) that it actually ends up coming across as more sweet and lovable than the first version. When they named it Haryanvi Version, I wonder what they were thinking, because, the lyrics are the same, the tune is the same, the arrangements sound retro Kolkata-ish. However, the vocals are those of a gaon Ki chhori, and the way she pronounces some words, will really make you laugh out loud; they really come across as hilarious!! She sounds a lot, lot like Rekha Bharadwaj. The harmonica, guitars in this version really make it sound better. Jazz wasn’t expected here, and so it was a great pleasure to hear it here! 😛 Try both versions, they’re worth your time!! #5StarHotelSong!!

 

5. Move On
Singer ~ Sunidhi Chauhan, Music by ~ Krsna Solo, Lyrics by ~ Raj Shekhar

When this song starts, there is a huge setback waiting right at the beginning of it. And that is, the striking, very-hard-to-ignore and huge resemblance to ‘Bol Beliya’ (Kill/Dil). What a coincidence, that Sunidhi is the singer of both! The resemblance just hits you right in the ears, demanding for some attention instantly. Anyways, you listen on. The composition, though having that really unignorable similarity, is actually very efficiently done. Because I had loved ‘Bol Beliya’, I naturally loved this too. But that wasn’t the case with most people. 😛 The song is a sad song with a twist — it doesn’t have the character sitting and repenting about the past, crying over spilt milk, but instead, it motivates the character to “Move On”, which was a pretty unique and interesting concept to me. As good ad the idea might have been, had the execution been a tad better, it would’ve been really great. For one, the lyrics are all tolerable, until the hookline comes. In the midst of a Hindi song, with almost all words in Hindi, how would it feel if suddenly, some English words come in a bulk delivery? Not good. It feels like someone’s pelting stones at your face — sorry, ears 😛 It sounds so cheap, you have to hear it to believe it. If any other words would’ve been used instead of “Move On” over there, it would be a really great song, all in all. Arrangements are perfect, effective dhols creating the desired impact. Vocals are by Sunidhi, so is there any doubt whether they will be good? When you have someone like Sunidhi behind the mic, you can steal sounds from anywhere, write irritating lyrics, and still get away with it. (WINK, WINK 😉 😉 ) So that’s the story of how Krsna got away with it and escaped from the public, but not from me! Probably the only disappointing song from Krsna in this album, just because of the oh-so-obvious tune lift. And also disappointed by whoever thought of that hookline…!!

 

6. Ho Gaya Hai Pyar
Singer ~ Dev Negi, Music by ~ Krsna Solo, Lyrics by ~ Raj Shekhar

The next song brings in the heart and soul of this album, the romantic songs! Dev Negi gets one more song this month, after that awesome, sweet ‘Coffee Peetey Peetey’ (Gabbar Is Back). And he shines here too! Krsna’s heart-touching melody is something that stays with you for days and days, and can never get out. In fact, you’ll have to force it to get out one day! It is such a beautiful melody, which will have you instantly hooked. Dev Negi resembles Shaan here, and I still can’t find any identity of its own for his voice. However, though he sounds like Shaan, he renders this beautiful romantic song following a classical path, with such ease and expertise, that it is hard to believe that he never got such classical gems of songs before!! Of course, the song is not at all devoid of Western gimmicks altogether, what with the humming and other vocals that bring in some of a Western touch. Besides that, the song totally follows a classical pattern. Arrangements are extravagant in this song, with classical Indian instruments meeting western instruments. Violins, guitars from western music meet shehnais and tablas from Hindustani classical music. Also, those techno sounds sound entrancing in such a composition. I should specify when the tablas enter, and that is, the second antara. When they come, you will definitely get even more hooked than you already were! Lyrics are again spot on, and though they are typically romantic, their simplicity does create an effect. A wonderful, blissful melody by Krsna, wonderfully carried out by Dev Negi. #5StarHotelSong!!

 

7. O Sathi Mere
Singer ~ Sonu Nigam, Music by ~ Krsna Solo, Lyrics by ~ Raj Shekhar

Yes, I’m very happy to see Sonu Nigam back into the scene after quite some time, with a long song, and something that does justice to his voice, something that only he can pull off. Here, Krsna gets into fulltoo Rahman mode, churning out a divine and entrancing composition, that will appeal only to a certain section of people, but those people will cherish the song like anything! And I fall into that category too! The tune is something that is very, very hard to describe, very hard to grasp due to all of its complexity, but all of Krsna’s hard work ultimately pays off and gives people a song, that really makes them hear it again and again on loop for a long time! Another classical-based romantic song, but this one not simple at all, and a lot more mature than ‘Ho Gaya Hai Pyar’. The mellifluous voice of Sonu Nigam just helps to increase its likability more! Arrangements also steal your breath away, purely traditional, with some interruptions by western instruments occasionally. The strings, flute, manjeeras, matkas and awesome guitars all appeal to the ears instantly! The female backing vocals, quite like Rahman usually does, sounds heavenly. When a song is so good, you really fall short of words, and that’s exactly what has happened to me at the moment. Lyrics are also beautiful, and unbelievably simple, yet making such a huge impact on us. I’m really shocked to know that Rahman hasn’t composed this! Hats-off to Krsna for this gem of a composition, for this glimpse of heaven!! Peaceful, enchanting and deserves to be heard on loop!! #5StarHotelSong!!

 

There’s one more song, this one on T-Series music label, because it is a remake of “Sadi Gali” from the first film, ahokse music rights were with T-Series, so of course T-Series follows Saregama’s footsteps! :\

 

♪ Bonus Song

♦ Mari Gali
Singers ~ N.S. Chauhan & Dilbag Singh, Music by ~ SurjRDB, Lyrics by ~ N.S. Chauhan & SurjRDB, Music Label ~ T-Series

So, “Sadi Gali” (Tanu Weds Manu) had been composed by the RDB band, which then consisted of Kuldeep, Surjeet and Manjeet, but after the demise of Kuldeep, Manjeet (you may know him as Manj Musik) left the band to work independently. (We all know how “great” he composes independently). However, Surjeet stayed and wanted to continue RDB on his own. So here he comes, with a remake of the three brothers’ song, “Sadi Gali”. And the remake is nothing compared to the original. Lehmber Hussainpuri’s original song, which was remade efficiently by RDB as “Sadi Gali” in ‘Tanu Weds Manu’, gets remade itself, and from a bhangra number, it transforms into a garba number, with a Gujarati twist. The lyrics are nothing special, neither are the vocals, which are by two Bollywood debutants, N.S. Chauhan & Dilbag Singh. Only the arrangements impressed me, with the wonderful harmoniums and flute, and also the garba beats impressed, but they don’t really sound good with the tune, and the tune sounds broken up and half-hearted in those beats. Not impressive!


Tanu Weds Manu Returns is a quite impressive soundtrack, on the whole. Debutants and guest composers Tanishk-Vayu give the most commercially viable and most quirky track of the album, and score a homerun in their first Bollywood outing itself. On the other hand, Krsna, who debuted with the first film, has explored his talent a lot more with this soundtrack, giving us six great tracks, out of which one is a tad less impressive due to the heard-before tune and feel. But he finally consolidates his career in Bollywood with this. And lastly, and surely the least, Surj doesn’t really uphold the dignity of the band RDB, but at least he’s doing better than Manj. 😂 Overall, the soundtrack is an enjoyable one, full of dhols, heart and soul and gives a good complement to the album of the first film!!! 

 

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: O Sathi Mere > Ho Gaya Hai Pyar > Ghani Bawri > Banno > Old School Girl (Both Versions) > Mat Ja Re > Move On > Mari Gali 

 

Which is your favourite song from Tanu Weds Manu Returns? Please vote for it below! 🙂

 

Next “dish”: Welcome 2 Karachi, Chefs: Rochak Kohli, Jeet Gannguli & Amjad-Nadeem

SUR LAGA KE HAISHA!!! (DUM LAGA KE HAISHA – Music Review)

Music Album Details
♪ Music by: Anu Malik
♪ Lyrics by: Varun Grover
♪ Music Label: YRF Music
♪ Music Released On: 9th February 2015
♪ Movie Releases On: 27th February 2015

Dum Laga Ke Haisha Album Cover

Dum Laga Ke Haisha Album Cover

 

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

To buy this album on iTunes CLICK HERE


Dum Laga Ke Haisha is an upcoming Bollywood romantic comedy, directed by debutant Sharat Katariya, produced by Aditya Chopra, and starring Ayushmann Khurrana along with debutante Bhumi Pednekar in the lead roles. The film is about a man, who ends up with an “oversized and mismatched” wife, who he thinks is a spanner in his life. However, he discovers that she will actually lead him to something quite cool. So, the story is something new, seems interesting. Oh, and I forgot to tell you, that the character of Ayushmann in the movie, has been shown as a huge fan of Kumar Sanu, and so it was clear that Kumar Sanu will have sung for the movie, and indeed, he does have TWO songs in this album, which is composed by none other than the person whose music (and probably voice, too) everyone was crazy for, in the 90s and early 2000s. That person is Anu Malik!! After composing two songs in ‘Shootout at Wadala’, and singing some hopeless songs sometime between ‘Shootout at Wadala’ and this album, he is back into the composing scene, with a YRF album. May I also note that it is his first YRF album even after so many years in the industry. Considering that fact, there really must’ve been some very valid reason to bring this man on board, and Aditya Chopra must have really called him in for some particular flavour to get included in his movie’s songs. So let’s go ahead and see, what exactly it was, that made Aditya opt for Anu Malik in particular, and whether Anu has satisfied his needs!


1. Moh Moh Ke Dhaage (Male Version) / Moh Moh Ke Dhaage (Female Version)
Singers ~ Papon / Monali Thakur

Anu Malik takes you back to his ‘Refugee’ days, in which there was a song ‘Mere Humsafar’. Well, this song very perfectly radiates the same romantic and calming feeling of that song. The composition by Anu Malik, based on Raag Yaman-Kalyan, is one of the best I’ve come across this year. It also has a tinge of a ‘Devdas’ touch to it, or may I say, it sounds like a proper Sanjay Leela Bhansali film song, what with the slightly haunting, yet appearing sweet tune, and the awesome traditional arrangements, like the manjeeras, shehnai, and flute. I also think there is some use of matka and certain parts with the extremely blissful sound if the waterdrops, enhance the composition a lot. The composition and arrangements both come to their peaks in the antara. The only thing you get by listening this song is bliss, nothing more (I don’t think there’s anything better than bliss, though) and nothing less. Papon sings the song perfectly, and he makes you feel that nobody except him, could do justice to the beautiful composition. His smooth and metallic voice doesn’t let you divert your attention anywhere else and keeps you glued to the song. Monali, in the female, sounds very sweet and charming, and once again after ‘Sawaar Loon’ from ‘Lootera’, she gets a chance to prove her immense talent in singing classical music, even though she’s being tagged as a club singer in Bollywood, pitifully. Surprisingly, her version works more as the song is from the point of view of a female. Cute lyrics by Varun increase the likability of the song even more. One of the best composition of the year, beautifully rendered by Papon and Monali in their respective versions! All credit to Anu Malik for giving us this must-listen, divine track! #5StarHotelSong!!

 

2. Dum Laga Ke Haisha
Singers ~ Kailash Kher, Jyoti Nooran & Sultana Nooran

When it comes to compose a title song, it is very difficult for composers, as the pressure is always looming over them, that the song has to be catchy, and instantly become an earworm of everyone. Here, Anu Malik tries his best to bring in that catchiness, and also some very enjoyable feel, but it doesn’t produce the required feel, and falls just a tad bit short of expectations. Though we can see awesome singers like Kailash Kher and the Nooran Sisters (whose second Bollywood song it is, after exactly a year from their superhit ‘Patakha Guddi’ with Rahman) we can’t help but lose interest halfway through the song. The composition is a bit loose and falls apart until we get halfway through the song. It just seems abrupt and incomplete at parts, and so doesn’t have much of a great impact. The singers, however, do well in their parts. Kailash with his very distinct hoarse folksy voice is the best choice for the song, while the Nooran Sisters complement him very well. Their solo part, which sounds very much like ‘Patakha Guddi’ itself, sounds amazing. Arrangements are also catchy and make up for the faults in the composition. Varun’s lyrics are fine, considering it is a title track. Though a faulty composition, the dynamic vocals and great arrangements make up for it, to result in an enjoyable track overall! Worth a listen!

 

3. Tu
Singer ~ Kumar Sanu

On your marks…Get Set…Go!! Back to the 90s! This next song will make you go back in time to the 90s, with exactly the same style of composition, the same style of arrangements, even the same style of lyrics! And above all, the same style of singing, and why does it seem so similar? Because it has been done by the same man, the man who holds the record of winning the Filmfare for Best Singer (Male 😛 ) FIVE times IN A ROW!! Yes, you guessed it! Kumar Sanu! The way he sounds after so many days, and in the same type of song that we all used to love him in, is just brilliant! The makers must have intentionally made Anu bring back the 90s, as the character of Ayushmann is a huge Kumar Sanu fan. Everything is just resemblant of the 90s, and very perfectly, too. The orchestra, the percussion, and the repetitive background music on loop, perfectly resemble those love songs everyone was crazy for back then. The short duration of the song (it only has a mukhda, not even an antara) might put some people off, because of course they were expecting a proper song when it is Sanu da’s comeback! Nevertheless, the song does engage the listener. The duration is a letdown, but everything else is PERFECT! #5StarHotelSong!!

 

4. Sunder Susheel
Singers ~ Malini Awasthi & Rahul Ram

Here comes another totally, purely, folksy song, sung by two singers whose voices have the right amounts of folksiness in them to make this song work. The composition doesn’t instantly call out to you, but takes some time for you to get accustomed to and set in. The arrangements, however, are awesome, and again, they manage to keep the listener busy inspite of the composition which didn’t do what it was supposed to. The percussion consisting of daflis, dholaks and whatnot, really attracts. And the harmonium has been used awesomely too. But I have to specially mention the ektara which sounds very catchy in the song. Malini Awasthi overshadows Rahul Ram here, because her voice has a certain sharp edge to it, which instantly appeals to the ears, whereas Rahul Ram fails to make a strong impact with his vocals. Malini’s solo piece after the first antara is something to hear! So are her Tanana Nanana Nanana parts throughout the song. But what is the highlight of the song are the lyrics, by Varun Grover. Very attractive, humorous and also suitable lyrics. Pay close attention to them. The Hinglish does a great job to keep us entertained. Great lyrics and vocals and arrange!ents save the not-so-attractive composition!

 

5. Dard Karaara
Singers ~ Kumar Sanu & Sadhana Sargam

Kumar Sanu comes back into the album for his second song, this time accompanied by Sadhana Sargam, to deliver another 90s-styled composition. The opening backing vocals remind you of the 90s, which proves that Anu Malik has succeeded once again, in bringing back the 90s. The dandiya-like instrumental loop is really catchy and gives a good start to the song. The violin strokes before the hookline, are just brilliant and perfectly placed! And the percussion, again hits the bulls-eye! The whole song is reminiscent of the 90s era, and seems as if it actually belongs to a 90s album! Sadhana Sargam sounds very sweet singing along with Kumar Sanu, and they both complement each other very well. The composition is also very beautiful and sweet, and it will surely have you hooked! It has been placed on a great Dadra rhythm, which was highly prevalent in the 90s songs. The lyrics have even more of the 90s flavour in them, and have been written very efficiently. So efficiently composed as a 90s reminder, that it actually seems as if it belongs to a 90s album! Wonderful! #5StarHotelSong!!

 

6. Prem’s Theme
Singer ~ Papon

It actually sounds like an instrumental version of ‘Moh Moh Ke Dhaage’, and Papon’s vocals make it sound even more so. This one is kind of low on the instruments, and Papon’s voice has been supported by just soft guitar strums in the background, while he sings a truly haunting vocal piece. All the Aalaaps, he takes with great ease and flexibility. This track just proves how immensely talented Papon is!! Do not miss this one!! #5StarHotelSong!!


Dum Laga Ke Haisha, the much hyped-about comeback of Anu Malik as a sole composer, and into the music composing scene after two years, turns out to be a very satisfying album! Though the two upbeat songs have faulty compositions, there are other aspects about them, that are very likable, such as the lyrics and arrangements. And in every single song, the choice of singers is PERFECT. Nowhere do the singers fall short of expectations, though Anu Malik does somewhere or the other. The romantic songs are all beautiful, and maybe that’s why I delayed this review till Valentine’s Day? 😉 😀 So, on a whole, Dum Laga Ke Haisha is an album that Anu Malik should be proud of making a comeback with!! 

 

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: Moh Moh Ke Dhaage (Female Version) > Moh Moh Ke Dhaage (Male Version) > Dard Karaara > Tu > Prem’s Theme > Dum Laga Ke Haisha > Sunder Susheel 

 

Which is your favorite song from Dum Laga Ke Haisha? Please vote for it below! 🙂

 

Next “dish”: Badmashiyaan, Chefs: Bobby-Imran