NOT QUITE BLACK SHEEP ANYMORE!! (BAA BAAA BLACK SHEEP – Music Review)

Music Album Details
♪ Music by: Superbia (Gourov-Roshin-Shaan), Jaidev Kumar, Sajid-Wajid & Abhijit Vaghani
♪ Lyrics by: Sunil Sirvaiya, Rajesh Manthan & Jalees Sherwani
♪ Music Label: T-Series
♪ Music Released On: 13th March 2018
♪ Movie Released On: 23rd March 2018

Baa Baaa Black Sheep Album Cover

 

Listen to the songs: Saavn

Buy the songs: iTunes


Baa Baaa Black Sheep is a Bollywood comedy film starring Maniesh Paul, Manjari Fadnnis, Anupam Kher, Kay Kay Menon Annu Kapoor in lead roles. The film is directed by Vishwaas Pandya and has music by Superbia, which is Gourov-Roshin-Shaan’s band. They have given one full album in the past (‘Coffee with D’) which was terrible, but this one seems to be slightly better! Let’s see!


Superbia’s stint in music composition continues after the cringeworthy album to “Coffee With D” (2017). This time, they start the album off with much more promise, recreating a sort of medley that T-Series calls ‘Mixtape’. They recreate Abhijit Vaghani’s recreation/amalgamation of Galla Goriyaan/Aaja Soniye, the two original songs respectively by Harbhajan Mann (a pop single) and Sajid-Wajid (from ‘Mujhse Shaadi Karogi’). I must say, the song works to whatever effect the makers wanted. It is an enjoyable Punjabi club number rendered surprisingly enjoyably by Mika Singh, and Kanika’s voice is as always, addictive. I just wish ‘Aaja Soniye’ had more parts in the song than it does. Harbhajan Mann’s composition to ‘Galla Goriyaan’ does the rest of the work, making this an enjoyable dance song.
Heer, the romantic song, is also surprisingly well sung by Mika Singh, who has sung such numbers in the past, and should sing them more often. Not that it is a soulful number, but still softer than the songs he’s known to sing, like the previous song on the album. Mahalakshmi Iyer is heard after a long, long time, and is pleasant to the ears. The only fault if any, in this song, is the irritating repetition of the hookline, which almost demolishes whatever fun we were having listening to it. The arrangements are nice, with amazing guitar work, but not never-heard-before. Lyrics are functional.
The song that tries to be its own “Ek Do Teen” (Tezaab/Baaghi 2), except this time, counting age instead of days, is Angelina, a typical 2000s type of song sung very 2000s-ishly by Sonu Nigam. The effect of the Latino touch in songs has been wearing off these days, and it just makes them sound dated. The vocal onomatopoeia is just cringeworthy, too.
Then there are two songs that up the quirk quotient, except one does it the right way and the other, the bad way. Baa Baaa Black Sheep is as cringeworthy as a title song can get, sounding contrived at every note. Shaan sings like he had no choice, and the female backing vocalist just sounds weirdly happy singing whatever lines she’s given. The lyrics are just bad, so there’s no point of talking about them.
Ram Leela, on the other hand, had me in splits when I heard it for the first time, especially because of the hilarious “dhikichyaoun” after every hookline. 😂 This one has to be heard to understand, and all I can tell you is that it’s kind of a spoof of the Ramayana with enjoyably funny lyrics.


Superbia’s second full album turns out to be balanced between bad and good, but largely just an album that you’ll forget after listening to it, if at all you stumble upon it!

 

Total Points Scored by This Album: 7.5 + 6.5 + 5 + 4 + 6 = 31

Album Percentage: 58%

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: 
Galla Goriyaan / Aaja Soniye > Heer > Ram Leela > Angelina > Baa Baaa Black Sheep

 

Which is your favourite song from Baa Baaa Black Sheep? Please vote for it below! Thanks! 🙂

 

Remake Counter:
No. Of Remakes: 15 (from previous albums) + 02 (from Baa Baaa Black Sheep) = 17

DECEMBER 2017 ROUND-UP (FUKREY RETURNS, FIRANGI, TERA INTEZAAR & MONSOON SHOOTOUT – Mini Music Reviews)

It is time for my Round-Up for December 2017, which is slightly delayed due to me being so busy, but better late than never, right?

December 2017 Round-Up

This Round-Up includes the following music reviews:

1) Fukrey Returns – Prem-Hardeep, Jasleen Kaur Royal, Sumeet Bellary, Shaarib-Toshi, Gulraj Singh, IshQ Bector, Shree D & Laxmikant-Pyarelal

2) Firangi – Jatinder Shah

3) Tera Intezaar – Raaj Aashoo

4) Monsoon Shootout – Rochak Kohli, Viveick-Mayur, Chinmay Harshe, Chetan Rao & Vikram Shastry

The music review for “Tiger Zinda Hai” will be posted separately.


♦ Fukrey Returns, But Ram Sampath Doesn’t! – FUKREY RETURNS Music Review

♪ Music by: Prem-Hardeep, Jasleen Kaur Royal, Sumeet Bellary, Shaarib-Toshi, IshQ Bector, Shree D, Gulraj Singh & Laxmikant-Pyarelal
♪ Lyrics by: Kumaar, Late Anand Bakshi, Aditya Sharma, Satya Khare, Raftaar, Rohit Sharma, Arsalaan Akhoon, Shree D, Mrighdeep Singh Lamba & Vipul Vig
♪ Music Label: Zee Music Company
♪ Music Released On: 16th November 2017
♪ Movie Released On: 8th December 2017

 

Listen to the songs: Saavn


So Fukrey has returned. Sadly, the man behind “Fukrey”s enjoyable music, Ram Sampath has not returned, and after his underwhelming stint in ‘Raees’, he doesn’t get a chance to bounce back with a franchise that was initially his. Anywho, let’s judge on what we have been given.
Prem-Hardeep, the original composers of ‘Kala Chashma’ before Badshah remade it in ‘Baar Baar Dekho’, get a chance now, to ruin somebody else’s song. Laxmikant-Pyarelal’s ‘O Meri Mehbooba’ (Dharam Veer) gets ‘remade’ into Mehbooba, a banal club song which starts and ends with the Fukras being rejected by a random girl in the club, who happens to be singing in Neha Kakkar’s voice. Yasser Desai gets one line that repeats over and over again, and it is frankly the best line of the song. Raftaar’s rap is too stereotypical. Jasleen Kaur Royal’s Peh Gaya Khalara, though fitting into her now-overused Punjabi dance number template, is quite enjoyable, with the sweet vocals by herself and Divya Kumar, Akasa Singh & Akanksha Bhandari accompanying them. The arrangements are what make the track more enjoyable, and also the quirky lyrics.
Familiar territory is entered in Ishq Bector & Shree D’s semiclassical Raina, which, though quite soothing, gets tedious due to its length (it is the only song on the album over three minutes long, and goes up to over four minutes long!) The arrangements help propel it forward though, and also Shree’s vocals. Shaarib-Toshi enter the Bollywood scene after a long time with a delightful Punjabi melody, Ishq De Fanniyar. The male version by Shaarib is great, but the Female Version has all the feels, hence scores higher. The beautiful melody seems like a wonderful sequel to the first movie’s ‘Ambarsariya’. The lyrics are sweet as well, not to mention amazing accordions in the arrangements.
The techno sounds come along with the last three songs, bunched up together, out of which two are by Sumeet Bellary (composed for ‘Fuddu’ last year), and one is by (another person who re-enters Bollywood as a composer after a loooooong time, longer than Shaarib-Toshi), Gulraj Singh.
Sumeet’s two songs rely on weird techno gimmicks, which fail to propel the songs forward. Tu Mera Bhai Nahi Hai is a quirky friendship anthem, but is pulled down by lack of catchiness in both music and composition. Bura Na Maano Bholi Hai is like a title song, but gets all over the place in no time. The arrangements are slightly better here. Both songs are sung by Gandharv Sachdev, wit Shahid Mallya joining him in the latter song, and aren’t all that well sung.
Gulraj does well in his title song, Fukrey Returns, with a nice catchy musical loop, and heavy use of brass and techno sounds which makes his song sound even better. Siddharth Mahadevan on the vocals is a bonus.


Not as great as the first movie’s album, but still a commendable album considering the amount of new talent on there. But nevertheless, I wish Ram Sampath had returned!

 

Total Points Scored by This Album: 2.5 + 3.5 + 3.5 + 4 + 4 + 3.5 + 3 + 3.5 = 27.5

Album Percentage: 68.75%

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: Ishq De Fanniyar = Ishq De Fanniyar (Female) > Peh Gaya Khalara = Tu Mera Bhai Nahi Hai = Raina = Fukrey Returns > Bura Na Maano Bholi Hai > Mehbooba

Remake Counter:
No. Of Remakes: 43 (from previous albums) + 01 (from Fukrey Returns) = 44


♦ Quite A Desi Album! : FIRANGI Music Review

♪ Music by: Jatinder Shah
♪ Lyrics by: Dr. Devendra Kafir, Ashraf Ali & Krishna Bhardwaj
♪ Music Label: Zee Music Company
♪ Music Released On: 21st November 2017
♪ Movie Released On: 1st December 2017

 

Listen to the songs: Saavn


The song with almost the least amount of Punjabi words (second only to ‘Gulbadan’, which comes later on in the album) in its lyrics, Oye Firangi, starts the album off, and Jatinder Shah steals your heart right away. The charming melody immediately gets you grooving — thanks to a little EDM twist in the hookline — and though it is very simple, it is amazing thanks to the programming, and Sunidhi’s marvellous voice. There comes a British-era ballroom style orchestral portion at the end, but I wish the composer had extended that into another antara instead of ending the song with it! Another charming but heard-before melody, Sahiba Russ Gayiya, starts from where ‘Channa Mereya’ ended, with a similar structure and arrangement. Rahat’s voice is a boon to the song, and it’s the first song of his in a long time that doesn’t get on my nerves.(Ahem, ‘Mere Rashke Qamar’!) I love the way he pronounces the hookline. The Unplugged Version sung by Shafqat Amanat Ali, is funnily named ‘Sahiba (Male)’, as if Rahat’s version wasn’t by a male singer. The song itself is an improvement on the original, in that we get to hear Shafqat’s impeccable aalaaps, and though the choice of Shafqat doesn’t make it sound less like a Pritam song in general [Shafqat is just as much of a Pritam camp singer as Rahat is!] it surely does sound less like ‘Channa Mereya’, because the electric guitars have been toned down. Acoustic guitars play the larger role here. However some factors make both versions balance out at the end.
If ‘Sahiba’ had ‘Channa Mereya’ written all over it, Tu Jit Jawna has ‘Bhaag Milkha Bhaag’s title song all, and I mean ALL over it! Daler Mehndi, who I wish had sung the BMB number too, sings this one, and so it is quite bearable, but otherwise, it falls flat and sounds hollow in its emotion. It is also lyrically a counterpart to ‘Oye Firangi’, except Daler paaji doesn’t call him a ‘Firangi’ (foreigner), while Sunidhi did.
Gulbadan is a Qawwali-esque number, sung by Mamta Sharma. Good to hear her sing a different kind of song, though I’m sure the video will be the same kind of Bollywood ‘item number’. The hookline is greatly composed, with amazing arrangements by Shah, but again, falling into the too much tried-and-tested category of arrangements. I guess the best that comes out of this song is hearing Mamta Sharma’s gentle voice, because she thankfully hasn’t been made to sing in the annoying loud voice of hers.
But the album’s best is the wonderful folksy number, Sajna Sohne Jiha, which transports you back to the Punjab of the olden days. Wadali Bros’ Qawwali ‘Ve Sone Diya Kangna’ has been given a nice reinterpretation by Shah, and it works so well. The rhythms at the beginning really bring out the song’s folksiness, and Jyoti Nooran’s strong voice helps propel it to the finish line, where it emerges the winner compared to the other songs of the album!


A very desi album to the film ‘Firangi!’

 

Total Points Scored by This Album: 3.5 + 3.5 + 4 + 3.5 + 3.5 + 5 = 23

Album Percentage: 76.67%

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: Sajna Sohne Jiha > Sahiba Russ Gayiya (Shafqat) > Oye Firangi = Tu Jit Jawna = Gulbadan = Sahiba Russ Gayiya



♦ No Intezaar for This Album! : TERA INTEZAAR Music Review

♪ Music By: Raaj Aashoo
♪ Lyrics by: Shabbir Ahmed
♪ Music Label: T-Series
♪ Music Released On: 11th November 2017
♪ Movie Released On: 1st December 2017

 

Listen to the songs: Saavn


After a long time (or is it the first time?), one single composer gets a chance to compose an album for a film starring Sunny Leone. Somehow, she debuted smack in the middle of the multicomposer craze and so, got mainly multiple composers to compose for all her films! Raaj Aashoo handles the album.
The title track, titled Intezaar Title, instead of a more apt ‘Tera Intezaar’ (Obviously, because that’s the film’s name), is a dreary 2000s melody, sung by Shreya Ghoshal too, as if she is still in her debut year. Adding to the ennui, is the Qawwali-ish chorus. Raaj’s composition is good, but dated. The arrangement is the best thing about the song, especially the flute. Another very typically 90s melody, Khali Khali Dil, sees Payal Dev and Armaan Malik at their clichéd best. The digital sounds do not help make it more ‘modern’ or anything, and even the harmonica fails to create any impact. Quite a similar sound follows in the dreary Mehfooz, another song straight out of Nadeem-Shravan’s music-bank. The guitar work makes it sound like a version of Mithoon’s ‘Sanam Re’ title track, sans the tablas. Yasser gets a version, and, sounding like Arijit as always, manages to make it sound genuinely interesting. The arrangements here too make this song much more interesting than ‘Khali Khali Dil’. The song appears in two more versions, one by Palak Muchhal and the other by a new singer named Hrishikesh Chury. Palak’s 2½ minute long version fares better than Hrishikesh’s normal length one, because of the pleasant arrangements. Also, Hrishikesh tries to sound like Kumar Sanu.
The best song on the album, Abhagi Piya Ki, becomes the best only because the others don’t deserve it. It appears in two versions, a banal one sung jarringly by Kanika Kapoor and Raja Hasan, and a slightly better version sung much better by Payal Dev and Javed Ali. The tablas that went missing from ‘Mehfooz’ seem to have come to this song, and they play in surplus. The semiclassical touch to the song is good, but the 90s melancholia seems to have followed the composer like a thundercloud whenever he sat to compose for this film.
The only song that does not sound anything like a 90s song is Sexy Baby Girl, and it doesn’t work because it tries to sound uber-cool with its lead singer Swati Sharrma, like always, trying to add unnecessary style to her words, resulting in a disaster. Also, the lyrics are cringeworthy.


This is not an album anyone would have waited for. 

 

Total Points Scored by This Album: 3 + 2 + 2.5 + 2.5 + 2 + 3 + 3.5 + 3 = 21.5

Album Percentage: 53.75%

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: Abhagi Piya Ki (Javed/Payal) > Abhagi Piya Ki = Intezaar Title = Sexy Baby Girl > Mehfooz = Mehfooz (Palak) > Mehfooz (Hrishikesh) = Khali Khali Dil



♦ Surprising Monsoon in Winter!!: MONSOON SHOOTOUT Music Review

♪ Music by: Rochak Kohli, Viveick Rajagopalan, Mayur Narvekar, Chinmay Harshe, Chetan Rao & Vikram Shastry
♪ Lyrics by: Sumant Vadhera, Kartik Krishnan, Deepak Ramona, Chinmay Harshe, Rohit Bhasy, Neeraj Sharma, Vinit Gulati, Nidhi Gulati
♪ Music Label: Saregama
♪ Music Released On: 19th December 2017
♪ Movie Released On: 15th December 2017

 

Listen to the songs: Saavn


Rochak gets two songs, and reminds us why he’s one composer that keeps popping up in numerous albums scattered over the year’s span. It is because of his strong melodies. Pal is a cherishable melody which, though predictable, does give you goosebumps, and makes you want it to rain. Arijit’s heart-touching rendition is enough to make anyone fall for the song. On the other hand Miliyo Re is a very Sachin-Jigar-ish romantic song, with Monali and Rochak behind the mic, with vocals that aren’t amazing, but are functional. The composition is good but very commonplace; not as distinct as Rochak’s other songs this year.
Viveick-Mayur present their only song Andheri Raat next, a haunting song with weird Marathi rap, and awesome Punjabi-flavoured male vocals. Neha Bhasin kills it behind the mic, as does her co-singer, Rajiv Sundaresan, doing the aforementioned Punjabi-flavoured portions. The Marathi rap by Aklesh Sutar is funny, and quite weird too.
The other three songs are quite situational, all by newcomers, with neither one exactly standing above the others. Chinmay Harshe’s Miss You Balma, by Akriti Kakar, is experimental but has you questioning “Why??” because the jazzy composition and the rock arrangements don’t really gel well with each other. Akriti aces the vocals though, singing in an unusually (for her) low pitch. The other duo, Chetan Rao & Vikram Shastry, present two songs, one being a folksy item song Maachis Ki Teeli, in which the very unconventional choice of singer, Bhavya Pandit, whi hasn’t ever sung such a song, proves to be great, as she adjusts to the song’s folksiness very well. Her co-vocalists provide good company as the loafers interjecting occasionally. The last song Faislay has a quite dated tune, and a very mismatching digital loop that starts it off, but Mandar Deshpande’s singing brings it up.


An album that is good, but still will be a wipeout.

 

Total Points Scored by This Album: 4 + 4 + 3.5 + 3 + 3.5 + 3 = 21

Album Percentage: 70%

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: Pal = Miliyo Re > Andheri Raat = Maachis Ki Teeli > Miss You Balma = Faislay



Hope you liked this section of reviews! The review for ‘Tiger Zinda Hai’ will be out soon!

MULTICOMPOSERS GIVE A HUGE, BUT NANHA-MUNNA ALBUM!! (MUNNA MICHAEL – Music Review)

Music Album Details
♪ Music by: Tanishk Bagchi, Javed-Mohsin, Vishal Mishra, Pranay M. Rijia, Gourov-Roshin, Meet Bros. & Tanishk-Vayu
♪ Lyrics by: Kumaar, Danish Sabri, Sabbir Khan & Tanishk-Vayu
♪ Music Label: Eros Music
♪ Music Released On: 21st June 2017
♪ Movie Releases On: 21st July 2017

Munna Michael Album Cover

 

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

To buy this album on iTunes CLICK HERE


Munna Michael is an upcoming Bollywood dance/action film starring Tiger Shroff, Nidhhi Agerwal and Nawazuddin Siddiqui in central roles. The film is directed by Sabbir Khan, and produced by Viki Rajani and Eros International. The film revolves around a dance competition, in which a vagabond played by Shroff decides to participate, until he is entangled into teaching the local villain how to dance, and they both fall in love with the same girl. So, the typical *yaaaaaawwwwwwwnnn* Bollywood plot. The music is by multiple composers, featuring songs by Tanishk Bagchi, Javed-Mohsin, Vishal Mishra, Pranay M. Rijia, Gourov-Roshin, Meet Bros. & Tanishk-Vayu. I’m not excited about anybody’s song particularly, except maybe Tanishk’s solo song and Tanishk’s song with his ex-co-composer Vayu, who he partnered up with again for this song after 2015’s smashing debut for them, ‘Banno’ (Tanu Weds Manu Returns), so let’s just see what the album is about and we might just get surprised!


1. Main Hoon

Singer ~ Siddharth Mahadevan, Music by ~ Tanishk Bagchi, Lyrics by ~ Kumaar

This is a tribute to Michael Jackson, since the film is a dance film and the main character is probably an MJ fan, if we can deduce anything from his name. Tanishk’s composition is bland. Hookline is oddly-placed, but the Antara has a bearable tune. Arrangement and mixing are chaotic, as if Tanishk was adamant on using all techno sounds there are. The impactful vocals dont help either. Lyrics worth avoiding. When an oddly placed hook spoils almost the entire song!

Rating: 2/5

 

2. Ding Dang

Singers ~ Amit Mishra & Antara Mitra, Rap by ~ Parry G, Shivi & Danish Sabri, Music by ~ Javed-Mohsin, Lyrics by ~ Danish Sabri & Sabbir Khan

A tribute to Jackie Shroff (atleast lyrically). The generic composition leaves you unflinched. Typical tapori arrangements with random backing vocals of “Aah-aah”. Both vocalists fail to make the song better, and the rappers fail miserably. Lyrics are cheap, trying-to-be-funny but failing miserably again. The hook lyrics make you go, “Sorry, what???” Ding dung?

Rating: 2/5

 

3. Pyar Ho

Singers ~ Vishal Mishra & Sunidhi Chauhan, Music by ~ Vishal Mishra, Lyrics by ~ Kumaar

A very soothing romantic composition but quite heard-before, and the arrangements too remind of some songs heard in the past. The strings, guitars and digital arrangement still win your heart, though. The composer himself has sung as if he wanted Arijit to have sung it and Arijit would have been apt. Sunidhi is her usual perfect self while Neeti Mohan seems to have done backing vocals, but hasn’t been credited! Lyrics are very staid and nothing new. Best of the album but nothing creative.

Rating: 3.5/5

 

4. Swag

Singers ~ Brijesh Shandilya & Pranay M. Rijia, Music by ~ Pranay M. Rijia, Lyrics by ~ Kumaar & Sabbir Khan

A very situational song for a performance of Nawazuddin’s character. And they have tried to make it sound so-called “cool”, but it doesn’t work much. That instrumental loop that keeps repeating throughout the song is catchy, and the digital beats are cool, but sound very similar to an English song that I can’t recall. Brijesh’s vocals are the fun part of the song, but Pranay’s interruptions could have been avoided. Lyrics are bad, again. Except for Brijesh and that instrumental loop, a forgettable song.

Rating: 2.5/5

 

5. Beparwah

Singers ~ Siddharth Basrur & Nandini Deb, Music by ~ Gourov-Roshin, Lyrics by ~ Kumaar

This is one of Gourov-Roshin’s rare songs that are not recreations, and surprisingly, it starts off quite promisingly, in a retro-sounding prelude. The composition is still good, but a duration of six minutes is way too far-fetched, because the song is also very repetitive, and after one antara the song gets too boring. Arrangements are the same techno sounds that featured in the other songs, and many times in the past too. A rock interlude somewhere in the middle makes your ears bleed. Siddharth Basrur does a good job, but his cosinger, Nandini Deb, doesn’t impress. Again, lyrics are unimpressive. It is a song Hrithik Roshan should have got in 1999. 

Rating: 2.5/5

 

6. Shake Karaan

Singers ~ Kanika Kapoor & Meet Bros., Music by ~ Meet Bros., Lyrics by ~ Kumaar

I see the credits for this song.. and I prepare myself for another ‘Baby Doll’. And sure enough, those pop sounds and ladies shrieking feature in this song. I admit that the composition is catchy but not as much as previous Meet Bros-Kanika songs. The sound is a welcome change from the overpowering disco theme of the rest of the songs. Kanika’s voice is enjoyable as always. Lyrics continue to be the sloppiest they can be! A welcome change from the overbearing techno sounds of the album, but not innovative at all! 

Rating: 2.5/5

 

7. Feel The Rhythm

Singer ~ Rahul Pandey, Music by ~ Pranay M. Rijia, Lyrics by ~ Pranay M. Rijia & Sabbir Khan

Pranay’s next song is actually quite impressive. The composition is a perfect example of a catchy MJ-ish tune, complete with glitzy arrangements that Pranay aces. The techno sounds here and the techno sounds in the other songs differ so much in the freshness quotient. This one is on the lines of ‘Iss Tarah’ (Meri Pyaari Bindu) and that’s how it impressed me. Rahul Pandey sings a bit like Yash Narvekar and Benny Dayal, and sings impressively too. Again, the lyrics are the usual. A nice and fresh-sounding dance song!

Rating: 3.5/5

 

8. Beat It Bijuriya

Singers ~ Asees Kaur & Renesa Baadchi, Music by ~ Tanishk-Vayu, Lyrics by ~ Tanishk-Vayu

Tanishk-Vayu return after two years (‘Banno’; ‘Tanu Weds Manu Returns’) with another folksy song, this time with a techno twist, obviously. The song has a very superficial tune, and hard to grip. Also it sounds inspired from Tanishk’s own ‘Badrinath Ki Dulhania’ Title track. The arrangements match those of their first song; folksy harmonium, dhols and other techno sounds make for an entertaining listen. There’s an amazing fiddle interlude. Asees sings like never before, with a grunge in her voice in the hookline. The lyrics are a kind of funny Hinglish that I couldn’t grasp at once. Entertaining but limitedly.

Rating: 2.5/5

 

9. Pyar Ho (Redux)

Singer ~ Sunidhi Chauhan, Music by ~ Vishal Mishra, Lyrics by ~ Kumaar

Sunidhi sings this Redux of ‘Pyar Ho’ solo. It has a melancholic arrangement, with those slow and mellow piano notes, that gets quite boring to hear after some time. The strings are good enough though. Sunidhi’s solo rendition though, is a treat to the ears. The composition is the same, and the lyrics have been tweaked to make it sound sad. Not something I’d like to listen to often.

Rating: 2.5/5

 

10. Swag (Rebirth)

Singer ~ Pranay M. Rijia, Music by ~ Pranay M. Rijia, Lyrics by ~ Kumaar & Sabbir Khan

‘Swag’ had apparently died while the rest of the songs were playing, so its ‘Rebirth’ appears now. Now, whatever little elements ‘Swag’ had going for it, are all removed in this Rebirth. It has even been stripped of all melody (whatever little it had) and now sounds like a funky instrumental that makes you cringe because of the way Pranay chants those lines creepily. The arrangements are fresh here, but there’s nothing like a good tune or good vocals to accompany it. So that’s a wasted opportunity. I prefer the song in its last life.

Rating: 1.5/5


Munna Michael sounds like a very badly done ‘ABCD’ album. Then again, if ‘ABCD’ would’ve had such music, we wouldn’t have had a sequel. The overdose of (badly done) techno music really sounds useless. One song gets it right, but no others impress. When you can groove to only one song in a dance film’s album, the album’s got problems. Also, when a director or producer asks for “Give me one Kanika song, one tribute to Jackie Shroff, one to Michael Jackson, one funky Hinglish song, many wannabe retro songs”, the results are bound to be bad. ‘Munna’ is a name usually used for small kids. So may I say that these Munna Multicomposers failed miserably? 

 

Total Points Scored by This Album:  2 + 2 + 3.5 + 2.5 + 2.5+ 2.5 + 3.5 + 2.5 + 2.5 + 1.5 = 25

Album Percentage: 50%

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

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

Recommended Listening Order: Pyar Ho = Feel The Rhythm > Swag = Beparwah = Shake Karaan = Beat It Bijuriya = Pyar Ho (Redux) > Main Hoon = Ding Dang > Swag (Rebirth)

 

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

SOUTH MEETS NORTH! (TUTAK TUTAK TUTIYA – Music Review)

Music Album Details
♪ Music by: Sajid-Wajid, Vishal Mishra, Gurinder Seagal, Dr. Bal Sidhu, Raaj Aashoo & Music MG
♪ Lyrics by: Irfan Kamal, Danish Sabri, Manoj Yadav, Pranav Vatsa, Shabbir Ahmed, Dr. Bal Sidhu, Lil Golu, Malkit Singh, Veer Rahimpuri & Music MG
♪ Music Label: T-Series
♪ Music Released On: 19th September 2016
♪ Movie Released On: 7th October 2016

Tutak Tutak Tutiya Album Cover

Tutak Tutak Tutiya Album Cover

 

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

To buy this album on iTunes CLICK HERE


Tutak Tutak Tutiya is a trilingual horror comedy film, made as ‘Devi’ in Tamil and ‘Abhinetri’ in Telugu, starring Tamannaah Bhatia, Prabhudeva and Sonu Sood in lead roles, and Amy Jackson in a special appearance. The movie is directed by Vijay, and produced by Sonu Sood. The movie opened to mixed to positive reviews in all three languages, while the film’s music was creating a wave among masses, and I was writing my exams. 😛 So, heading directly towards the music. The music for the Telugu and Tamil films has been given by Sajid-Wajid and newcomer, Vishal Mishra, each having composed two songs each. These four songs have been included in the Hindi album, along with a bonus of three more songs that will cater to the Hindi audiences and increase the buzz of the movie in Punjab. 😛 They are all either Punjabi songs or by Punjabi artists, and added just to attract the Hindi audience. These songs are composed by Gurinder Seagal, who gave that great non-film single, ‘GF BF’ earlier this year. He has remade one of Dr. Bal Sidhu’s wedding numbers, ‘Rail Gaddi’. The next song is a remake of Malkit Singh’s ‘Tutak Tutak Tutiya’, also the namesake of this album, and that has been recreated by Raaj Aashoo. Lastly, Music MG comes with an original club number, which I’m not excited for. Let’s jump into this ‘Tutak Tutak Tutiya’!


1. Rail Gaddi
Singers ~ Navraj Hans, Swati Sharma & Lil Golu, Original Composition by ~ Dr. Bal Sidhu, Music Recreated by ~ Gurinder Seagal, Original Lyrics by ~ Dr. Bal Sidhu, New Lyrics by ~ Shabbir Ahmed, Rap by ~ Lil Golu

The first track on the album is one that will really get those Hindi audiences attracted to the film like bears are attracted to honey. A remake of the hit Punjabi track ‘Rail Gaddi’, this one has already made people go crazy around the nation. As you guys know and must be thinking now, I do not like many of these remakes of Punjabi pop numbers. However, this one is different! The composition, which I found out was originally by Kuljit Bhamrah, but T-Series have credited Dr. Bal Sidhu, is good and catchy, and even Gurinder’s new additions are not bad, though a bit generic. The most generic it gets is in the antara, where the song sounds like a direct lift-off from the antara of the ‘Housefull 3’ song ‘Malamaal’. Or maybe all Punjabi songs sound the same to me. Anyway, the song starts with a hilarious dialogue said in a funny style, and then the quintessential tumbi makes its presence felt by playing the hookline tune. Navraj Hans’ programmed voice sounds good, and also sounds like Vishal Dadlani at places. I appreciate that Gurinder trued to get a big singer to sing the song, but the heavy programming done on his voice could’ve been cut down upon, especially after he sang with such finesse, that rock song ‘Raj Karega Khalsa’ in ‘A Flying Jatt’. Swati Sharma barely gets any scope to sing anything in the first antara, as she gets just one line, which sounds very bad. However, the second antara is all hers, and she spoils whatever fun the song was giving you by singing that. Again, the programming kills her voice, and makes it sound ridiculous. Lil Golu is back, without Yo Yo Honey Singh this time, and his rap might make you faint. He has a rap before both antaras, and both of them are ridiculously stupid. The hookline is definitely the best part of the song, and when the hookline is the best part of a REMADE song, you know things are wrong. However, the arrangements do help to make this one an enjoyable club song. Gurinder, who I think is very good at club beats (after hearing ‘GF BF’ that is) has made the pacy club beats overshadow his run-of-the-mill composition. The great electronic shehnaais really entertain. Shabbir Ahmed’s lyrics are the usual random stuff that people ignore due to the pacy beats, so even I’m ignoring those. 😛 Quite entertaining and enjoyable, but a remake that could’ve been better in terms of vocals and composition. Not lyrics because this is the maximum level of IQ that I expect from such songs!

 

2. Chal Maar
Singer ~ Wajid, Music by ~ Sajid-Wajid, Lyrics by ~ Irfan Kamal

Sajid-Wajid enter the album for the second song, which is also the first song of the album that is from the Tamil/Telugu versions. And I understand why Prabhudeva must’ve chosen this song for the film! Last October, Sajid-Wajid and Prabhudeva had given us a treat called ‘Cinema Dekhe Mamma’ (Singh Is Bliing), which was a complete desi tune with desi music. This time too, though Prabhudeva isn’t the director here, Sajid-Wajid, two of his favourites, give a song that is at par with that one. The first time you listen to the song, you’ll be like ‘Where am I? Why am I even listening to this?” But after some listens (if you give it time, that is) the composition starts to unfold its magic. The upbeat, very desi composition starts growing on you, and finally, grabs you completely. That shehnaai-like loop just intrigues you and it plays so many times, that you just start loving it! Of course, Sajid-Wajid are experts in giving this kind of music. 😀 But this time, it just worked too well. The composition too, seems average at first, especially the line before the hookline (“Bheja hai kamar pe…. Bend it like Beckham baby!”) and the hookline itself, which consists of only two words, Chal and Maar, seemingly shouted out randomly. The line just before that though, is so sweet and attractive! It goes “Chakhne de, haaye chakhne de, tere ishq ka zaayaka”. Sajid-Wajid have composed that line so beautifully, I die every time I hear it! 😀 The antara, though it could’ve been better, does its job of keeping you glued. What is the reason? The arrangements, of course! You all know how I praise Sajid-Wajid so much for their amazing arrangements every time, and this time too, they have stunned with their magnificent percussion, the slow South-Indian style rhythms and the AMAZING brass band. Of course though, that shehnaai loop (which is actually played on a melodica) is supposed to be the USP of the song, and it definitely is for me! The guitars are wonderful as well. The Tamil and Telugu versions of the song have been sung by Benny Dayal and Nakash Aziz respectively, and at first I was frustrated because we got stuck with Wajid. However, after hearing the song, I can happily say that Wajid, one of the composers, has rendered the song very nicely. He sounds youthful as well as cool! When he sings that sweet line that I pointed out, I just start to sing along. He sings that line so nicely! 😀 And he sings the hook phrase with such attitude, that I concluded that he was the perfect choice for the song. Irfan Kamal’s lyrics too, are ignorable. Very enjoyable, and a perfect song for Prabhudeva to show off his moves onscreen! Hats off to Sajid-Wajid yet again for the arrangements! #5StarHotelSong!!

 

3. Tutak Tutak Tutiya
Singers ~ Malkit Singh, Kanika Kapoor & Sonu Sood, Original Composition by ~ Malkit Singh, Music Recreated by ~ Raaj Aashoo, Original Lyrics by ~ Veer Rahimpuri, New Lyrics by ~ Malkit Singh & Shabbir Ahmed

Yet another remake we have on the album. This one serves as the title track. This one is a remake of Malkit’s 80s hit, ‘Tutak Tutak Tutiya’, and Raaj Aashoo has got the chance to recreate this one. And he seizes the opportunity and makes gold of it. The song starts again, with the representative of Punjabi songs, tumbi, followed by dhadd and a wonderful flute that just makes you feel happy. The composition of the mukhda is basically the same as that of the original, with the first line revamped by Raaj Aashoo. The song mostly follows the same composition of the hookline, and it is a very strong and effective tune. Especially the “Haye Jamaalo!” The antara is short and catchy as well, and definitely a new addition. After that, the hookline takes over once again, until the song ends. The arrangements are basically insane club beats, along with mad flutes winning your heart, and EDM that makes you wanna dance. The vocals are good, with Malkit Singh having re-recorded the song with the new lyrics that he, along with Shabbir Ahmed, has written. Kanika Kapoor gets a very small scope to open up, but her portions sound cute as always. Sonu Sood does a rap portion that is entertaining for all that it’s worth. Raaj Aashoo also makes the vocalists sing “Tutak tutak” in the background at the beginning, and that effect is so cool! 😀 The lyrics are average again, and meant for fun. A foot-tapping remake of a classic pop song, with Raaj Aashoo’s flute standing high above everything else! #5StarHotelSong!!

 

4. Love The Way You Dance
Singers ~ Jazzy B, Sonu Sood & Millind Gaba, Music by ~ Music MG (Millind Gaba), Lyrics by ~ Music MG (Millind Gaba)

The way this song starts, your mind suddenly cries out “West!” 😛 The shameless aping of the West that happens in so many Bollywood club songs, is evident in this song as well. And guess what? Millind Gaba is back, after his epic fails in Bollywood, from that ‘Welcome Back’ title song, to the most recent ‘Housefull 3’ song ‘Malamaal’. The composition, I admit, is quite decent, as it tries to keep you hooked. However, it just doesn’t work out. The club beats are a direct lift of Millind Baba’s own ‘Welcome Back’ title song. Also, the hookline is so pathetically composed, that whatever you feel about the start of the song, all evaporates because of the hookline. The generic composition has nothing to offer in terms of variation or innovation. This Music MG has a unidimensional thought and composition style. The vocals by Jazzy B are just irritating, and the overdone Punjabi lyrics by Millind are too much to handle. Sonu Sood’s rap sounds horrifying. Of course, this is a horror comeda, isn’t it! 😀 Terrible attempt to ape the West!

 

5. Chalte Chalte
Singer ~ Arijit Singh, Music by ~ Vishal Mishra, Lyrics by ~ Manoj Yadav

The next song marks the entry of another composer into the album, this time, a debutant – Vishal Mishra. Now this is the same Vishal Mishra who sang a song in ‘Shorgul’ as well. He steps into composing with this film, and with such a composition, you know he didn’t just foray into composing just for the sake of it! The composition is extremely pleasing and calming, as well as groovy at the same time. The mukhda has the power of pulling you in instantly, and the hookline is so, so cute, that you just cat ignore it. What’s more, it doesn’t force itself on you, and rather, plays on its own will, and you don’t even get to know. The antara is just a continuation of the sweetness. Both the times it plays, you are reminded of those sweet songs where the boy is just preoccupied with thoughts of some girl he’s seen somewhere in the middle of nowhere, that always play in Bollywood films. One of them is ‘I Love You’ (Bodyguard), and this song reminded me a lot of that, as well as the recent ‘Purza Purza’ (Akira). Vishal’s decision to get Arijit to sing this song turns out to be a very efficient one. Arijit, with sweetness ozzing out of his voice, delivers it with the same cuteness as it was meant to be delivered. His high notes leave you stunned, while he is, as it is, a master at low notes. The arrangements are awesome as well, with a cool jazzy touch to them. The guitars throughout provide a foot-tapping rhythm, while electronic beats are at their best in the song. A rock guitar interlude steals the show when it plays, even though it plays for about less than 10 seconds. Manoj Yadav’s lyrics are the first good lyrics in the album, and they do suit the romance theme, as well as give you some good words for your ears to chew on. Trippy! #5StarHotelSong!!

 

6. Suku Suku
Singer ~ Shivranjani Singh, Music by ~ Sajid-Wajid, Lyrics by ~ Danish Sabri

The next song turns out to be Sajid-Wajid’s second and last song in the album, and it starts with very, very impressive hip-hop beats through which they really prove their mettle at making music of so many different styles yet again. The impressive introduction, though, gives way to something that just falls downhill until the antara. The mukhda is such a weakly composed one, that I’m surprised Sajid-Wajid couldn’t get a better opening line to such a wonderfully opened song. The tune sounds sappy and something that goes in very low status movies. I mean, what is “Dance karle aiissaaaa, Sridevi jaiiiisaaaa!”!? The hookline too, is not impressive at all. However, the antara is composed so nicely and sweetly, in a pleasant desi tune, that you wonder how the duo could get this tune after such a bland opening. The composers have paid too much attention, as always, to giving a very great auditory experience to the listeners. The arrangements are just mind-blowing. With very cool EDM and techno beats, the composers score high with the arrangements. A very entertaining and professional African percussion piece plays in one of the interludes, and that is just not to be missed. Backing vocalists going “Yeah!” at random places also qualifies as good Western-styled arrangements. 😛 And the composers have aced that as well. The vocals by Shivranjani Singh, who seems to have become the composer duo’s favourite now for item songs, instead of Mamta Sharma, sings the composition well, but the texture she gives to her voice, makes her sound drunk like always. (Like she sounded in ‘Lalla Lalla Lori’ from ‘Welcome 2 Karachi’) She sings that antara very cutely though. 😀 And the hookline, sounds very obnoxious in her voice. WHAT IS A SUKU SUKU?! HOW DO YOU DANCE LIKE A SUKU SUKU?? These are the questions I would like to ask Danish Sabri, who, when the time comes, very nicely gives only backing vocals to Qawwali-esque songs, but when it comes to writing, writes all this ‘Suku’ stuff. :/ At least write something we understand? How do you expect us to dance like a Suku Suku if we don’t know what a Suku Suku is? Is that some new species discovered by you, Mr. Danish Sabri? Please enlighten us then! This song is suitable only for Suku Sukus. Barring the splendid arrangements, and the composition for the antara, this song is a Suku Suku!

 

7. Ranga Re
Singer ~ Shreya Ghoshal, Music by ~ Vishal Mishra, Lyrics by ~ Pranav Vatsa

For the grand finale of the album, we have a very dulcet melody to mellow things down after all that Suku Suku. Vishal Mishra is back to give this grand finale to the album. The composition is a very peaceful and soulful one, with touches of classical oriental Asian music. The melody is something that seems to be the only one on the abum that has been planned out before and made in a good amount of time, as it has turned out rather perfect. The mukhda has the low notes appealoung to you and luring you into the song, while the hookline takes things to a more lively scale, and it ends up chilling you with its majestic qualities. The antaras are just as beautiful, and deserve to be paid more attention, if you ask me. On a whole, the composition is very scintillating. In some places, it has shades of ‘Sapna Jahan’ (Brothers) and in others it also coincidentally sounds like ‘Rangaa Re’ (Fitoor). The arrangements are sparkling. First, we have mellow piano, along with flute (Varad Kathaurka) and a wonderful entrancing rhythm in the background. After that, things elevate to an all-out rock song, with guitars, both electric and acoustic (both by Vaibhav Pani) leading the way. In the interludes, Vishal Mishra weaves magic with the instrumentation. The first interlude has a dulcet flute solo, ranging from low to high notes. In the second, things are exactly opposite, with a lively and charismatic rock guitar giving a very electrifying performance. Vocals by Shreya Ghoshal are beautiful, but definitely not her best. At places, I thought she was singing like Shilpa Rao too! 😀 There is a particular part in the song where I loved her variations, and that is the last time she sings the word ‘Banjaaaraaa’, at 4:55 minutes into the song. Pranav Vatsa’s lyrics are good, and inspirational. A grand finale indeed! The only matured composition on the album, and sung by the Nightingale. #5StarHotelSong!!


Tutak Tutak Tutiya gives whatever it has promised, with songs catering to both masses and classes (with Vishal Mishra catering to the classes and the rest to the masses :P) The seven songs compiled for the Hindi version of the film are a great mix of the North Indian and South Indian flavour. Though Vishal Mishra’s songs sound more like Bollywood songs, the fact that they were originally for the Southern versions of the film, makes you look at it from a whole new light. The two remakes have been done good, and revamped so that the new generation will like them, with the title track faring slightly better. The four tracks that are also in the Tamil & Telugu versions of the album, are good, with ‘Suku Suku’ being the only disappointing one, but that one too has amazing arrangements. At the end though, it is Vishal Mishra who creates the most magic in the album, with both his songs working perfectly, and I’m sure, instrumental for the film. A perfect comedy film album, with a good mix of South and North India!

 

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: Ranga Re > Chal Maar > Tutak Tutak Tutiya > Chalte Chalte > Rail Gaddi > Suku Suku > Love The Way You Dance

 

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

THE NOT-SO-MEMORABLE QUIRKINESS OF MICHAEL MISHRA!! (THE LEGEND OF MICHAEL MISHRA – Music Review)

Music Album Details
♪ Music by: Meet Bros. Anjjan, Nikhil-Ujjwal, Som-Raul, Abhinav Bansal & Rishi-Siddharth
♪ Lyrics by: Kumaar, Nikhil-Ujjwal, Akash, Amitabh Ranjan, Alaukik Rahi & Abhinav Bansal
♪ Music Label: T-Series
♪ Music Released On: 21st July 2016
♪ Movie Releases On: 5th August 2016

The Legend Of Michael Mishra Album Cover

The Legend Of Michael Mishra Album Cover

 

Tohear the full songs of this album on Saavn CLICK HERE

To buy this album on iTunes CLICK HERE


The Legend of Michael Mishra is an upcoming Bollywood comedy film, starring Arshad Warsi, Boman Irani, Aditi Rao Hydari and Kayoze Irani in prominent roles. The movie is directed by Manish Jha, the director of ‘Anwar’, and produced by Kishor Arora, Shareen Mantri Kedia, and Wave Cinemas. The film is a quirky comedy, with a romance being its core topic. From the looks of it, it seems quite quirky alright, and it also seems like the props and sets and everything were unusually lavish and colorful. I can’t help but state here, that usually, when Bollywood does all this, the films land flat on their faces. Hopefully, we can expect something better from this! Moving on, the music is composed a long list of relative newcomers, except one team who we are quite acquainted with — Meet Bros. Anjjan, which signifies that their song had been composed quite some time ago, when they used to work as a trio. Of course, I’m excited for that one as I’ve started to like their music quite a lot! Then we have a whole list of new composers, the first ones being Nikhil-Ujjwal. Their names are Nikhil Malhotra and Ujjwal Kashyap, and it is their first Bollywood outing. Next we have another debutant duo, Som-Raul (Som Riggs & Rahul Singh). The fourth composer is Abhinav Bansal, a man who used to compose songs and release them as YouTube videos, until the makers of this film came along and not only noticed him, but also roped him in as a composer for their movie. And last, we have Rishi-Siddharth, who had composed for ‘Love Shagun’ earlier this year. Each of the composer teams have one song, making the album a five-song album. Hopefully, the album turns out as ‘legendary’ as it’s supposed to!!


1. Luv Letter
Singers ~ Kanika Kapoor & Meet Bros, Music by ~ Meet Bros. Anjjan, Lyrics by ~ Kumaar

Of course, first up is the song that would reach out to most people, what with Kanika Kapoor being the singer! 😀 The makers have taken a great step in releasing it first, because, believe me, as massy as the other songs are, they wouldn’t have made the public so !much interested in the movie as this has. 😀 So, here we get a Kanika Kapoor song with MBA as the first song on the album. The composition is enjoyable, with a peppy groove to it, and surprisingly bearing very less resemblance to ‘Baby Doll’ (Ragini MMS 2) In fact, the mukhda sounds quite retro like those old songs of the 50s etc. Meet Bros. & Anjjan have worked quite well to make the song sound distinguishing, while at the same time ensuring that it turns out to be a ctachy affair in all. And may I also say that this song has been composed before ‘Chittiyaan Kalaiyaan’ (Roy) and would’ve released before it if the film hadn’t been delayed. That explains the similarities between this song and that, especially in the rap by Meet Bros. The song doesn’t actually resemble ‘Baby Doll’, but it resembles ‘Chittiyaan Kalaiyaan’ quite a bit! Nevertheless, it turns out to be groovy and enjoyable, as I’ve already said. The arrangements consist of the same beats and sound quite similar to ‘Chittiyaan Kalaiyaan’ as well. The techno sounds are quite groovy though. The popping sounds are cute as ever. Kanika’s voice, the oh-so-distinguished voice from everybody else, manages to grab your attention, and she puts on that innocent, sweet girl tone while singing this song. And then there’s Kumaar’s lyrics. Nonsensical as they are, they’re fun to hear. An enjoyable affair, but loses points in the resemblances to previous MBA songs! Something that is enjoyable and will be a mass hit, but will get washed out with the passage of time!

 

2. Ishq Di Gaadi
Singer ~ Karthik Dhiman, Music by ~ Nikhil-Ujjwal, Lyrics by ~ Nikhil, Ujjwal & Akash

The first debutantes of the album, Nikhil-Ujjwal, step into the album with a very folksy and upbeat song. The composition is something that I would associate to the phrase ‘Bhojpuri movie’ before I seriously start listening to its various aspects or start reviewing it seriously. So yeah, the treatment given to the song is kind of over-folksy, something I do not like at all! However, the base composition is one that would have sounded good had it not been treated so folksily. The composition as it stands sounds very mediocre, and has nothing in it that would grab your attention, and nothing to hear the song again and again for. The arrangements are good in that they have tried to resemble a village as far as possible. There’s a ‘however’ to this too! The ‘however’ is that the village treatment seems so forced, that it is hard to believe. You get through the whole song with a straight face and your body in the same position as it was at the beginning of the song. (I thought that according to Newton, a body changes its state of rest when an external force acts on it! I guess there is no force in this song then!) A cute string instrument however, is quite entertaining. The percussion is commendable, but not does in a tasteful manner here, unfortunately. The singer, Karthik Dhiman, has a good rustic voice, but it has been overdone again, and the high pitch doesn’t help at all. In the supposedly romantic song, it is a very big spoilsport. All it does is irritates. The composer duo writes the lyrics along with someone named Akash, and they can come up with strictly amateur lyrics, which actually make you think that the song is from a Bhojpuri film! Rustic-ness, gone wrong!!

 

3. Phir Tu
Singer ~ Sakina Khan, Music by ~ Abhinav Bansal, Lyrics by ~ Abhinav Bansal

Abhinav Bansal, who was discovered by the makers through YouTube, gets to compose the next song, a soft and pensive melody that instantly works its black magic on you. The composition is slow-paced and dreamily solemn. The hookline is really touching and again, is something that you will instantly develop a liking towards. The mukhda is enough to make you ready for the pensiveness that follows, while the antara makes things lighter with a higher pitch. All in all, the debutant’s composition is excellent. His arrangements as well, are mind blowing. Though more on the minimalist side, they stand out perfectly. The song starts with something like a harp, which gets you ready for a serious melody that is coming up. Acoustic guitars and strings join in by the first hookline. Finger snaps make a catchy rhythm in such a mellow song, while a very attractive violin piece entertains in the interludes. The guitar riff that constantly plays in the background is quite engaging as well. Sakina Khan (who debuted in ‘Love Shagun’, coincidentally singing for Rishi-Siddharth, who have a song in the album, and after that sung a foot-tapping song in ‘Phobia’) sings the pensive melody with a lull that truly lulls you, and you find your mind floating dreamily through the song, until it stops. Her husky voice texture is such a boon for the song; it makes the song listenable on loop. Abhinav also writes suitable lyrics to the song, something to think over while hearing the song. A beautiful melody, composed brilliantly by a newcomer! #5StarHotelSong!!

 

4. Nikhatoo
Singer ~ Som Riggs, Music by ~ Som-Raul, Lyrics by ~ Amitabh Ranjan

An untuned radio transistor starts off this quirky song, composed by newcomer duo Som-Raul, until the radio settles on a frequency which has some wonderful Arabic percussion and strings playing. The dynamic-ness of it all makes you all set to hear the rest of the song, which is a really enjoyable, groovy and quirky dance fest. The composition has many twists and turns, and so infectiously crazy, that you will definitely end up with your limbs moving in one direction and your head moving in the opposite — even if that’s impossible! Now, this is how a effective village touch can be given to a song. The composers have fused the very folksy composition with very attractive sound effects, like the aforementioned radio transistor, and quirky sounds that cannot be described at all. Most of the grooviness lies in the magic the composers have made while playing with the techno sounds and experimenting by distorting and cramming them into various places in the song. Som Riggs has sung in so many different voices, that it is hard to believe that there is only one man singing the entire song! The duo has really worked hard to make all those weird sounds fit together like a jigsaw puzzle. Towards the end, there is even a very, very effective increase in both pitch and tempo, making the infectious energy of the song increase manifold with it! The quirkiness of it all highly impresses! Amitabh Ranjan has also written some lyrics that are cute and humorous at the same time. And then the hookline is just too crazy! “Hum ho Gaye tohpe lattoo, na samjho nikhatoo, saanjh savere ab toh daalenge tera naam mein rattoo!” A song to definitely become lattoo on! A very experimental, quirky and enjoyable debut by Som-Raul! #5StarHotelSong!!

 

5. Filam Shuru Hui Hai
Singers ~ Rishi-Siddharth, Music by ~ Rishi-Siddharth, Lyrics by ~ Alaukik Rahi

Quirky sounds played on rock guitar ensure you that the song that follows too, is going to be an entertaining one. And that is exactly what you get. Rishi-Siddharth, the only non-debuting team here, besides Meet Bros & Anjjan, have been roped in to make a song that seems to be the opening credits song. The song is an indicator that the movie has started and it is kind of a description of the scene at a movie theater. The composition is a type of pseudo-Qawwali one, with recognizable Qawwali nuances and styles. Various attractions throughout the song grab your attention and make you smile or even full-fledgedly laugh. The duo has come up with a song that is a nice, quirky and catchy opening credits song, and including it in the album is a great move, because I remember that there was such a song ‘Picture Shuru’ before ‘Barfi!’ started too, and it hadn’t been included. I guess that’s because it must be the theme song for Anurag Basu’s Picture Shuru Productions. Whatever. Back to this song. Speaking about arrangements, they are mostly Qawwali-esque arrangements like tablas and harmonium, and help the composition gain more appeal. Various other sound effects neutralize the Qawwali effects, too, though. Alaukik Rahi’s lyrics are hilarious as well as something that would be the common sight at any movie theater. It also explains the various elements that are necessary to get the the Indian mass audience to watch a film — songs, glamour, action etc. Rishi & Siddharth themselves render the song with a nasal twang, which infuses that craziness into the song — something that helps it quite a lot! The backing vocals (I guess, also by them) are mad too! All in all, a perfect end to the album, which might be the start to the movie!! #5StarHotelSong!!


The Legend Of Michael Mishra, is an album that doesn’t really impress with its mix of good and mediocre songs, but impresses individually with the last three songs. The composers, who almost all are relatively new on the music scene, have made decent efforts to keep the music in sync with the movie, and so the album scores high there. However, in spite of its quirkiness, this legend won’t stay with you for long! A washout-type album, that impresses momentarily!

 

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: Phir Tu > Nikhatoo > Filam Shuru Hui Hai > Luv Letter > Ishq Di Gaadi

 

Which is your favourite song from The Legend of Michael Mishra? Please vote for it below! Thanks 🙂

 

Next “dish”: Happy Bhag Jayegi, Chef: Sohail Sen

NEITHER GREAT, NOR GRAND, BUT DEFINITELY FULL OF MASTI!! (GREAT GRAND MASTI – Music Review)

Music Album Details
♪ Music by: Sanjeev-Darshan, Sharib-Toshi & Superbia (Shaan-Gourov-Roshin)
♪ Lyrics by: Sameer Anjaan, Manoj Yadav & Kumaar
♪ Music Label: Zee Music Company
♪ Music Released On: 7th July 2016
♪ Movie Releases On: 15th July 2016

Great Grand Masti

Great Grand Masti

 

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

To buy this album on iTunes CLICK HERE


Great Grand Masti is an upcoming Bollywood comedy film, starring Riteish Deshmukh, Vivek Oberoi, Aftab Shivdasani and Urvashi Rautela in lead roles. The film has been directed by Indra Kumar, and produced by Sameer Nair, Aman Gill, Ashok Thakeria, Sri Adhikari Brothers and Anand Pandit. The film is the third of its type to release this year, and all I know is that both of those, namely ‘Mastizaade’ and ‘Kyaa Kool Hain Hum 3’, fell flat on their noses, and I expect this one to do so, as well, so all I’m concerned about is the music. The music of ‘Mastizaade’ was a one-hit wonder, with ‘Rom Rom Romantic’ by Amaal Mallik being the only song I loved out of four other songs by Meet Bros Anjjan and Anand Raaj Anand. In ‘Kyaa Kool Hain Hum 3’ too, only one song — ‘Jawaani Le Doobi’, was really addictive, out of the four, all by Sajid-Wajid. Here, we have three entities — firstly, the thrice-in-a-blue-moon (please understand what that means) composers Sanjeev-Darshan, sons of Shravan Rathod of Nadeem-Shravan. They had composed the title track for ‘Grand Masti’ and now get two songs out of four in the sequel. Next up is the consistently disappointing (at least this year) duo, Sharib-Toshi, with one song, and last up is the band Superbia, with its members being singer Shaan, and Gourov Dasgupta and Roshin Balu. They too, get one song, and so the album is very conveniently made up of songs composed by two duos and a trio. What we have to see, is exactly how enjoyable the songs actually are. (because those of ‘Grand Masti’ weren’t at all!)


1. Teri Kamar Ko
Singers ~ Sanjeev Rathod, Darshan Rathod & Kanika Kapoor, Music by ~ Sanjeev-Darshan, Lyrics by ~ Kumaar

An ode to the “Mastiiiiiii” from Anand Raaj Anand’s title track of the first ‘Masti’ movie, begins the album to the third instalment of the franchise. Not before long, the title of this movie comes and the peppy song takes off. Sanjeev-Darshan, who had composed a very dull and uninteresting title song fro ‘Grand Masti’, actually make up for their mistake there, with this song. This is the ideal song you want in a comedy movie — peppy, enjoyable, addictive and hummable. The duo have proved themselves in the 90s and it is commendable how they’ve evolved and are composing contemporary music, till date. Here, they do get in a bit of the templatised late 2000s sound of Bollywood, but everything is done very craftily. By craftily, I don’t mean it is a musical gem or something, but it is quite catchy, as it should be! The hook is infectious and energetic. It makes you groove along to it. The duo has composed a just as infectious tune, with three parts repeating, which are 1) the “Teri Kamar Ko” hook, 2) Kanika’s “darliiing” part, and 3) the 90s bhangra piece that goes like “oh baby teri look kamaal lagti hai…” . All three parts repeat throughout the song and mutually complement each other, to result in quite an appealing composition, overall. There is not even one word above the three parts I have mentioned, and that is kind of weird for a Bollywood song. So the mukhda is the antara and vice versa. Sanjeev-Darshan’s energetic singing too, gives the song half of its catchiness. Kanika sounds good, but not as unique as she does in other songs. It is Sanjeev-Darshan, who steal the spotlight. Arrangements are good as well. That groovy beat is present throughout the song, which is unforgettable. Brass has been used generously and it sounds great. The Punjabi part I spoke about has a great Dhol rhythm to it. Kumaar’s lyrics are enjoyable too. Especially true female part, is hilarious. Indifferent to the boys’ pleas, the clever girlfriends want a party, a ride in the car, a margarita, a diamond AND a meeting with his parents, before, in Kumaar’s words, “Jo bhi chaahe karle”! Surprisingly VERY catchy, and something that will play everywhere for a while! #5StarHotelSong!!

 

2. Resham Ka Rumaal
Singers ~ Toshi Sabri & Soniya Sharma, Original Song by ~ Ila Arun, Music by ~ Sharib-Toshi, Lyrics by ~ Manoj Yadav

Sharib-Toshi are back after an unsuccessful stint in the first half of this year, with bad or just below average songs from ‘1920 London’, ‘Veerappan’ & ‘Housefull 3’. After composing for two ‘third instalments’ — those of ‘1920’ and ‘Housefull’, they are back in the third instalment for ‘Masti’, and this time, they remix a traditional folk song by Ila Arun, ‘Resham Ka Rumaal’, with, of course, many modern club beats and whatnot. The song actually starts off with a funky groove, but when the actual composition starts, you can’t help but daydream and get bored. The composition is really dull, and also a desperate mix of their very own ‘Emotional Fool’ (Humpty Sharma Ki Dulhania) and ‘Pyaar Ki’ (Housefull 3). It is just the typical Sharib-Toshi composition for dance songs. {They have typical compositions in dance as well as romance!! :\ } The hookline is taken as it is from Ila Arun’s song, and I don’t actually like the composition of that either, so this was a nightmare, especially with the masculine voice of the female voice! That brings us to the vocals. Toshi sounds dull and bland, and as feminine as ever. The female singer sounds more masculine than him. Both sound bad, in short. She has included unnecessary nuances in order to sound cool, especially in the hookline, adding the “ha” sound everywhere she can, to make it sound kind of like this — “Rehesham kaha ruhumaahal galehe pehe dahalke tu aajana, o dude mere main, main dillihi kaha surma lagahake arree, khadi hun ca-lub kehe darwahajje pehe.” It is so irritating! I was as irritated while hearing it, as you were while reading that! And then there’s a rap that sounds stupid. The arrangements are not interesting at all, with club beats trying to elevate the song’s quality, but reducing it in the bargain. Manoj Yadav changes the hookline to make it sound more modern and ‘cool’, like changing “dildar” to “dude”, and “kab Se khadi hun darwaje pe” in the original to “khadi hun ca-lub [club] Ke darwaaje pe.” Disgusting. And then another disgusting line goes “Where are you, where are you, mujhe taiyaar karke”, to which the female singer answers with the hookline of the song in that annoying voice and pronunciation. Sharib-Yoshi and Manoj Yadav are back with another bad song! Skip!

 

3. I Wanna Tera Ishq
Singers ~ Shivranjani Singh & Shivangi Bhayana, Music by ~ Sanjeev-Darshan, Lyrics by ~ Kumaar

This song starts off VERRRRYYY addictively. The percussion that starts off the song really helps in attracting the listener’s attention. And the rattles after that just increase his/her interest. Sanjeev-Darshan have cone up with another catchy and haunting tune, which grabs you, but not as great as the title song. Nevertheless, it is quite groovy! The hookline is something that irritates you the first time, but gets better and better with each listen. The antara is something that has gotten stuck in my mind. The mukhda, too, attracts the listener and makes sure he doesn’t leave halfway. The arrangements are another great aspect of the song, with catchy and addictive beats, Arabic arrangements like the percussion and the rattle, which reminds me of a snake rattle for some reason. 😀 A wonderful saxophone interlude fills the gap between two stanzas, and electronic tabla beats sound great. The two lead singers really sing the song the way it is supposed to, with a sensuous tone, to make it more addictive. I can’t differentiate between the two, but both sound good (irritating at first, but again, better each time) and also remind one of Neha Kakkar. It is the lyrics where the song lacks out, as was expected. The hookline makes no sense. 😛 “I wanna tera ishq” means “I want to your love” which is nonsensical. But again, the vocals and composition saves Kumaar! Another catchy song from Sanjeev-Darshan! #5StarHotelSong!! {I haven’t had tomatoes thrown at me for a long time!! Bring it on!!}

 

4. Lipstick Laga Ke
Singers ~ Payal Dev & Shaan, Music by ~ Superbia, Lyrics by ~ Sameer Anjjan

The last song on the album goes into the calmest mode of the album, more like Indipop of 2000s, with Superbia (a trio comprising Shaan, Gourov Dasgupta & Roshin Balu) behind the composition and arrangements. The trio composes a decent song, which could’ve easily topped the charts, but in the time period I mentioned — the 2000s. In this decade, too, it is sounding good, but just that. The song is a like Punjabi pop number, with a slow-paced tune arranged on an overdose of tumbi, making it sound like a Kanika Kapoor song without Kanika Kapoor, and a Kanika Kapoor song without Kanika Kapoor is like ice cream without ice cream! 😦 😂😂😂 Nevertheless, the trio have made a nice instrumentation for themselves in the song, with a great guitar riff, and nice shehnais throughout. It is just the tumbi that sounds unnecessarily overdone. The “oh saiyyan ve” is crazily infectious, even in its slow pace! Payal Dev sounds good here, and at least she doesn’t sound irritating (like in “Veerappan”), but her voice sounds pretty addictive. And Shaan sings in a different avatar after a loooooonnnngggg time. His goody-goody songs are done I hope, and he features in an outright baddy-baddy song here, and sounds great rapping in Punjabi! A pleasant surprise for his peers. At least he didn’t add his too-sugary voice here, and spoil the song! Sameer’s lyrics are ATROCIOUS though. They’re too ridiculous to be talked about, but here are some highlights: “Lipstick lagake tenu loot liya ve / akhiyaan milake heart attack diya ve.” Excuse me, what’s “Myocardial infarction” then?? :\ I’m pretty sure Sameer learnt Biology with the lyricists of ‘Taang Uthake’, who are of the opinion that all our body parts have legs! A good composition, but a bit predictable and “on-and-off” type grooviness.


I never expected Great Grand Masti to have good songs. At the most, I was expecting one great song and the rest time pass. Yes, I know all are time pass songs, but for me, two of them stood out, and those are the two composed by the most senior composers, Sanjeev-Darshan. I know they’re ridiculous and I usually thrash such songs, but why thrash them when the movie needs such ridiculous songs. On one hand, we can have ridiculous songs with bad compositions (‘Housefull 3’) and on the other, they can have really addictive tunes (like these two). Even Superbia comes up with a functional composition, and partially gains my interest, but it is only Sharib-Toshi who disappoint. Again. And again. And again… All in all, it is an album that is neither great, nor grand, but full of ‘Masti’ for sure!!

 

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: Teri Kamar Ko > I Wanna Tera Ishq > Lipstick Laga Ke > Resham Ka Rumaal

 

Which is your favourite song from Great Grand Masti? Please vote for it below! Thanks! 🙂

TYPICALITY KI KAHANI!! (DO LAFZON KI KAHANI – Music Review)

Music Album Details
♪ Music by: Babli Haque, Amaal Mallik, Ankit Tiwari & Arjuna Harjai
♪ Lyrics by: Sandeep Nath, Manoj Muntashir & Kumaar
♪ Music Label: T-Series
♪ Music Released On: 18th May 2016
♪ Movie Releases On: 10th June 2016

Do Lafzon Ki Kahani Album Cover

Do Lafzon Ki Kahani Album Cover

 

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

To buy this album on iTunes CLICK HERE


Do Lafzon Ki Kahani is an upcoming Bollywood romantic drama film, starring Kajal Aggarwal and Randeep Hooda in the lead roles. The movie is directed by Deepak Tijori, abd produced by Jayantilal Gada, Dhiraj Shetty, Avinaash Rai, Deepak Tijori and Dhaval Jayantilal Gada. The movie is an adaptation of the 2011 Korean movie ‘Always’, which had been remade into Kannada as ‘Boxer’ in 2015. The story revolves around a boxer, Suraj (Randeep Hooda) and a blind girl Jenny (Kajal Aggarwal), who fall in love with each other. Anyway, moving on to the music! The music has been handled by T-Series, guaranteeing a multi-composer album, with great songs. (‘Sarbjit’ is a classic example now!) There are four composers behind the album, each having one song. The first is who I always introduce as T-Series’ favourite, junior Pritam — Amaal Mallik. The next composer is Babli Haque, who has composed previously for small films like ‘Bezubaan Ishq’ and done quite well. I think this is his first big film. Next up is Arjuna Harjai, who debuted in ‘Titoo MBA’ and gave us the memorable ‘O Soniye’ among a bunch of not-so-memorable songs. And last up is Ankit Tiwari, who is impressing on and off (with the OFF portion being slightly longer than the ON portion!) Hopefully, these four have come together to give us a bunch of good songs, seeing that the number of songs is less! So let’s start with the analysis of the music album to ‘Do Lafzon Ki Kahani’!


1. Jeena Marna / Jeena Marna (Female Version)
Singers ~ Altamash Faridi / Palak Muchhal, Music by ~ Babli Haque, Lyrics by ~ Sandeep Nath

Babli Haque starts off the album with a soulful romantic song, following the Sufi + rock template. Techno sounds start off the song followed by the blaring of a rock guitar and a very Ankit Tiwari-ish “O yaaaaraaaa”. It sounds quite like the “yaaraa” from ‘Sunn Raha Hai’ (Aashiqui 2). The mukhda, when it starts, sounds like something one would compose as an antara. But that’s a very wonderful move by Haque. The whole composition is really soulful, and though it is nothing innovative at all, it manages to appeal to you instantly. The typical Bhatt-ish composition works best for these Sufi songs. The hookline, in particular, has been composed very whole-heartedly, and that shows in how it manages to make you nod as if you are a judge on a singing reality show. The antara too, has been composed soulfully, and though it is nothing innovative, it would make me feel like hearing it over and over. Lyrics by Sandeep Nath are also nothing new or innovative, but they strike a chord with the listener in that they sound good, even though they are the same old Bollywood stuff. Moving on to arrangements, both versions have different arrangements. The make version has more prominent arrangements, with the rock and Sufi standing high. The tablas with the guitars in the hookline are really catchy, but they were the exact same in ‘Sanam Re’ (Sanam Re). That’s fine because it still sounds good. 😛 Guitars are the prominent instrument in the song, and it leads the way nicely; a wonderful rock interlude keeps you listening for more. In the female version, on the other hand, it seems as though the arrangements from the male version have just been muted and whatever is left audible, has been kept, and it sounds pretty messy. Piano and guitars can be heard here, but it sounds very amateur, and not finished and polished. The hookline and antara have more accentuated tablas here, though, while the rock template is hardly audible, but you can clearly hear that it has been muffled, which is suspicious and also looks lazy! Speaking about vocals, Altamash carries the whole song on his shoulders, giving the perfect expressions and giving a full-of-life rendition. The way he sings “Mujheeee” in the hookline is praiseworthy, and my favorite part of the song. However, Palak seems uneasy singing the song. First of all, it has been recorded so lazily, that her voice has been muffled many a times. Also, she seems to have sung this half-heartedly. Her rendition lacks the punch that could’ve been brought in with a more energetic rendition. Fortunately, she has sung the “mujheeee” comfortably, and I loved the way she sang it too. Babli Haque follows Jeet Gannguli’s style of composing and gives us a soulful Sufi-Rock combo in this song, whose female version was unnecessary, but the male version excels! The male version is a #5StarHotelSong!!

 

2. Kuch To Hai
Singer ~ Armaan Malik, Music by ~ Amaal Mallik, Lyrics by ~ Manoj Muntashir

Amaal steps in for the next song, which is a typical Amaal Mallik-style romantic song. I say typical, because now I know that Amaal’s forte are these kind of songs — ‘Main Rahoon Ya Na Rahoon’, ‘Bol Do Na Zara’ and now this. Nobody in the industry does this genre as good as Amaal. A slow, lilting melody, on a soft but functional rhythm and Armaan’s sugar-sweet voice, make for a usual Amaal Mallik song. And I can’t help but say that Amaal always manages to pull out the best of himself in these kind of songs. This song has a beautiful, slightly haunting but mostly soothing tune, which does invite those goosebumps. It is so soulful, that you might even fall asleep to the dulcet tune. The hookline being crafted so well, the rest of the song falls into place just like that. Though the transition from mukhda to hookline seems abrupt, Amaal covers for that with the rest of the song. The antara is so very pleasing, as well! Armaan impresses, and sounds sweet as ever. He handles all the notes wonderfully, and again, these songs are tailor-made for him. The way he sings the “Ayy aahh ahhh” in the interludes is brilliant! Arrangements are par excellence. The music is so orchestral! The flute, acoustic guitars, electric guitars, piano are all nothing in front of the wonderful strings that Amaal introduces towards the end, in the second interlude. They infuse even more grandeur into the song, and make it sound so regal, and are accompanied by a very sweet flute. Manoj Muntashir has written one more great song, but you might need to hear the song another time to pay attention to the lyrics as you will be paying attention to Armaan and Amaal’s magic for most of the time!! 😀 Amaal strikes yet again, with a dulcet melody, full of soul, and perfectly arranged and beautifully sung! #5StarHotelSong!!

 

3. Sehra
Singer ~ Ankit Tiwari, Music by ~ Ankit Tiwari, Lyrics by ~ Sandeep Nath

For the third song on the album, Ankit Tiwari comes back after some good, but not excellent, performances in ‘Rocky Handsome’ and ‘Baaghi’. This time, though, he is back with something not as monotonous or boring as his previous songs. This time, he has made sure that there is some freshness retained in the song. The overall composition is really fresh, something I never expected after Ankit kept disappointing in this genre after ‘Galliyan’ (Ek Villain). He kept doing dance songs and horror movies good, that’s it. 😛 But now he makes a comeback into this genre, and a very strong one, at that. The mukhda is really similar to all of his previous songs, but just before he starts the hookline, there’s a beautiful line that’s makes the difference. And that line is, “Yunhi saanson mein saans liye”. And this line is something unlike any line in any of his other songs. Also, the way he sings it, is just too cute! The hookline too, is really catchy, and not at all sleep-inducing like his others. You just can’t go to sleep in this one. The antara, though it goes back to familiar territory for some time, gets better after a line or so. Speaking about the vocals, Ankit has really tried not to sound like always, and let me tell you, he has succeeded quite a bit! The autotune machine can now safely be disposed of! The line I mentioned above, he sings in a whispery, feathery voice that sounds quite unlike him! The arrangements too, are fresh. Finger snaps as beats, acoustic guitars giving the melody in the arrangements, and the usual computerized sounds that addict us every time, come together for a wonderful experience. A wonderful backing chorus has been employed to make the song sound polished in all aspects. Sandeep’s lyrics are good, as well. Entrancing!!!! One of Ankit’s best in the romantic genre! I wish he keeps coming up with such songs!!! But again, he shouldn’t overdo it like he did, the last time we said this, after ‘Sunn Raha Hai’! 😂😂😂😂🙈🙈🙈 #5StarHotelSong!!

 

4. Ankhiyaan
Singer ~ Kanika Kapoor, Backing Vocals by ~ Arjuna Harjai, Music by ~ Arjuna Harjai, Lyrics by ~ Kumaar

The last song on the album is by relative newbie Arjuna Harjai. After the unforgettable ‘O Soniye’ (Titoo MBA), in which he composed five other forgettable songs with that one, I was hoping for a great song here, given that he has got only one! However, I was quite disappointed with what I heard. The composition, for one, is a typical Bhatt-ish composition. Sometimes, these songs are composed beautifully and soulfully, and sometimes really boringly. This one is composed boringly. A sad song with a very monotonous and dull touch to it isn’t actually something anyone loves to hear. The hookline isn’t so catchy as one would want it to be, and the antara is really monotonous. Kanika, though, impresses even in a mediocre composition. She hasn’t sung such a calm song; it’s her first I guess. She sounds marvelous in this genre too! It reminds me of Richa Sharma, who sings upbeat dance numbers as well as sooting Punjabi/Sufi folk numbers, both equally well! Arjuna’s basic arrangements are great. The violin takes the front seat here, playing the tune of the hookline every time the singer stops singing. Other instruments like the dafli, rock guitars, acoustic guitars, and a wonderful santoor take the backseat, and impress highly. Kumaar’s lyrics are suitable for the sad feel, but again, the Punjabi sounds far-fetched in a totally Hindi album. A disappointing end to an otherwise surprisingly good album! Arjuna doesn’t perform as well as the one song he did good in, in his debut. Maybe that was a fluke!?


Do Lafzon Ki Kahani actually meets expectations. I wasn’t expecting something too good, nor something too bad — somewhere in the middle. Just as expected, all composers do well, with Arjuna falling a bit behind the other three. Babli comes up with a good Sufi number, fused with rock, while Amaal follows his own template and makes a lilting melody. Ankit, however, treads untrodden territory and gives a song as fresh as he has ever given. Many of the senior composers don’t give such a song nowadays. All I would say is that, everyone follows the road of typicality and succeed, while Ankit gets non-typical for once, and succeeds!

 

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: Sehra > Kuch To Hai > Jeena Marna > Ankhiyaan > Jeena Marna (Female Version)

 

Which is your favourite song from Do Lafzon Ki Kahani? Please vote for it below! Thanks! 🙂

 

Next “dish”: Dhanak, Chef: Tapas