Maatr is a Bollywood revenge thriller starring Raveena Tandon, Alisha Khan, Madhur Mittal, Divya Jagdale & Rushad Rana. The film is directed by Ashtar Sayed and produced by Anjum Rizvi, Innama Sayed, and Manoj Adhikari. The film has released to terrible reviews, and so I will focus on the music. The music is by Pakistani band Fuzon, comprising vocalist Khurram Iqbal, guitarist Shallum Xavier and keyboard player Imran Momina. This is the band’s second Bollywood outing after they did a song, ‘Ishq Khuda’ in 2014 movie ‘Heartless’. As a guest composer, Kavita Seth steps in for one song. I’m expecting nothing from the album, and T-Series’ own lack of interest to promote it makes me think it isn’t anything great. Let’s see.
Singers ~ Rahat Fateh Ali Khan / Khurram Iqbal / Kavita Seth, Music by ~ Fuzon, Lyrics by ~ S.K. Khalish
The album starts with a very melancholic song that is very, very maudlin in its overall sound and sounds like it fits in a B-Grade movie. The composition by Fuzon goes all over the place haphazardly, and takes that stereotypical sudden high-pitched turn many a time in its duration, which is a threatening seven minutes forty-seven seconds! (I’ve never heard a sad song that spanned over such a long time before!!) When you wish it was over, you discover that more than half of it it still left. The depressing length is actually not the biggest drawback — the composition is. Had the composition been better, I would’ve happily sat for a ten-minute-long song too. (Remember ‘Teri Fariyaad’ from ‘Tum Bin 2′?) The arrangements are the typical sad-song arrangements; the flute leads the proceedings, but takes the song nowhere. No variation in the arrangements throughout the eight minutes doesn’t boost the listeners’ morale. That seven-count rhythm (like Roopak taal without the tablas) is such a cliché in Bollywood’s melancholic songs, but I must say, it sounds even more depressing without tablas. To top it all, the song comes in three versions!! Rahat Fateh Ali Khan brings in the pathos in the first version, but without making the song sound poignant. His voice bores the listener. On the other hand, Khurram Iqbal in his version, sings as if he has never sung for a film before — it sounds like a stage performance has been recorded! Composers, it’s very much alright to use autotune if the singer has sung pathetically! The third version is sung by Kavita Seth, and it has to be the best out of the three. She brings the pathos into the song very efficiently. I’m not going to lie — I didnt pay attention to the lyrics at all. It was too big a task. A song made to portray the sadness of the characters in the movie, ends up depressing you!
Rating: 1/5 for the Rahat Version, 0.5/5 for Khurram Version, 1.5/5 for Kavita Version
2. Aisi Hoti Hai Maa
Singer ~ Kavita Seth, Music by ~ Kavita Seth, Lyrics by ~ Munawwar Rana
The next song is by guest composer Kavita Seth, and again, it is a highly-melancholic affair, but this time, a bit better. We have heard numerous ‘Mother’ songs in Bollywood, and all of them have been so beautiful and sentimental. They made us sentimental with the characters of the movie. Here, at least Kavita Seth’s composition is beautiful. It traverses the odd notes very nicely, and also gets very sweet in places. The hookline is tedious though. The mukhda and antara make the song better. The arrangements are minimal for the most part, but guitars and strings feature prominently. Piano notes take over occasionally, and all in all, a very mellow ambience prevails throughout the song. Of course, I like to hear happier songs about mothers, but what to do, when Bollywood loves sad ones? Kavita’s singing isn’t as polished as it was in her songs ‘Iktara’ (Wake Up Sid) and ‘Tumhi Ho Bandhu’ (Cocktail). I prefer it when she sings in that voice instead of this very deep and sombre voice, like she did in this year’s ‘Prem Mein Tohre Reprise’ (Begum Jaan). Munawwar Rana’s lyrics are good too. A decent song.
3. Zindagi Yun Guzar
Singer ~ Khurram Iqbal, Music by ~ Fuzon, Lyrics by ~ S.K. Khalish
The last song on the album corrects what both previous songs of the album so far, had gotten wrong. The melancholia has been cut out. As an added bonus, the length isn’t a century. The composition is a sweet one, a nice happy-sounding one, though clichéd. It can’t quite be grasped easily, but is good nevertheless. It is a kind of ghazal, if you will. The arrangements are way better, and a lot is going on. It is basically a soft rock template, and sounds like something from Coke Studio. The drums, especially the cymbals have been played nicely, and the guitars as well. The sarangi adds a lounge-ish touch to the song. Piano chords also sound good in the arrangements. All that having been said, the song won’t necessarily stay with you for long. The vocals by Khurram are way better here than in his other song. He handles the nuances beautifully, and it reminded me of Fuzon’s song ‘Ishq Khuda’ (Heartless), which he had rendered so effortlessly. The lyrics are good too. A soothing song; the only good song in the album.
Maatr is a very mediocre album. I was half-expecting this, but I didn’t think it would be that tedious to listen to. At least one song makes it above 3/5. Had Fuzon kept the length of the first song less, and not included so many versions of it, it might’ve appealed more, and scored more too. Kavita’s guest composition was average. On a whole, this is a skippable album.
Total Points Scored by This Album: 1 + 0.5 + 1.5 + 2.5 + 3.5 = 9
Album Percentage: 36%
Final Rating for This Album: सा < रे < ग< म < प < ध < नी < सां
Note: The letter which is underlined is the final rating.
Begum Jaan is an upcoming Bollywood period film, starring Vidya Balan, Ila Arun, Gauhar Khan, Pallavi Sharda, Mishti Chakraborty, Raviza Chauhan, Priyanka Setia, Flora Saini, Ridheema Tiwary, Poonam Rajput, Gracy Goswami, Pitobash Tripathy, Ashish Vodyarthi, Chunky Pandey and Naseeruddin Shah. The film has been directed by National-Award-Winnig Director Srijit Mukherji, and produced by Mahesh Bhatt, Vishesh Bhatt and Play Entertainment. The film is the official Bollywood remake of Srijit’s Bengali film, ‘Rajkahini’. The film, set in 1947, is about a brothel, and how the Radcliffe line that decided the borders of India and Pakistan during Independence, passes right through the middle of it. The struggle of the ladies at the brothel, and their fight for their home, os what constitutes the story. The concept seems great, and with great actors, it is sure to get amazing response. The music of the film has been composed by Anu Malik, and it is a perfect choice; he would be able to do the music of the era better than most of the younger composers. Anu himself says he hasn’t heard the music of the Bengali original film, so as not to be influenced by it, and I haven’t heard it either, so as not to compare. Anu Malik has composed five songs for the movie, with one of them having two versions, making it a total of six tracks. So let’s see how the album turns out!
“Parde mein tohre, Chori chori chori chori, jiya jaaye na, Parde mein tohre, chori chori chori chori, mita jaaye na, Aata hai chhupke tu mere dar par, Ghayal dil aur dhadkan banjar, Ghayal dil aur dhadkan banjar! Haldi mali jo ghaanv pe tohre, har zakhm mera hara ho gaya, Yeh kya ho gaya?”
– Kausar Munir
Of course, this song was the one about which rumours were pouring in right from the day Anu Malik must have recorded it. And why? The answer is simple — none other than living legend Asha Bhosle had sung it. So headlines like “ASHA BHOSLE, LIVING LEGEND, GIVES VOICE TO VIDYA BALAN”, or “ANU MALIK AND ASHA BHOSLE COMBO BACK TOGETHER” popped up at me many a time. Yes, the song has been sung by Asha Bhosle, who was last heard in a forgettable (and already forgotten) song from ’31st October’. This song, however, has no chance to be forgotten. The composition is a serene, classical composition, which just touches your heart right away. Yes, it might take time to grow for some, because it is quite slow-paced, and, being a classical song, it has quite a paucity of aalaaps and murkis, but then, you can’t expect all classical songs to be replicas of each other, can you? So the tune that Anu Malik finally presents to us is amazing, though it has got some barriers in some places, like I said before, the slow pace. The composer makes up for this with the wonderful classical arrangements, which make a breeze of fresh air blow against your (ears???) face. The tanpura paves the way for something marvellous right in the beginning, and surely, a wonderful oudtakes over, and booming, grand percussions join after some time, accompanied by the innocent sound of the paayals. One highlight in the arrangements is the wonderful second interlude, which features a RAVISHING sitar instrumental piece which just steals your breath! And the antara that follows is a musical masterpiece; something that only the old composers of Bollywood are capable of doing. That stanza has a wonderful tune, a wonderful strings background, and then, when the tabla finally joins the song (quite late, but still worth it!) you feel utterly satisfied with the song! The paayal jingle at the end of the song signifies a beautiful end to it. The song has two version, both of which have the same arrangements but differ in the vocals. One is by Asha Bhosle, while the other is by Kavita Seth. (By the way, I didn’t see any headlines saying “KAVITA SETH SINGS A SONG FOR ‘BEGUM JAAN'” before the album released.) Asha Bhosle’s version sounds more like a romantic song, with her very sweet voice, which is quite intact, as it was even twenty years ago, considering her age! When I first heard her version when it released I thought she hadn’t done some of the aalaaps properly, but then I heard Kavita’s version and automatically started liking Asha’s. Kavita sings the song more impactfully, demolishing any traces of it being a romantic song — she has sung a bit too loudly, and she misses even more aalaps and sings in a very plain and straightforward tone. It sounded weird at first, but it is passable. Kausar Munir’s lyrics are good but could have been better, more layered. A wonderful classical romantic song to start the album off.
Rating: 4/5 for the Original Version, 3/5 for the Reprise Version
Singers ~ Rahat Fateh Ali Khan & Sonu Nigam, Lyrics by ~ Kausar Munir
“Reh gayi rassi pe chunari, Reh gayi khoonti pe kurti, Reh gayi woh laaj kahaan? Reh gaya gumbad mein Allah, Reh gaya furqat mein Rabba, Reh gaya woh Ram kahaan? Hain hari se woh kahaan, hain galeeche woh kahaan? Pehle chaman woh bataao kahaan? Hind pe tha naaz jinko, hain woh kahaan?”
– Kausar Munir
A pathos-filled, heart-rending melody is what follows the semiclassical romantic song. This song describes the pain and suffering of the people, who had to migrate to the other side of the border, after the partition of India. And very graphically, Anu Malik has brought that pain right into his composition. Right from the moment it starts, till the moment it ends, the song has a composition that will make it hard for you not to flinch in pain, just by hearing it. The mukhda is wonderful, and the “aah nikli hai yahaan” verse is very pleasant-sounding, but it has been written cleverly, sarcastically. Clearly, the distress that the people felt on leaving their homes was paramount. The antara is what makes the song as heart-rending as ever; it has strings of melancholic notes that hit right at the heart. The way each line sounds different from the other is amazing. It reminds you of Anu Malik’s ‘Border’ and ‘Refugee’ days. The only drawback I can think of about the song is its duration — over six and a half minutes long. (Almost all of the songs of ‘Border’ and ‘Refugee’ too, were that long! 😄) But it is kind of repetitive to be listening to for so long. Anyway, since the composition is good, I’m cool with it. The arrangements are very impressive. The beautiful use of the shehnaai throughout the song leaves you amazed. Furthermore, the second antara has a wonderful Sufi rhythm to it, and the percussion throughout the song is just ravishing. The nagadas at the beginning are really great in giving you the feel that something epic is going to follow. The twinkly (xylophone??) sounds that the song abounds in, are pleasures to the ears. Anu Malik has outdone himself wih the use of strings and percussion in the song. The two singers make this song enrapturing. Rahat’s rustic voice sets the atmosphere for a pathos-filled song, while Sonu Nigam accompanies him with an aptly moving rendition — his parts reminded me a lot of ‘Sandese Aate Hain’ (Border). Finally, it is time to talk about Kausar Munir’s colossally great lyrics. I must not spoil it for you; so please listen to them very carefully! This song won’t be noticed by too many people, at least not in this era dominated by raps and club songs, but whoever does notice it, would definitely love it!
“O re kaharon, Doli utaaro, pal bhar ko thehro toh zara, Dil se lagaake, bas ikk dafaa ve, dene do gudiyon ko dua, Teri bindiya nikharke, choodiyan bikharke, chunari mein chehke, Tera kajra ho kaara, gajra ho pyaara, angana tera mehke.”
– Kausar Munir
Another poignant melody makes its way into the soundtrack, and this time it is a bidaai song, but of course, metaphorically. More about that later. The composition is a sinister and melancholic melody that effectively transfers its sadness to the listener. Anu Malik has composed this one with all his heart and soul, and again, it reminds me of some 90s song which probably Jaspinder Narula would’ve sung for him. The “teri bindiya nikharke…” verse is amazing, and very soulful. The title of the song comes as a bridge between two verses, or an ending to a verse, instead of using it as a hookline. The antara too has been composed very soulfully, and it instantly hooks you, especially the “soja soja gudiya soja” part. The arrangements infuse even more grandeur, in a very earthy way, into the song. The star of the arrangements is hands-down, the flute, which Anu has interspersed in between the poignant melody. The percussion is booming and very thought-provoking, and whatever is the intention of having it so booming and powerful, that intention has been served; the song is as impactful as it can get. I can just imagine what an impact it’ll have in the theatre. Again, Anu makes wonderful use of the paayals, and the strings, especially that wonderful crescendo of the strings in the beginning of the song, which really reminded me of Rahman’s ‘Rangeela’ songs. Kalpana Patowary, who is known as the Bhojpuri queen, has done such a song for the first time in her life, I guess! And she aces it! This avatar of hers is way better than all those weird songs she has sung before in Bollywood, and she handles all the nuances so expertly, that it is something to wonder why no composer has tried it out before. A big thanks to Malik for doing it. Altamash has a single line that plays multiple times, and it is like an interlude, not making much difference to the grand performance that Kalpana has already stolen away. Kausar Munir’s lyrics are literally bidaai lyrics, but there’s definitely a deeper meaning that could only be discerned after the film releases. I even have a theory, but let’s not hypothesize here. And I’m sure, wherever this song fits into the film, that scene would be enhanced manifold. Anu Malik concludes the song with a grand symphonic strings and flutes and percussion intersection. An extremely captivating composition, that amazes with its sinister sound.
“Mor pankhudi udi udi, Natkhat bansi baji baji, Gagan giri, gopi saji, Vrindavan ki gali gali, Kanha ke rang khili khili, kanha ke rang khili khili, Holi, holi, holi, khelein brij ki har bala, brij ki baaalaaa!”
– Kausar Munir
The moment this song starts, you know that it is a playful song, and after all that serious romance and pathos that filled the previous songs, you are nothing but ready for it! And what a pleasant surprise you get when you find that it is a purely classical Holi song (as if that wasn’t discernible from the title, but then… Whatever.) Anu Malik composed this song very intrinsically, every note resounding in your ears after it plays. The overall sound of the song itself, is so delightful, and it just goes to tell you, that Anu has gone a long way after he did that ‘Do Me A Favour Let’s Play Holi’ (Waqt) song that is oh-so-infamous among Indians. Yes, it has an old-world-charm to it, but happens to please you very much, with its happy-go-lucky tune. Every line sounds different from the preceding one, and again, just as in ‘Aazaadiyan’, that’s what makes the composition so special. The antara is even better in terms of composition, where things calm down, and it is extremely soothing. The arrangements make the song sound even more exquisite. The percussion throughout the song gives a very grand feel to the celebratory song, and folk instruments like the nagadas, bansuri, rabaab, tablas, and dholaks. The rhythm is a very traditional Holi rhythm, being played in so many Holi songs, but it doesn’t bore you due to the more modern way it has been arranged. The vocals are great, but Anmol’s amateurish parts seem like an interruption into Shreya Ghoshal’s professional-sounding parts. Shreya sounds as ravishing as ever, and as always, hits the high notes beautifully. She sang the “holi holi holi yeh kyaaaa ho gaya” so beautifully, no wonder she is called the Nightingale. Anmol doesn’t sound hideous, but still serves as a kind of unwanted interruption. At the end wonderful kathak bols make up a beautiful conclusion. Kausar’s lyrics are very sweet, and the Krishna connection she has made makes the song even more beautiful to hear. A treat for classical music lovers!
♪ Bonus Song
Singer ~ Arijit Singh, Lyrics by ~ Rahat Indori
“Pehli shart judaai hai, Ishq bada harjaai hai Dil pe kisne dastak di, Tum ho ya tanhaai hai Tujhe bhoole baithe thhe, Phir se teri yaad aayi hai Dil pe kisne dastak di, Tum ho ya tanhaai hai?”
– Rahat Indori
So this song just only released today, as a bonus track. It is a beautiful, breezy Sufi melody, and has a very charming touch to it. Anu Malik’s composition barely sounds like an Anu Malik composition, it sounded more to me like something composed by a Salim-Sulaiman, or a Pritam. The reason will be clear to you after you hear its mukhda. The same charm that accompanies the songs of the two aforementioned composers, is present in this song. Until of course, Anu Malik takes the unconventional route and switches track to an amazing Sufi detour, which is probably the most welcome detour of the world. The antaras are amazing, but a bit ordinary as compared to the rest of the song. One line in the antara gets all sinister and dark, reminding one of Vishal Bhardwaj. But then the mukhda, with its beautiful notes, returns. The rhythm in the mukhda, where the guitars are played so soothingly, in a play-stop-play-stop manner, is so infectious, you just nod your head along to that rhythm. The other arrangements too, are very impressive, especially that majestic sarangi that starts off the song. In the Sufi detour that makes up the hookline, amazing tablas play, and that guitar keeps rocking. Arijit sings in his trademark charming voice, and changes from a feathery whisper of a voice to a blooming voice very easily. His effortless rendition really etches a place for itself in your heart. This song has been penned by Rahat Indori, the Lyricist who has worked with Anu Malik so many times in his peak time in the 90s, and the latest in ‘Gali Gali Chor Hai’ (2012). He has written such a poetic song, as he always has done in the past, and I just became so happy on hearing the lyrics. A perfect song to close the album!
Begum Jaan is like a throwback to the songs of yore. Barring the new bonus track, the album has evident shades of nostalgic melodies that remind one of the old Bollywood songs, and Anu Malik does a great job in recreating the 1947-ish era with his music. The album is full of poignant melodies that are high on the musical quotient, if not high on repeat value (for some). All I can say is, puraana zamaana naya ho gaya, yeh kya ho gaya!
Total Points Scored by This Album: 4 + 3 + 4.5 + 5 + 5 + 4.5 = 26
Album Percentage: 86.67%
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: O Re Kaharo = Holi Khelein > Aazaadiyan = Murshida > Prem Mein Tohre > Prem Mein Tohre (Reprise)
Which is your favourite song from Begum Jaan? Please vote for it below! Thanks! 🙂
Music Album Details ♪ Music by: Mikey McCleary ♪ Lyrics by: Manoj Muntashir, Mikey McCleary & Ankur Tewari ♪ Music Label: Zee Music Company ♪ Music Released On: 16th May 2016 ♪ Movie Releases On: 27th May 2016
Waiting Album Cover
To hear the full songs of this album on Saavn CLICK HERE
Waiting is an upcoming Bollywood comedy/drama movie starring Kalki Koechlin and Naseeruddin Shah in the lead roles, and Rajat Kapoor, Suhasini Maniratnam and Arjun Mathur in supporting roles. The movie is directed by Anu Menon (director of ‘London, Paris, New York’ and co-director of ‘X: Past Is Present’) and produced by Priti Gupta and Manish Mundra. The film was premiered at the Dubai International Film Festival in December 2015. It was also showcased at the London Asian Film Festival, and Menon had won the award for the best director at that festival. The film, received well by critics at these events, is now set to release this summer. The film revolves around two married (not to each other) individuals, Shiv Kumar (Naseeruddin Shah) and Tara Deshpande (Kalki Koechlin), who are from different walks of life. They befriend each other at the hospital, while they visit and nurse their respective spouses, who are both comatose! The story is one which deals with coping with grief and finding a way towards hope at the same time, and it definitely seems unique! The music is by Mikey McCleary. Last year, Mikey had scored for Kalki’s ‘Margarita With A Straw’, which I had reviewed and rated it with the highest rating on the blog; that’s how much I had loved it. While that album had a full-fledged nine-track album, this one is a short one with four tracks, but I’m still very excited to hear them! Mikey McCleary and such ‘art films’ as I would call it, go hand in hand! So, let’s see whether Mikey impresses again after ‘Margarita With A Straw!’
1. Tu Hai Toh Main Hoon Singers ~ Anushka Manchanda & Nikhil D’Souza, Lyrics by ~ Manoj Muntashir
A very engaging guitar riff opens up this sweet and simple little track. The breeze of freshness that hits the ears when this one starts, is something that I’ve not experienced in a long time! Anushka Manchanda starts off in a quite low-pitched, husky voice, unlike most songs she has sung for other composers. However, the singer, who is a regular in most of Mikey’s works, usually sings with this voice texture for the composer. The composition by Mikey is really breezy, fresh, and brisk. I don’t think anything can match its utter simplicity, and the best part is that, in spite of being so elementary and basic, it manages to appeal much more to the ears, than other compositions based on classical raagas etc, do these days. This one will appeal to not many people, though, since it is really unconventional to be soooo utterly fundamental and straightforward in composition, at least in Bollywood. But I say, that is the sheer magic of the song. The medium pace, and breezy composition are stunners. Anushka sounds great, and Nikhil just accompanies her almost like a backing vocalist, not making it much of a duet. Both having husky voices, the song seems to appeal more. In some places, I felt Anushka sounded very much like Shalmali! Arrangements are simpler than simple, if that is even possible. Acoustic guitars are what form the base of the arrangements. Harmonica is audible in places, and so are strings. Drums have been played so softly, it took me some times of hearing the song to even notice them! And that’s way better than the bombardment of drum sounds we get in rock songs nowadays! Manoj Muntashir’s lyrics are just as simple as the composition, and really sweet. Not something that will create history, and not something that will win many hearts, but once it wins your heart, that is the ultimate stage!#5StarHotelSong!!
2. Got My Eyes On You Singer ~ Mikey McCleary, Lyrics by ~ Mikey McCleary
I don’t know what I was expecting, looking at the title, but it was definitely not this! I thought it must be some romantic song, as breezy as the previous one. But boy, was I wrong! To some extent. 😛 The song is indeed breezy, and romantic too, if you think about it. On top of all this, it is reallllllly groovy too! The song starts with the trademark retro rock-n-roll rhythm and a tune after which you are 99.99% sure that they will say “Mera naam chinchin choo, chin chin choo” after that. The rhythm is so so infectious, you will not believe that it is a song composed today, and you will think it is an old song from the 50s-60s era of rock-n-roll. Those English songs of those days, which play in the parties in English movies, or the Bollywood songs of the Shammi Kapoor era, fall into the same category as this one. The composition is as infectious as something can get. You can’t help but move and groove like those old black-and-white people. 😂 The arrangements unbelievably resemble the arrangements of those days, with the drums, guitars and those funny sounds with the horns, tambourines. The trumpet tune that goes on in a loop in the background is just amazingly awesome, with that catchy groove coming with it. I’ve never heard Mikey singing in such a grungy voice, and I have to say, hats-off to the man, for singing it with such gusto. Though he seems like a stalker singing those words. 😀 Which brings us to the lyrics, which are purely in English. The lyrics definitely seem like the man is stalking some lady, but they’re so fun and go perfectly with the era. Also, they’re not cheap! (Ahem, ‘Housefull 3’!) A great experience, and a perfect throwback to the 50s rock and roll era! Wonderful!!#5StarHotelSong!!
3. Waiting For You Singers ~ Mikey McCleary & Anushka Manchanda, Lyrics by ~ Mikey McCleary
Here comes what we can call the title song of the movie, crooned by the composer himself and Anushka Manchanda. This one too, is totally in English. This composition, though not as easily likable as the first two, takes two listens at least to impress you to the fullest. Mikey has made a lovely, waltz-ish composition, which again, won’t appeal to all. However, I loved it. Though not very breezy, and with more of pathos in it, it appeals because of the sense of calm that is omnipresent all over the song. The song doesn’t try hard to gain attention or listeners, and I think that is what makes it appeal the most — its honesty and truthfulness. The arrangements too, are minimal, with acoustic guitar, harmonica, and a xylophone-ish sound (which is really cute!) Again, the guitars form the base. At one place in the song, there is a wonderful ballroom waltz-like ambience, with the royal drums, and that xylophone-ish sound (which is probably a keyboard). Mikey and Anushka handle the composition with care, and do complete justice to the heartfelt melody. Mikey gets the major portion of the song, and here, you can understand why I was shocked to hear his grungy voice in ‘Got My Eyes On You’! It is wonderful how he had modified it for that song! Anushka in her part that continues from the second stanza, excels too. Mikey’s lyrics, are cute as usual, and something sweet and simple, that would appeal to all. A cute song, with a Westernized treatment, and made with love!#5StarHotelSong!!
4. Zara Zara Singers ~ Kavita Seth & Vishal Dadlani, Lyrics by ~ Ankur Tiwari
For the grand finale, Mikey gets more Indianised in his song composition style. And I noticed, with that, he gets more complicated in the composition’s structure, too! Piano chords and subtle notes with them, open up the song for us, and as I always say, one should know that when a song is preceded by piano notes, magic lies ahead. That is exactly what we get to see in this song. As soon as Kavita starts singing with her unexplainably beautiful, marvellous, fabulous, supercalifragilisticexpialidocious voice, the goosebumps get a cordial invitation to join the ceremony! And indeed, the composition is no less than ceremonious. The grandeur, soul and heart in this composition is something I’ve found in very less songs this year. Most that try, manage to be overdramatic too! This one seems to have done it effortlessly! The layered composition is something that is instantly likable and utterly un-hateable! Especially the hookline, is the ultimate bliss! When the hookline manages to catch hold of you in the first listen itself, you know the song is of some different level altogether! The mukhda is really catchy, though being a sad song. That is really rare, and when it happens, my heart does the Irish jig. (I know that’s mean when those characters in the movie are mentally dying, but what should I do? 😦 ) Mikey has composed a really melodious and mature composition, and so close to Indian music and Indian roots, and that leaves me wondering how!!!? His arrangements are just as majestic. The piano, already mentioned above, is replaced by many others like strings, flutes, drums, rock guitars and some Indian percussion too. My favourite is the hookline, where the rock arrangements do the whole magic, blended with the strings and in some places, the flute. Previously I had said Kavita’s voice made me get goosebumps, but when Vishal kicks in, the song reaches its apex! It is a scintillating moment in the song when that happens. It’s just wow! Both the singers have done justice to the composition and rendered it with heart and soul. Ankur has written mind-blowing lyrics… I think it is his career’s best! Vishal and Kavita bring those words to life with their pathos-filled rendition. A complete winner! The most complete song of the album in terms of everything put together. Mikey going the traditional Indian melodious way is nothing but great!!! It will appeal to all Bollywood lovers and everyone else too! Something fit for the finale!#5StarHotelSong!!
Waiting was an album I was really waiting for since forever. After I learnt about the cast, story and then the composer, my excitement knew no bounds. And then the promos of two songs just made me even desperate to hear the full album. And that’s why, when it released out of nowhere today, I chose to review it today itself! Mikey has done a wonderful job with all the songs, with two of them being completely Western in treatment, one going retro style, and the last one being a lovely Indian-style composition, which is the only song on the soundtrack, which probably, everyone will love. After hearing the album, all I can say is, “What are you waiting for?? Hear ‘Waiting’!!
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: Zara Zara first, and then any order you wish! 😀
Which is your favourite song from Waiting? Please vote for it below! Thanks! 🙂