MUCH ADO ABOUT NOTHING!!! (RAEES – Music Review)

Music Album Details
♪ Music by: Ram Sampath, JAM8, Omgrown Music & Kalyanji-Anandji
♪ Lyrics by: Javed Akhtar, Indeevar, Amitabh Bhattacharya, Mayur Puri, Ram Sampath, Hiral Brahmbhatt & Manoj Yadav
♪ Music Label: Zee Music Company
♪ Music Released On: 24th January 2017
♪ Movie Releases On: 25th January 2017

Raees Album Cover

Raees Album Cover

 

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

To buy this album on iTunes CLICK HERE


Raees is an upcoming Bollywood action / crime thriller film starring Shah Rukh Khan, Mahira Khan and Naseeruddin Shah in prominent roles. The film has been directed by Rahul Dholakia, and produced by Gauri Khan, Ritesh Sidhwani and Farhan Akhtar. The movie sees Shah Rukh Khan playing a gangster, and that’s pretty much all that we all know about it. The album has released one DAY before the movie, and that’s been frowned upon a lot, mostly by me, and I hated this promotion strategy, if you can call it a strategy. The film had three songs running around TV till the album decided to release a day before. Anyway, the music is by Ram Sampath and JAM8, which is Pritam’s Artiste & Repertoire company promoting new talent. One song by JAM8, it hasn’t been specified who has composed, while the two others are by someone named Aheer. So without further ado, (I mean, how can there be any further ado…) let’s see what this latecomer album has to offer, and whether it was worth the suspense.


1. Laila Main Laila

Singer ~ Pawni Pandey, Additional Vocals ~ Chaandni RMW & Team Omgrown, Original Composition by ~ Kalyanji-Anandji, Music Recreated by ~ Ram Sampath, Original Lyrics by ~ Indeevar, New Lyrics by ~ Javed Akhtar

“Mohabbat ka dasta, tumhe naag hai kya,
Tumhare bhi dil mein, lagi aag hai kya?
Mere liye bhi, tadapte ho tum bhi,
Main betaab jaise, tumhare liye hoon?”

– Javed Akhtar

The first song on the album takes the form of a (yes, again!!) remake of a popular old song. This time, ‘Laila O Laila’ from ‘Qurbani’ gets brought to the slaughtering counter. (Or is it? Let’s see..) Anyway, Ram Sampath takes charge of this ambitious remake. Ram Sampath is somebody I never have seen remaking songs. (Correct me if I’m wrong, but the only remake I remember him doing before is that remake of a folk song, ‘Ambarsariya’ in ‘Fukrey’). So he gets to do the remake to this hit club song of the Disco era. Kalyanji-Anandji’s tune for both mukhda and antara get retained, and that is always a pleasure to know. Not that I was a huge fan of the old song, but all celebrations in India (and please note that that is just figurative) are incomplete without this song playing at least once. With the original tune retained, remaking a song properly almost always becomes a piece of cake. Or so I thought. The tune has been retained, and the item-ish flavour has been retained, so as to keep as much similarity with the original and not make an out-of-place remake, but something still seems missing in the song. The arrangements are fantastic. What else can we expect when Taufiq Qureshi is in charge of percussions! Nothing but awe overcomes you when you hear the wonderful and grand percussions — they are so earthy! They make the song which was originally a disco song, a rural number. And that “Bubuchikum, boom bubuchikum” with which the song starts is just crazy! Thats probably one of the best parts of the song. The arrangements of course, like any item song, are incomplete without whistles and a backing chorus going “hey hey“. And everything’s been done here. Even the legendary trumpets (Ed Gibson) have been used and that epic trumpet tune to the hookline has been played throughout the song. But still, something seems missing! Pawni Pandey, who shot to fame with ‘Sa Re Ga Ma Pa Li’l Champs’, has clearly left behind her Li’l-champ-ness. She tries very hard to get the nuances and various little bits of an item song right, but to no avail. (Similar to how Chinmayi couldn’t quite sing ‘Mera Naam Mary’ from ‘Brothers’ well). She only sounds very heavenly when she sings the line, “Laila o Laila Laila, aisi tu Laila“, (she sings in her actual voice there) but not in the lines where she actually sings AS Laila. (On retrospection, I think that might be backing vocalist Chaandni RMW.. So she sounds better than Pawni!) However, that backing vocalist who sings the “phabak phabak” part in this version somewhere in the second interlude, really aces his part! 😀 The lyrics to the antaras have been changed though the tune has been retained, and they carry on the spirit of the old song. At least Javed Akhtar has written something sensible and non-vulgar for such a song too, and not something yucky and stupid. Of course, Indeevar’s classic lyrics for the mukhda can’t really be replaced, can they? Ram Sampath tries his best to deliver a smashing remake, and I must admit, this is better than other recent remakes, (first and foremost, it has no rap! Yay!) but something still lacks, and I can’t seem to understand what!

Note: As I’m writing this review, this song seems to have volatilized from my brain! I mean, it released like a month ago!

Rating: 3/5

 

2. Zaalima

Singers ~ Arijit Singh & Harshdeep Kaur, Music by ~ JAM8, Lyrics by ~ Amitabh Bhattacharya

“Deedar tera Milne ke baad hi chhooti meri angdaai,
Tu hi bataade kyun zaalima main kehlaayi?
Kyun iss tarah se duniya jahaan mein Karta hai meri ruswaai?
Tu hi bataade kyun zaalima main kehlaayi!”

– Amitabh Bhattacharya

Pritam Chakraborty’s Artists and Repertoire company, JAM8 get charge of the romantic song of the album. Now isnt it such an honour to compose a romantic song for THE Shah Rukh Khan? And I must say, the team has made a good effort in keeping with the star’s legacy. Before you start hurling curses at me, I will stop judging music by star value and let’s get on with the review! So the composer(s) [I don’t really know who it is exactly for JAM8] composes this song with a very evident feel-good vibe to it, and who doesn’t like such breezy music? The mukhda has a very sunshine-ish tune to it, and the hookline is so nicely inserted into it, just like a jigsaw puzzle piece that fits into another piece perfectly. (Must be some great quality cardboard that that jigsaw puzzle is made of! Sorry.) The mukhda contains some nice couplets followed by the interjection “zaalima“, and these couplets have been put to such a nice and playful tune, you can’t help but groove to it, though it isn’t the most conventional of tunes. It reminded me of ‘Aaj Dil Shaayraana’ (Holiday)! It also has PRITAM written all over it; the composer(s??) have done a good job of recreating his style. The mukhda also has another line, which has the most brilliant of tunes, in a high scale of notes. (It’s the part that goes “Aankhein marhaba, baatein marhaba“, in case you’re wondering.) The first antara is yet another playful tune that you just can’t get enough of, especially the seamless way the tune goes from low notes to high, in a very clever bridge note. And then the tune of that “marhaba” part comes back with different words, and so do the goosebumps! After the first antara, you think that the song would end, but JAM8 had more in store. When it continues you wait for another antara or the mukhda repeated (like most songs have nowadays) but what you get is even better. A brilliant conclusion comes in the form of nice Sufi-style lines, put to a heavenly tune and Harshdeep’s awesome vocals. The arrangements are fantastic, what with the trademark Pritam guitars and dholaks on a very breezy melody. Some techno sounds are very impressive, like that nice sound at the beginning of the song, playing all the time before Arijit starts, and after each “O zaalima” hook, and in the first interlude. A nice rhythm of daflis (Iqbal Azad), quite similar to the one Pritam himself had given in ‘Gerua’ (Dilwale), gives a nice and traditional touch to the composition. The first time the “O zaalima” hook crops up, there’s a nice hit of drums (Alan Hertz). The acoustic guitars that start the song (Pawan Rasaily & Arijit Singh) are wonderful and lure the listener into the song perfectly. Even the rock guitars actually rock whenever they play. The first antara has this wonderful ‘Tum Jo Aaye’-ish tabla rhythm, taking you back to the ‘Tum Jo Aaye’ days. The second interlude is phenomenal with a nice harmonium-led (Feroz Shaikh) traditional piece. Vocals are topnotch, with both vocalists impressing. Arijit is his usual charming self, and how I love his voice in such cheerful songs. I think even composers do, because I’m hearing less of his bawling and drawling nowadays. Harshdeep is fantastic too, and her husky voice was a perfect choice to get that small amount of rustic-ness required for the song. She also sings that conclusion stanza very convincingly. The lyrics by Amitabh Bhattacharya are a good, fine example of clever poetry and have a nice ring to them, especially when Arijit sings it. The fact that the lyrics are great has been proved already, when the makers resorted to lyrics for building up pre-release buzz for the song, instead of releasing teasers of the audio or stills from the video! “Jo tere ishq mein behka pehle se hi, kya use behkaana, O zaalima!” or “Jiski har dhadkan, tu ho aise, dil ko kya dhadkaana, O zaalima!” It is just, perfectly exemplary writing. A good attempt by ‘almost’ newbies JAM8, to create a good romantic track for SRK, and what they will get in return for this is exposure i.e, exposure that being in an SRK film gives you. Surely, bigger projects are in store for them now after the middling ‘1920 London’ last year!

Note: I’m not too sure whether it is the same people behind this song for JAM8, who were behind the songs for ‘1920 London’ (Kaushik-Akash).

Rating: 3.5/5

 

3. Udi Udi Jaye

Singers ~ Sukhwinder Singh, Bhoomi Trivedi & Karsan Sagathia, Music by ~ Ram Sampath, Lyrics by ~ Javed Akhtar

“Kehne ko toh khel hai yeh tera mera sanjha,
Par mera dil hai patang aur teri nazar manjha,
Manjhe se lipti yeh patang judi judi jaaye!”

– Javed Akhtar

Ram Sampath re-enters into the album that was rightly his before JAM8 were taken on board. His next song is a garba track, but it has shades of a romantic track. And this blend has been done so well, that at one point you think it’s a dance number you’re listening to, and at another point, you think it is an out-and-out romantic song. The composition, though quite typical to the genre, is very sweet and innocent, especially the wonderfully crafted hookline. Yes, it has a bit of a 90s touch to it, but that makes it sound all the more charming. The mukhda is a direct plunge into the melody of the song, with the hookline ‘hooking’ you from the very start, just like a hookline is supposed to. That one line that Ram has composed so that we can actually say there is some kind of mukhda (The ‘kehne ko toh khel hai…‘ part) is just sooooo sweet, and whenever it repeats in the chorus, you just can’t help but smile. The antaras have been composed in a just as melodious tune, with an even more evident 90s feel to it, and that touch makes it sound as good as it does! (You see, I have no qualms with 90s touches when they’re well done!) In the second interlude, there’s a wonderful very folksy Gujarati part, crooned by Karsan Sagathia, and that is something to look out for in the song. I like the way Ram has composed such a flavourful Gujarati track, though he isn’t Gujarati himself. That just reflects the unity in diversity of India once again, I guess? 😀 The arrangements are wonderful, and make the song sound grand. If you close your eyes and listen to them, you might just feel you are in the middle of a big Navratri function in the heartlands of Gujarat itself. The powerful, booming percussion (Nitish Ranadive) just can’t be ignored, as it provides such a foot-tapping beat throughout the song. The Gujarati folksy string instruments have been put to great use. That mandolin (Tapas Roy) is just too splendid to ignore! Overall, the arrangements by Sampath set up this very happy and grand ambience, and transport you to Gujarat. Vocals are too impressive to be true. Sukhwinder, as always, is great, but his voice sounds exceptionally well here — barring those small autotunes I can hear occasionally! And the “Chaiyya Chaiyya” (Dil Se) magic is recreated! Bhoomi Trivedi gets her next big song right after her debut in ‘Ram-Leela’, and making great use of the space she gets here, she shines. Her husky voice proves just right for the track, and at places, she sounds just like Sunidhi Chauhan. Karsan’s small interlude, is fantastic, and I don’t know whether it’s a new recording, or a recording of one of his old songs. Probably the former. I don’t know. I don’t think it should matter too. 😛 Javed Akhtar’s lyrics are good; a nice romantic touch is added to the Garba setting with his words. Other than that, there wasn’t anything too exceptional about them. 🙂 A song that will go down as one of the best Garba songs of Bollywood, joining the *recent* hits like ‘Nagada Sang Dhol’ (Ram-Leela), ‘Shubhaarambh’ (Kai Po Che).

Rating: 4/5

 

4. Dhingana

Singer ~ Mika Singh, Additional Vocals by ~ Team Omgrown, Music Composed by ~ Aheer for JAM8, Music Produced by ~ Omgrown Music (Ram Sampath’s company), Lyrics by ~ Mayur Puri

“Farzi, duniya hai farzi, tedhi jab kar di ungli, toh seedhi chali,
Marzi, apni marzi, jab Hoti gardi, kismat gale lagi
Dhingana dhingana, dhandhe ka dhingana!”

– Mayur Puri

JAM8 comes back with yet another song on the album, this one credited specifically to new composer Aheer composing for JAM8. The song is your everyday gangster song, something full of attitude and loud beats that you might expect to play everywhere around for a while after the film releases. The composition by Aheer is quite good, getting the attitude and spunk quotient right, with the mukhda particularly starting the song off on a note that would get the listener hooked. As it progresses towards the hookline, the composition does get a bit heard-before and tedious, but bearable. It isn’t like the composition would bore you. The hookline itself is full of that gangster attitude. The one antara that follows too, has a nice retro-styled composition, and reminds one of Amitabh Bachchan’s Angry young Man days. One thing is for sure though, that this song will be played numerous times in parties and functions. The arrangements are your normal massy song fare, with loud masala movie styled percussions (that sound a bit too loud, thus reminding me of Sajid-Wajid’s ‘Madamiyan’ from ‘Tevar’), and cool guitars (Shon Pinto). The star of the arrangements, though, has to be the rock guitars tune, the one we heard in the trailer, and what people were calling the “Raees Theme”. They should’ve released an instrumental track based on that trumpet-and-guitars piece! Vocals by Mika are surprisingly not as irritating as they could’ve been, and that’s saying quite something! He adds a bit of a grunge to his voice in places, and it sounnds great! The song’s duration has been kept very short, under three minutes, and rightly so, situational as it is. Mayur Puri, returning in a film album as Lyricist after quite some time, writes functional lyrics, and from what I gather, it is a song where the gangster and his henchmen are celebrating about the success of their business. Enjoyable, but to an extent, that unfortunately gets reached quite soon.

Rating: 3/5

 

5. Enu Naam Che Raees

Singers ~ Ram Sampath & Tarannum Malik, Additional Vocals by ~ Team Omgrown, Music by ~ Ram Sampath, Lyrics by ~ Ram Sampath & Hiral Brahmbhatt

“Enu naam chhe Raees, Enu naam chhe Raees,
Akkhi duniya mein yeh single piece, single piece!
Heilo haalaro, hulle hullare ho!!!”

– Ram Sampath & Hiral Brahmbhatt

Here comes another theme song revolving around the central character, Raees. This one has been composed by Ram Sampath and I’m guessing, was part of the album before SRK started making amendments in the album. I say that because it is horribly disappointing! The composition is a typpppppical Ram Sampath composition. But that’s not bad, is it? Well, it isn’t but the result isn’t too satisfactory either. Yes, the composition does have certain hooks that make it work, like the “Heilo haalaro hulle hullare ho…” loop, which is family catchy, but as a whole, it just doesn’t work out as a theme song which it is meant to be. The hookline seems like something that has been composed for an advertising campaign, and doesn’t seem like something you would add into a Bollywood album. Okay, even if it were sounding like an advertising campaign and sounded good, it would be fine. However, the result is a mishmash of confused sounds and tunes. Barring the vocal loop I pointed out, everything seems below the standards. I don’t even get how the track, which is heavy on trippy Latino and club beats, has found a place in such a folksy (till now) album. It is a bit too far-fetched, no? Arrangements are just that: A confused mash of techno beats and Taufiq Qureshi-ish percussion by Farai Arendse and Dayo Afolayan. Also, I don’t know where the Salsa-style beats came from in this song! Vocals by Ram Sampath sound good, but again, it really does not go well with the rest of the album. Again, the vocalists who have sung the vocal loop, fascinate. Ram Sampath and Hiral Brahmbhatt’s lyrics are a good description of Raees’s character, but could’ve done with a much better comoosition. Sadly, so underwhelming a theme song, that I don’t know if it even will be remembered as one.

Rating: 2.5/5

 

6. Saanson Ke

Singer ~ K.K., Additional Vocals by ~ Thomson Andrews, Ryan Dias, Dean Sequeira, Murishka Dcruz, Shazneen Arethna, Gwen Dias, Music by ~ Aheer for JAM8, Lyrics by ~ Manoj Yadav

“Main kis manzil ka raahi hoon, tu kinn raahon pe laayi hai
Samajh paaun na main tujhko, naa tu mujhko…
Jo na manzoor hai mujhko, wohi manzoor hai tujhko
Samajh paaun na main tujhko, naa tu mujhko…”

– Manoj Yadav

As soon as the next song starts, you wonder whether you accidentally opened the “Raaz 5” album. The piano notes that the song starts with evoke memory of everything pertaining to the Bhatts. JAM8 returns yet again, with Aheer helming it yet again. And what follows is a very mediocre sad song, that would have (okay, might have) sounded better in any Bhatt album! The composition has been delivered strictly according to the Bhatts’ needs and requirements, and that template has been followed perfectly. Melancholia, check. Acoustic guitars and strings, check. K.K., check. However, was there any need of such a song here? A wonderfully earthy sad song a la ‘Naina’ (Dangal) could very well have been made as well. And my frustration about this song is much less about it being a trademark Bhatt-ish melody, than it is about it being such a mediocre composition! I mean, Shah Rukh had called in JAM8 to enhance the album, as he thought it was underwhelming, but in such short notice, all that JAM8 too, could offer, is this underwhelming song too! Everything about the composition sounds too heard-before and gives you the feeling that you could just as well hear all of this song’s elements in some other, better, actual Bhatt movie song! That much about the composition. Arrangements fare much better, what with a haunting chorus joining in to make it sound all the more pensive (and also dated, at times). The guitars (Roland Fernandes) help the song nicely throughout the duration. The strings very majestically grace the hookline. The best part of the arrangements are the clarinets and flutes (both by Shirish Malhotra), which you might need to strain your ears to listen to. K.K. as usual, aces the vocals, but again, I can’t help but thinking how bored he must’ve been singing this — a melody, the type of which he has sung a thousand times before! Manoj Yadav’s lyrics are a pleasure to hear, and provide the respite that the other aspects of the song do not. A misfit.

Rating: 2.5/5

 

7. Ghammar Ghammar

Singer ~ Roshan Rathod, Music Produced by ~ Ram Sampath, Composition & Lyrics ~ Traditional

“Ghammar Ghammar maru valonu gaaje,
Shaam aavi ne maari matuki phode!”

– Traditional

The last track on the album is a fun Gujarati folk song recreated by Ram Sampath. And I must say, it is quite impressive! The traditional composition has been given a nice techno revamp, and Roshan Rathod has rendered quite zestfully. What’s most impressive is that the techno sounds and the folk instruments blend perfectly and the techno sounds do not tamper the folksy feel of the song whatsoever. I really have nothing much more to say about this! Just enjoy this one! A short track to dance on in Navratri and/or Janmashtami! 😀

Rating: 3/5


Raees turned out to be quite some disappointment. First of all, you would think an album releasing so late (ONE DAY BEFORE THE MOVIE!!) must be so good for it to be delayed so much. After hearing the album, I could gather that the delay must be due to last-minute additions that clearly went wrong. Ram Sampath’s original music for the film getting scrapped, and JAM8’s new songs (out of which one is great, one is above average, and the other is average) being added like one month before the film releases, takes its toll on the album itself. Whatever was the idea behind this last-minute change of music really backfired on the music itself. And all the pre-release hype that could’ve been created by music has just been wasted. I can just say, Much ado about nothing!

 

Total Points Scored by This Album: 3 + 3.5 + 4 + 3 + 2.5 + 2.5 + 3 = 21.5

Album Percentage: 61. 43%

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: Udi Udi Jaye > Zaalima > Ghammar Ghammar > Dhingana > Laila Main Laila > Saanson Ke = Enu Naam Che Raees

 

Remake Counter
No. Of Remakes: 03 (from previous albums) + 01 (from Raees) = 04

 

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

SACHIN-JIGAR’S EXPERIMENTAL FLIGHT!! (A FLYING JATT – Music Review)

Music Album Details
♪ Music by: Sachin-Jigar
♪ Lyrics by: Vayu Shrivastav, Raftaar, Mayur Puri & Priya Saraiya
♪ Music Label: Zee Music Company
♪ Music Released On: 3rd August 2016
♪ Movie Releases On: 25th August 2016

A Flying Jatt Album Cover

A Flying Jatt Album Cover

 

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

To buy this album on iTunes CLICK HERE


A Flying Jatt is an upcoming Bollywood comedy/superhero/action movie which stars Tiger Shroff and Jacqueline Fernandez in lead roles, while Australian actor (and retired wrestler) Nathan Jones is essaying the role of the antagonist. The film has been directed by Remo D’Souza, who is back after more than a year after his last hit, ‘ABCD 2’, and produced by Shobha Kapoor, Ekta Kapoor, Sameer Nair abd Aman Gill. The story revolves around a very un-superhero-like superhero, played by Tiger Shroff, and his adventures. The synopsis for the movie under the movie trailer on YouTube says that the movie is an account of a young superhero who is scared of heights! I don’t know how exciting that will be to watch, as the movie already looks like a mixture of ‘Singh Is Bliing’ and ‘Krrish’, so much so that it might even be ‘Krrish 4’, wherein Krrish, through his magical powers, turns into a Jatt. 😀 Anyway, since the movie seems to be targeted at little children, the makers are free to get away with anything. Remo D’Souza cannot make a successful album to his movies without his trustworthy duo, Sachin-Jigar, who are on board for this movie as well, coming back after a year, after their two songs in ‘Hero’, before which their last full album was another Remo D’Souza movie! 😛 Of course, seeing the theme of the movie, something zany is expected, and since it is not ‘ABCD 3748’, ten dance songs aren’t expected, so the duo makes 6 songs. Now, to see how high these six songs fly!


1. A Flying Jatt (Title Track)
Singers ~ Raftaar, Mansheel Gujral & Tanishkaa Sanghvi, Lyrics by ~ Vayu Shrivastav, Rap Lyrics & Vocals by ~ Raftaar

The first song on the album is what Sachin-Jigar are known for. The whackiness, craziness and catchiness of it all is their signature style of composing such songs. The song starts off with an anthemic chant that goes “Ho aa gaye J.A.T.T. maaro saare seeti...” The tune that it has been composed in, is just so infectious, that it actually made me take interest in such a song which I would never have listened to otherwise! The opening line is just too catchy to leave the song halfway and dismiss it as stupid or bad. The “Pagg, peg, swag, set” chants are just as catchy and crazy. The base composition is good as well, and Mansheel Gujral, contestant of 2014’s ‘Raw Star’, renders it with the right amount of gusto and gangsta-swag! The composition is more like a Punjabi pop song, butt the treatment is purely Sachin-Jigar! The hookline is something that will grow on you as you keep progressing through the song; it is repeated so many times, that you end up loving it unknowingly! The mukhda has the perfect gangster-pop feel to it, while the first antara follows the same tune. It is the second antara, where Sachin-Jigar introduce a clever twist, with a little girl singing about “Flying Jatt”, who is apparently her boyfriend. And that girl is none other than Sachin’s own daughter, Tanishkaa Sanghvi. She sings the little girl’s part soooo cute, and it sounds good in the song, which is obviously made for children to pull their parents to the theaters in order to watch a superhero movie. Raftaar’s rap constitutes most of the song, and it is surprisingly very entertaining! Maybe because it isn’t unnecessarily added into a song that doesn’t need it! In fact, it gels in quite well with the song, which idolizes the protagonist, a flying Sikh superhero. Sachin-Jigar of course, can’t make a peppy song without some insane additions randomly thrown into the song. This time, it is the insanity of the chorus going “Pagg, peg, swag, set” followed by somebody singing “aajao aajao aajao saare!” It is so random, that you end up loving it so much! The arrangements are apt, with the whole song placed upon a techno base, which is addictive and peppy. Of course, the duo place an unexpected twist in the form of typical Punjabi dhols in the hookline once, and that part sounds awesome! The lyrics by Vayu are cool, and suit the superhero-theme. Raftaar’s rap is a very enjoyable “be-good” kind of rap, which again, will help the superhero attract kids’ attention! A title track that is very experimental and showcases Sachin-Jigar’s ability to get listeners (old or young), hooked! #5StarHotelSong!!

 

2. Toota Jo Kabhi Taara
Singers ~ Atif Aslam & Sumedha Karmahe, Lyrics by ~ Priya Saraiya

The next song is a haunting romantic song, composed beautifully on a scintillating background. The song starts off with sounds that indicate nighttime and a field with crickets chirping in it, with a grand orchestration accompanying it. And then the real magic starts, when the piano kicks in with such a haunting and catchy tune, which actually is the hooktune of the song. The silence of it all makes you so serene, that it is hard to believe! The duo’s composition is pure black magic, with notes that touch your heart and how! When the piano gives way to Atif’s voice, which starts off with a dulcet melody, you get ready for the best romantic song you’ve heard in quote some time, but then, the duo surprises you with a very unexpected high-pitched, grand second line, which builds up to the hookline, which is just as calming and soothing. The structure of the song is the most interesting thing of all. After the hookline, the singers hum the tune which had started off the song (on piano), and it sounds so heavenly and extremely lovely! The duo follows the new-age trend of composing two antaras with different compositions, and give one completely to Atif, while the other goes completely to Sumedha. Both the antaras are bliss, with haunting notes galore! The second one though, is my personal favourite, with Sumedha (who has worked with the duo before in the movie ‘Teree Sang’) singing in the low octaves so beautifully, that it sounds as if she is singing specially for you! Atif’s antara, on the other hand, treads higher octaves (yet not too high either) with a very melodious tune. The way he sings some words rapidly to bridge one line to the next is a very ingenious trick played by the duo! It sounds so magical! About the arrangements, I can write a whole essay!! Sachin-Jigar have set such an entrancing backing rhythm to the song, made of nothing but techno sounds, which are just so enchanting! The way they’ve used the instruments is mind blowing and spectacular; a perfect blend of haunting strings and lilting flute, and that beautiful piano loop will stay in your mind for a long time! Sparkling sounds accentuate the fantasy-like, dreamy composition very well. Finger snaps and brisk strings in the first interlude grab your attention, while the second interlude is highly reduced, with only a flute playing that haunting tune that usually plays on the piano, followed by Sumedha’s antara. The magic of the strings though, is just unmatchable. A great assortment of high and low pitched strings make the listening experience worthwhile. I can just imagine how it is going to sound in the theaters! Priya Saraiya’s lyrics are the icing on top of the extra-sweet cake. She writes the song wonderfully, making many references to dreams herself. So what wrong is it to call the song a dreamy one?? Nothing, right? The dreamiest song I have heard recently! A masterstroke by the whole team behind the song! #5StarHotelSong!!

 

3. Khair Mangda
Singer ~ Atif Aslam, Lyrics by ~ Priya Saraiya

The duo bring Atif back to sing the next song, which is another haunting, dreamy and lilting, but very emotional and heart touching song. The composition has dark shades and is pure black magic, something that instantly makes your hair stand on end and sends a chill down your spine. The composition is highly reminiscent of the duo’s own song ‘Chunar’ from Remo D’Souza’s previous movie, ‘ABCD 2’, but still manages to strike a chord with the listener. Treading on the emotional notes, the composition still has a charm that will make you ready to hear it again and again, for a countless number of times. The mukhda is quite soft, until it gets into the high notes just before the hookline, which is when the goosebumps start to appear. The hookline itself, is exceptionally hooking and haunting. The way Atif introduces small variations in the tune each time he sings “khair mangda“, is remarkable. The antara continues with the darkness, but in a different way. The duo has churned out a trademark Rahman-styled composition, something he would constantly give in the 90s. The arrangements are mostly guitars, and other digital sounds that help the song sound more graceful. The gracious strings that elevate the thrill in the song, are wonderful. Everything else is almost only done by the guitars, and some wonderful chimes, which make it sound very enchanting. The song is tailor-made for Atif, and he doesn’t disappoint, proving how beautiful a singer he is, yet again. The humming he does in the start and in the interludes, is mind blowing, though very short! Priya, on the other hand, is adept at writing heart-touching lyrics, which she shows yet again here, as well. Though most of it is in Punjabi, the listener can instantgy connect to the words and it grows very soon. A song that is on an emotional high, something that needs repeat listens to discover each and every aspect of the song. in other words, another masterpiece by Sachin-Jigar!! #5StarHotelSong!

 

4. Bhangda Pa
Singers ~ Vishal Dadlani, Divya Kumar & Asees Kaur, Lyrics by ~ Mayur Puri

After the pathos, the duo is back to what they love, and what we love them doing! And that is, an upbeat, happy-sounding track that will get you up and dancing. Of course, such songs are usually very situational, and you don’t always love them before you see them in the movie, with the surrounding content and their placement. Made with the intention of entertainment and enjoyment, this song is a dance fest. The duo’s composition is definitely nothing great, and a quite typical Punjabi bhangra track, but does manage to entertain you for as long as it lasts. The mukhda is a very interestingly structured one with very fast-paced lines, fun to hear being sung so rapidly by Vishal Dadlani and Divya Kumar, the powerhouse male voices behind the track. The hookline is not so addictive, but as I said, it may grow after watching the movie. The first antara has the same tune as the mukhda, and again, keeps you listening for that masterclass singing by both the lead male singers, each having their own unique voice texture and quality. Vishal’s husky tone and Divya’s cutting-edge-like voice are a very interesting and compatible combination. The second antara, however, sees Asees Kaur, Zee Music Company’s pet singer, singing a quite ordinary giddha stanza which doesn’t entertain as much as her “timb lak lak timb“s interspersed throughout the song, which are insane! Arrangements are typical BHANGRA arrangements, but so energetic, dynamic and booming, that they end up making you like the song. The dhadd and dhols are powerful and just awesome. Of course, the duo can’t make a song with straightforward typical arrangements, so they do add some techno sounds, which aren’t so effective. The lyrics by Mayur Puri are enjoyable, and fun even in their nonsense manner. A dance song which clearly shows how the makers underestimated Sachin-Jigar, and eventually extracted an ordinary dance track out of them!

 

5. Beat Pe Booty
Singers ~ Sachin Sanghvi, Jigar Saraiya, Vayu Shrivastav & Kanika Kapoor, Lyrics by ~ Vayu Shrivastav

A techno beat lures you into the next track, a dance track totally arranged on addictive techno and EDM beats. Of course, a track is needed to show off Tiger’s dance moves, and this seems to be the track made for that purpose. Sachin-Jigar are at their best with the composition, which is an insanely catchy one even in its simplicity and Yo-Yo-Honey-Singh-ishness (Yup, I invented that word!! I hope its meaning has stared back at you while you were staring at it!) Just like their own song ‘Johnny Johnny’ (Entertainment), the duo has made a very simple and monotonous composition, and they are apparently very confident, that it will be a superhit. And why shouldn’t they be? The song has everything you need for a catchy song, and it sounds PERFECT for its genre. The beats are insanely catchy (I don’t know how many times I’ve already said that, but they are). The composition can’t get out of your head and the vocals are so addictive! Talking about vocals, Sachin-Jigar along with Vayu sing the male parts good (with special care taken not to make it sound too perfect, either, which would spoil the fun!) But it is Kanika’s short part that won over my heart. The part when she says “nacha de, mainu nacha de, nacha de mainu” is so catchy! And after that, when she sings the song’s antara, her sweet and addictive voice makes magic there too. To think that she’s working with Sachin-Jigar for the first time!! The Afro feel of the song makes it even more catchier than ever. Lyricist Vayu writes words that are enjoyable as well as humorous, and they go well with the addictive and sultry nature of the song. All in all, the song is an enjoyable dance track, where the duo full-fledgedly shows their experimentation capability! #5StarHotelSong!!

 

6. Raj Karega Khalsa
Singers ~ Navraj Hans & Daler Mehndi, Lyrics by ~ Priya Saraiya

To end the album on a very dynamic note, the duo now brings into the album a kind of heavy metal song. The song is a spectacular one, with a splendid use of rock guitars and drums. Electrifying electric guitar strums start the song off, until a composition that anyone would usually expect Vishal Dadlani to sing, sets into pace, with someone unexpected, Navraj Hans, (Hans Raj Hans’ son) rendering it with an immense amount of energy, and sounding awesome in the bargain. He is accompanied by Daler Mehndi in some places, who is more of a backing singer; the main parts of the song go to Navraj. Daler excels though, with his aalaaps in the background, and his occasional one-or-two lines in the song. He has some lines in the first interlude which he aces with his wonderful high-pitched voice. The duo’s composition is really emotional and also motivational at the same time. The song has those positive vibes in it, that make you feel both proud and sentimental at the same time. The hookline, “jaako raakhe saaiyaan… ” is phenomenal! This is probably another rock song (which usually don’t really appeal to me) which has appealed to me this much after Sultan’s title track, but of course, this one is less commercially appealing. The choice of singers is very experimental as well. Using the two rustic voices, the duo has succeeded in bringing home the idea that desi-flavoured rock songs do sound good! 😀 Navraj with his powerful voice, and Daler paaji with a just as powerful voice complement each other well to infuse the required energy into this quite darkly-composed rock song. Arrangements by the duo are fab, and they take liberty to add in techno elements, orchestral strings and trumpets to make the song sound less monotonous with just guitars and drums! Priya’s lyrics are a wonderful ode to the Sikh community and yet, are a kind of motivation for the whole world. The duo manages to end the album on such a brilliant note, that you are stunned after you finish hearing it!! Fantabulous!! #5StarHotelSong!!


A Flying Jatt turns out to be an apt album for a comedy/action/masala superhero film as this. Sachin-Jigar have introduced high levels of variety into the songs and each song sounds different than the next. The songs are enjoyable and they have not only created buzz to bring people to the movie, but will also be played after the movie releases too! All six songs are miles apart from each other and that is the USP of the album. To sum up, I would say that the duo, who is back after a year, is still flying with the same amount of variety and experimentation with which they had left us!! 

 

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: Toota Jo Kabhi Taara = Khair Mangda > Raj Karega Khalsa > Beat Pe Booty > A Flying Jatt (Title Track) > Bhangda Pa

 

Which is your favourite song from A Flying Jatt? Please vote for it below! Thanks! 🙂

 

A DISHOOM LACKING PRITAM’S USUAL PUNCH!! (DISHOOM – Music Review)

Music Album Details
♪ Music by: Pritam Chakraborty
♪ Lyrics by: Kumaar, Ashish Pandit & Mayur Puri
♪ Music Label: T-Series
♪ Music Released On: 15th July 2016
♪ Movie Releases On: 29th July 2016

Dishoom Album Cover

Dishoom Album Cover


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

To buy this album on iTunes CLICK HERE


Dishoom is an upcoming Bollywood action/adventure/thriller film starring John Abraham, Varun Dhawan and Jacqueline Fernandez in leads, while Akshaye Khanna plays the baddie. The film is directed by ‘Desi Boyz’ director, Varun Dhawan’s brother, Rohit Dhawan, and produced by Sajid Nadiadwala and Sunil A. Lulla. The film is about two cops, Kabir (John Abraham) and Junaid (Varun Dhawan) who are on a case to find a missing cricketer, who happens to be India’s top batsman and whom the makers have cleverly named as Viraj Kohli (played by Saqib Saleem). The two cops have 36 hours before an ‘India vs. Pakistan’ match (come on, how clichéd can you get!!) to find the man. The only reason I’m following this movie is — no, not the energy of Varun Dhawan or the action by John Abraham. And no, not because Akshaye Khanna is returning in a ‘villainous’ avatar after doing ‘Gali Gali Chor Hai’ in 2012 and disappearing. But the reason is because of the music. My personal favourite, Pritam Chakraborty is in charge, and I’m so excited to hear it, because he had given enjoyable songs for ‘Desi Boyz’ as well, and I’m hoping he has done so in his second collab with Rohit Dhawan too! The movie is expected to have some dance tracks, which I know Pritam does very well! So, here goes! Let’s explore the music album of ‘Dishoom’!!


1. Sau Tarah Ke / Sau Tarah Ke (Revisited)
Singers ~ Jonita Gandhi & Amit Mishra / Aditi Singh Sharma & Abhijeet Sawant, Backing Vocals by ~ Ashwin Kulkarni, Himanshu Shirlekar & Akash, Arabic Choir by ~ Maher Al Halabi, Karim Khayat, Youmni Abou Al Zahab, Lyrics by ~ Kumaar, Hookline Lyrics by ~ Ashish Pandit

Pritam starts off the soundtrack with an energetic dance track just as expected, and really makes you dance with this one. The song starts off with a very unusually addictive vocal break, which just lures you into the composition so effectively. Pritam sure knows how to attract his audience in a classy way, and he does it here. That vocal break is toooo innovative, and also my favourite part of the song — fortunately for me, it plays everywhere throughout the song. Pritam’s composition is a fun one, with a few grey shades that add the mystery and shadow of the thriller/action film to the song. It is an item-song-ish composition, and you can almost call it one, but of course, everything is done so classily that you can classify it as a club song. The hookline has that folksy feel to it, that tells you that the movie (or at least the song) is set in the middle east. The mukhda doesn’t stand out too well during the first couple of listens, but later on, it grows tremendously. It repeats once more after the antara, to end up the song. The antara itself is a nice portion of the song, with a sensuous tune to it. Pritam conveniently uses club beats to enhance the reach of the song, and the booming bass in the song really helps to propel it ahead in the playlist of the listeners. And again, that wonderful vocal break! He uses EDM at places too, and towards the end, the hookline is played with the EDM sound, and sounds so dynamic! In the beginning, a very thrilling oud invites you into the song with that Arabic flavour. The ney by Sahi Shamat is wonderful as well. Both versions have only the vocals different, and everything else exactly, or almost exactly, the same. In the first version, Jonita startles with her performance — it being her first song of this kind. She has brought a naughtiness into her voice, which always used to sound so pure and innocent. It has that sharp texture to it, which it didn’t in her other songs. Amit Mishra, on the other hand, works well as a replacement for Nakash Aziz, sounding quite like him, but impressing nevertheless. In the second version however, Aditi Singh Sharma’s overstylised vocals are a pain to the ears. She hasn’t modulated her voice well and it comes across as too soft where it should’ve been more confident like Jonita’s! Jonita, who sang such a song for the first time, performed better than a singer who is known for such songs, and that’s pretty shocking! Abhijeet Sawant too, doesn’t work well with the composition. He seems to be trying to hard to sing in the way he’s required to. In both versions there’s this awesome Arabic hookline, sung by the Arabic choir I mentioned above. Kumaar and Ashish Pandit together have come up with quite enjoyable lyrics, that suit the theme as well as appeal to the audience. Nothing seems put of place according to Bollywood standards, and so I’m accepting the lyrics! 😂 Pritam opens the album with a great club song, that has the potential to be a chartbuster and also the club anthem of the year! The first version is definitely a #5StarHotelSong!!

 

2. Toh Dishoom
Singers ~ Raftaar & Shahid Mallya, Lyrics by ~ Mayur Puri

Next up, we have the title track for the movie, a theme song that is composed on sinister lines, with dark shades predominating in the composition. The composition is actually very less; it is mostly made up of Raftaar’s rap, which is in a tune that keeps repeating whenever the hookline isn’t playing, so in the mukhda and antara. Actually there is no mukhda and antara, as it is the Punjabi rap-styled tune that keeps playing on loop until the hookline comes to rescue it. 😀 The hookline, which is sung by Shahid Mallya and actually has a tune, is pretty good, and has kind of a sinister tune to it. It is actually the backing music that has the mysterious tone to it; the guitars which play in the background. Pritam has not impressed as such with the composition, as the song is very simple, and not of his level. Also, the credits in the jukebox read “Melody based on generic traditional punjabi folk progressions.” I don’t know how to interpret that! The rap is the most prominent part of the song, and that too, gets kind of irritating towards the end. However, as I said, the hookline is good. There is a rapid rap in the second interlude, and at that part I just completely zoned out of the song; it was so tedious to hear. Raftaar’s voice is not too impressive, of course, as he isn’t a singer. Shahid, on the other hand, tries his best to save the song, and manages to do so to a good extent. It is his “Toh dishoommm… Toh dishoommm” parts that I keep waiting for in the song. Pritam’s arrangements are good, and stick to the action theme of the movie, and perfect for a theme song for a heroic character. Especially those guitars and club beats. Some places, it sounds a lot like the ‘Desi Boyz’ title track too! Mayur Puri is back after ‘Bajrangi Bhaijaan’s ‘Selfie Le Le Re’ and ‘Chicken Kuk-Du-Koo’, and writes words that hardly make any sense. After impressing so much with so many songs, he disappoints very badly with this one, literally writing whatever comes to mind and adding a “Toh dishoom” at last to make it sound related to the movie. Lines in the rap sound pretty unbelievable as well. It’s pretty much how the person has a very bad personal life, but in a mock-heroic style, tries to explain how he will punch people when they do stuff he doesn’t like. All in all, a disappointing offering, with just the hookline being the saviour of the song!!

 

3. Jaaneman Aah (Version 1) / Jaaneman Aah (Version 2)
Singers ~ Aman Trikha & Antara Mitra / Nakash Aziz & Antara Mitra, Backing Vocals by ~ Ashwin, Akashdeep & Himanshu, Lyrics by ~ Mayur Puri

Claps, percussion and guitars start off the third song of the album, quire resembling ‘Afghan Jalebi’ (Phantom) in its overall treatment. After that, a bazooka-like instrument plays a tune that is what makes the starting interesting, and alluring. But from there, the song suffers a number of ups and down, never being consistent in its catchiness. The composition by Pritam is pretty bland and tasteless, and it is that kind of composition that depends on its arrangements to do its work of attracting the listeners to it. There is a line however, that really impressed me, in all its oddness and though it is kind of a misfit in the song. The line I mention, is the line just before the hookline, which, in the mukhda goes like “Ishq mein saare, ilzaam hai sacche.. “. The tune of that line is an oddball in the song, which is predominantly of a happy tune. But that line has a darker shade to it, which is why I loved it! The rest of the tune follows a really Sajid-Wajid-ish template of item songs, which I didn’t exactly expect from Pritam, after great songs of this genre like ‘Dhating Naach’ (Phata Poster Nikhla Hero), ‘Gandi Baat’ (R…Rajkumar) and ‘Afghan Jalebi’ (Phantom). It is the arrangements that makes the song at least listen-worthy. The exciting dhols (Percussion by Dipesh Varma, Keyur Barve and Shikhar Naad Qureshi) help the song get the required energy, while that bazooka tune keeps playing throughout. Aditya Benia is great with the guitars, too. On the vocals front, again, we have two choices to choose our favourite from. In the first place we have Himesh Reshammiya’s blue-eyed boy, Aman Trikha. Singing for Pritam for the first time, it was bound to be a powerpacked rendition from his side, and that’s what we get, but we can’t help but miss Nakash. Pritam saves us the time that we would spend in brooding over Nakash not being there, and actually records the “Film Version” or “Version 2” of the song in Nakash’s voice. His infectious energy is unmatchable, and he sings well, putting in the punch that was lacking in the first version! 😀 The female voice in both versions is Pritam’s own blue-eyed girl, Antara Mitra. You can’t believe it is the ‘Gerua’ girl who’s sung it, but then you remember she sang ‘Saree Ke Fall Sa’ and ‘Kaddu Katega’ from ‘R…Rajkumar’ too, and then realize it isn’t such a big deal. She sings with the right vocal texture, but I’ve said this many a time jokingly and will say it again — she needs to find a comfort zone for herself in the industry! I can’t help but think she keeps changing her voice too many times and it is getting irritating now!! 😀 Jokes apart, her versatility is really commendable. It is Mayur Puri, the lyricist, who disappoints gravely. His lyrics in this song are nothing like what I like his lyrics for! The whole song is full of lines that a man sings to a lady, trying to convince her to marry him! Lines like “Do saal mein hinge tere bacche, mere bachhe” really make you cringe and think where Mayur’s splendid writing has gone in that one year! 😦 The song starts with the two characters playing ping-pong with names of relatives. I didn’t get that part of the song, either! Though Pritam has scored very well in the past with these songs, this time, he doesn’t really make the cut! Most of the credit for it goes to the disappointing lyrics!

 

4. Ishqa
Singers ~ Abhijeet Sawant & Antara Mitra, Lyrics by ~ Kumaar

The album ends on a very celebratory note, with an Arabic-styled party song that has distinct shades of Pritam’s typical composition styles. The composition is really enjoyable though! The song, standing at a duration of just less than three minutes, 2:47 to be precise, is too short, and too catchy; I wish there was more! There is no distinct demarcation of hooklinebut there is one loop of a line, sung by Antara, which goes like “Zyaada main toh nahi kehti…” and that line is so insanely catchy!!! Pritam has composed the song very beautifully, given that it is so short. The mukhda and antara are both by Abhijeet, and he sounds way better here than he did in the second version of ‘Sau Tarah Ke’. Antara has just that one line which repeats many times, but as I said is really well sung by her, and really well composed by Pritam too. Another great thing is the arrangements. The Spanish guitars are the highlight of the song, while the Arabic percussion is really great. The Arabic strings are stunning as well! There is a great electronic interlude that is so insane! The whole thing together sounds very catchy and groovy. Kumaar’s lyrics are good, as well, again, without being cheap or anything. A finale that actually delivers what was expected throughout the album!! #5StarrHotelSong!!


Dishoom is definitely not what I expected. I rarely say this, but this time, Pritam did not deliver as much as I was expecting. He has composed all four songs as per the requirements to make a fun album, but I know he can do way better than this. Two songs, ‘Sau Tarah Ke’ and ‘Ishqa’ actually deliver what I expect when I hear the name ‘Pritam’. The other two seem very templated songs, with very less composition and more of a dependency on lyrics, which are bad, and arrangements, which excel. So, I would say, the Pritam Punch in this ‘Dishoom’ was lacking!!

 

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: Sau Tarah Ke > Ishqa > Toh Dishoom > Jaaneman Aah (Version 2) > Jaaneman Aah (Version 1) > Sau Tarah Ke (Revisited)

 

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

ALL IS NOT WELL!! (ALL IS WELL – Music Review)

Music Album Details
♪ Music By: Amaal Mallik, Himesh Reshammiya, Meet Brothers, Mithoon & Anand-Milind
♪ Lyrics by: Shabbir Ahmed, Badshah, Mayur Puri, Kumaar, Majrooh Sultanpuri, Amitabh Verma & Fateh
♪ Music Label: T-Series
♪ Music Released On: 20th July 2015
♪ Movie Released On: 21st August 2015

All Is Well Album Cover

All Is Well Album Cover

 

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

To buy this album on iTunes CLICK HERE


All Is Well is a Bollywood rom-com/drama film starring Abhishek Bachchan, Asin Thottumkal, Rishi Kapoor and Supriya Pathak in lead roles, and also featuring Mohammed Zeeshan Ayyub. The film, which received mostly negative reviews from the audience as well as critics, is directed by ‘OMG! Oh My God!’ fame Umesh Shukla, and produced by Shyam Bajaj, Varun Bajaj, Bhushan Kumar and Krishan Kumar. The film is about a road trip during which the Bhalla family, sorts out their differences and misunderstandings, also accompanied by the protagonist’s (played by Abhishek) love interest, played by Asin. Since there’s no use talking about the film anymore, I’ll jump directly to its music. When a film has been produced by T-Series, that feeling of hope remains alive inside you that there are chances for it to be good, if not great. Here too, the names of the composers do excite when we first read them. T-Series’ new hot favourite, Amaal Mallik, their reliable party-track providers Meet Bros. (note the absence of Anjjan!), come together in yet another of their albums after ‘Roy’ and ‘Ek Paheli Leela’. But this time, the accompanying composers are T-Series’ old favourite, Himesh Reshammiya, and the one who shot to overnight fame and success because of them, Mithoon. Together, they promise a soundtrack with good repeat value. Himesh with three songs can get a chance to cover up the flaws he left behind with ‘Action Jackson’, while the others can just continue to give those chartbusters like always. Expectations on a high, let’s jump into this album before you yawn and doze off!! 😀


 

1. Chaar Shanivaar
Singers ~ Vishal Dadlani, Armaan Malik & Badshah, Music by ~ Amaal Mallik, Lyrics by ~ Shabbir Ahmed & Badshah

A really catchy, quirky tune on the electric guitar opens the first song on this album, screaming dappankuthu all the way. Synthesizer joins in later, and spruces it up a bit, after which the vocal powerhouse Vishal Dadlani starts with his ever-energetic, cheerful and dynamic voice! And what he sings is bound to make you get up and dance to the wonderfully catchy rhythm set by Amaal. Amaal, who has proved himself in various genres like romantic songs, club tracks, wedding tracks, now gets a chance to compose an out-and-out massy track on the 6/8 rhythm, and boy, does he succeed!! With the never-exhaustible Vishal Dadlani on board, any music composer can rest assured that their song is gonna be a chartbuster right from the first day of its release. Armaan joins in for backing vocals, and isn’t really recognizable. However much you try to strain your ears trying to find him, chances are you’ll have been reborn by the time you find him finally. We have Amaal Mallik handing over the rap portions very gratuitously to Badshah, a man who’s really gaining popularity fast, and he deserves it, too! The rap he’s put into this song gels in with it very well, and compared to other faltu bakwaas raps of Bollywood, well, all is well in this rap!! 😀 Lyrics by Shabbir Ahmed are, for once, something I agree with. Hafte mein chaar shanivaar hone chahiye. (There should be four Saturdays in a week) I totally agree. And the whole song adds on to this basic theme, giving some really interesting and entertaining lines to listen to. The tune is also really hooking, and instantly infects you. Later on, though it might get reallllllyyyyy annoying after hearing it everywhere and forever, you will still find yourself dancing and humming to it! 😛 😀 That tells how catchy the tune is! Arrangements are what Amaal is best at, mostly EDM with dhinchak dappankuthu percussion beats. Guitars have been used well too, and those backing vocals screaming weird stuff, start working their magic on you. 😀 There are people saying Four, four chaar chaar… after each time the hookline is repeated, and other times, someone says shanivaar bole toh Saturday, woh bhi chaar chaar! It sounds insane!!! Something insane, crazy, and having the potential to make you crazy for it too!! Great massy stuff from Amaal! #5StarHotelSong!!

 

2. Baaton Ko Teri
Singer ~ Arijit Singh, Music by ~ Himesh Reshammiya, Lyrics by ~ Shabbir Ahmed

The soft and calming sound of guitars (played on the synthesizer, most probably) balances out the insane atmosphere that the first song had left behind, and makes way for the next song, a sad love song. Right from the moment it starts, two names pop into your head — First of all, Mithoon, and then subsequently, Himesh. Everything about the song has both these names written all over it. And not so surprisingly, when you check the credits, and see that you’re right (at least part of it), you don’t really exclaim in victory as it is something that anyone with the basic Bollywood knowledge could guess. Himesh has composed the song in his oh-so-recognizable style, which after ‘Tum Hi Ho’ (Aashiqui 2), Mithoon had taken up as his own! Interestingly, the song takes form as the first song Arijit has sung for Himesh Reshammiya, and he gets to tick off yet another composer on his checklist. 😛 How early he worked with him! 😀 He sings in his trademark style, shouting and screaming in the high parts and droning in the low parts. However, some parts when he brought variation to the lines ‘bhulaaaa na sake‘ or ‘mitaaaa na sake’, is really applause-worthy! About the song, that trademark Himesh style makes it really predictable, and it is bound to be compared to ‘Dard Dilo Ke’ (The Xposé), which personally, I found better than this. The synthesizer tune which plays before Arijit starts off the song bears a very, very strong resemblance to the tune from ‘Dard Dilo Ke’, and I wonder how the makers thought it proper to add it here when the former song was so popular! The composition is not too catchy either, but the way Arijit sings it will definitely attract everyone, right from young people to old ones, to the flies that sit on their food. 😅 Interludes are also not very smartly crafted, and have the same tune as the prelude, so it sounds like the song is starting all over again. The very short antaras are lovable, but again, their abrupt end feels pretty weird to the ears. There is one short follow-up to the mukhda which at first seems like an antara, but later, the actual two antaras come, and then that part seems to be like a bridge between the mukhda and first antara. Not that it does a good job in bridging the two, though! The lyrics sound like Shabbir has picked up lines from all the judaai-bichhdann songs of Bollywood and put them together in the song — not really impressive and totally not anything innovative. The recording gives some respite in that it makes the song tolerable, otherwise the song is strictly for the staunch Arijit and Himesh blind followers! A typpppppical Himesh Reshammiya affair, tailor-made for Arijit!

 

3. Nachan Farrate
Singers ~ Meet Brothers & Kanika Kapoor, Music by ~ Meet Brothers, Lyrics by ~ Kumaar

The Meet Brothers are back and this time, without the third member of their group, Anjjan. After their split, it is their first song to release, even though some of their songs as a trio are yet to release. Anyways, for their debut as a duo, they get this T-Series production to prove their talent with in a desi dance track. They rope in Kanika to do the female singing honours, and save loads of money by singing the mle parts themselves, instead of calling Mika to do what he is (apparently) best at. However, there are no complaints from my side against them singing, because they have autotuned their voices so well that no disturbance whatsoever is felt. I think Mika would’ve caused more disturbance. Harmeet and Manmeet really have clear voices and sound great in the song, whereas Kanika uses her characteristic knife-sharp vocals to enchant listeners. The song has a kind of sinister, villainous feel to it, which makes it sound even more enchanting. First of all, Meet Bros’ composition is the kind that you instantly get hooked to, and even though you might have gotten bored of Meet Bros’ usual stuff, this one has a lot of new and innovative things to offer, right from the tune to the crazy arrangements! Right from the beginning, weird computerized sounds entrap you and make you want to keep listening forever! Those sound effects that sound a lot like spoons and dishes, give a really earthy feel to the song, and the other techno arrangements scattered all throughout the song behind the singers’ voices have it in them to surprise and please you. Interludes have been wonderfully and creatively crafted by the two brothers, and those awesome techno sounds make it all the more fun to hear. Kumaar has written lyrics that are worth paying a lot of attention to — if you noticed, he very smartly has woven Meet Brothers’ and his own name into the lyrics; you just have to listen carefully, show interest and not predetermine that you won’t understand anything just because it’s Punjabi. 😂 At the end, crazy pop sounds close the song leaving you craving for more. Oh, and one thing I forgot to mention are the wonderful flutes used in the beginning of the song… Wow! After saying all this, I would just like to spoil it just a little bit for you guys by telling you that it does very, very strongly resemble Anu Malik’s ‘Mehboob Mere’ (Fiza)… Doesn’t it? Especially in the second interlude, it gets reaaaaaallllyyy close to that song! 😛 Anyways, enjoy the song if you can even after I told you this. 😂 All I care about ultimately, is that it sounds great, is catchy, groovy and has everything that is needed in a desi dance track! Nice, creative work from Meet Bros without Anjjan! #5StarHotelSong!!

 

4. Mere Humsafar
Singers ~ Mithoon & Tulsi Kumar, Original Composition by ~ Anand-Milind, Recreated by ~ Mithoon, Original Lyrics by ~ Majrooh Sultanpuri, Additional Lyrics by ~ Amitabh Verma

And in steps Mithoon for his only song in the film. Usually, I’m happy when I see Mithoon’s name in such films, because a) he brings newness to the otherwise stale album with his captivating composition or b) his song surpasses all the songs in terms of quality, no matter how good tee others are. Here, I was hoping for option ‘b’ to hold true, as there are already two awesome songs in the album till now, but imagine how disappointed I was when I found out that he was doing a remake! It brought the excitement level down manifold. Okay, so at least he was remaking a great song — ‘Aye Mere Humsafar’ from the 1988 movie ‘Qayamat Se Qayamat Tak’. So there were still hopes. Then I read the singers’ names and my hopes shattered. Mithoon himself was singing — OK, no problem, because I quite enjoyed his autotuned voice in ‘Mehboob Ki’ (Creature 3D) but guess who’s accompanying him, replacing the oh-so-talented Alka Yagnik? Yup, T-Series’ head’s pyaari chhoti behena, Tulsi! And then my hopes fell on the ground and shattered to so many pieces, that I couldn’t even sweep them aside and clean the place! 😢😂 I played the song and then what did I discover? Mithoon has changed the whole feel of the song from a happy romantic duet, to a sad, melancholic romantic duet and the beats he placed in it are the same as those that he used in ‘Tum Hi Ho’ and all. By singing the song, he committed a pretty bad mistake. First of all, he didn’t autotune, so his voice is totally exposed in its true form — it doesn’t sound good! It sounds as if Arijit has a throat infection! He should have made Arijit sing it, because he hasn’t done that good. And actually, Tulsi sounded better! I found myself enjoying her parts more! One more disappointment (actually, it’s an annoyance) is that Mithoon has slowed down the pace of the song so much, that it makes you wait a long time till they say anything else and you literally start getting bored of waiting so much! Amitabh Verma has added some different lyrics here and there, but the tune has been retained, so for all three paragraphs to get over, it takes a lottttt of time. They should have just added the original song in the album as it was, without touching it, because they just wasted the opportunity of having a great emotional song by hiring Mithoon and telling him to remake an old classic, at which he failed! Better hear the original instead!

 

5. Tu Milade
Singer ~ Ankit Tiwari, Music by ~ Himesh Reshammiya, Lyrics by ~ Mayur Puri

When the lead character in a film is a rockstar, just as Abhishek’s character in the film is one, it is a rule written in the Bollywood filmmaking textbook, that there should be a mandatory song, which the rockstar would sing every time he’s shown performing on stage. Out of this rule, comes the birth of this song, which has been assigned to Himesh Reshammiya. Since Ankit Tiwari got overnight fame because of his song which he had composed for a character of a rockstar (“Sunn Raha Hai” from ‘Aashiqui 2’) , who better than him to sing this song? So Himesh uses the tried and tested formulae and gives us a song, which surprisingly, turns out to be really good! Himesh composes in his trademark style which he used to compose in, about six-seven years ago, and the stuff that used to sell rapidly then, comes back now and has the same effect on the public. Okay, the song didn’t get popular, but that’s probably because of less promotion. Otherwise, it had the potential in it to become a chartbuster. A calm and soothing composition put to an awesome rock rhythm played on drums and electric guitars, it provides both a calming effect and an energetic feeling. Ankit sings way better than he does in his own compositions (I’ve noticed he sounds way better singing for Reshammiya than for anybody else, including himself). And the tune is literally tailor-made for him — errrrr, okay, after Himesh, the first choice would be Ankit for this song. Had Himesh sung it, I think it would have revived his lost hit status. The composition is good, but one problem I have with it is the opening line of the antara, copy-pasted directly from Himesh’s 2012 hit, ‘Naina Re Tu Hi’ (Dangerous Ishhq), but he fortunately diverts from that path quick enough for it to get too suspicious. Arrangements and recording have been done wonderfully. It has been given an effect which actually makes listeners feel as though they are sitting in a concert hall! Mayur Puri’s lyrics are heard-before, but fit into the composition well, so don’t really affect the goodness of the song in a negative way. Ankit singing the “Oh-oh-oh” loop is just awesome and that tune is really very catchy! In my opinion, the best song of the album!! Great in every way and should’ve been promoted way more than it has been! #5StarHotelSong!!

 

6. Yolo
Singers ~ Sreeram Chandra & Fateh, Music by ~ Himesh Reshammiya, Music Produced By ~ Dr. Zeus, Lyrics by ~ Kumaar & Fateh

Weird techno beats start off the last sing in the album, and you actually start to believe that it’s going to be a really great grand finale to the album. But then something comes that spoils everything! It is that familiar sound of glass cups shattering, and ladies saying yeaaaaahhh. If it sounds familiar to you, it probably means you’ve heard ‘Lovely’ (Happy New Year) and ‘Desi Look’ (Ek Paheli Leela) many times. It also means that someone called Dr. Zeus is back. But when you see who the music composer is, you see that it is Himesh! Then what is Dr. Zeus’ style doing in the song? Well, he’s apparently produced and programmed the song, and in the process added all his idiotic gimmicks, including an irritating rap by Fateh. But that doesn’t mean that whatever Himesh has done (maybe only the composition) is excellent. The composition is really boring, repetitive and on top of that, the unbearable programming by Dr. Zeus makes things worse. Sreeram’s voice is the only good thing in the song! Dr. Zeus’ arrangements are limited only to the shattering glass, the ladies going “yeaaaahh” and Punjabi dhols. How innovative! :/ Kumaar’s lyrics are nothing fantastic. In fact, they are even below the bad mark. :/ Sometimes he writes awesome and crazy lyrics and other times, cheap to the core. He seems to have written everything only to teach the Bollywood audience what YOLO means — You Only Live Once. Everything else is irrelevant and doesn’t even seem like a wedding song, thanks to the oh-so-slow and boring pace with the repetitive composition. A song which fits nowhere!! I’ve still not understood what its genre is!! YOLO = You Only Listen Once!


All Is Well is not one of T-Series’ best albums. Keeping the film’s fate aside, even just the album, though being one full of variety and mass appeal, it doesn’t have too many great songs. Amaal performs well in his sole composition, and so do Meet Bros in their first venture without Anjjan. Himesh, who had the most songs in the album, only manages to score excellently in one of them, moderately good in one, and very bad in the last. Mithoon, from whom everyone expects so much each time, didn’t perform at all, to be frank. The three great songs will be remembered by masses, but not for a long time, either. By next year, they will probably be wiped out from our heads — barring ‘Chaar Shanivaar’, if repeatedly played on TV and radio (which it surely will :P). All was supposed to be well with everything related to the film and album, but I don’t really think that holds true anymore!!!

 

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: Tu Milade > Chaar Shanivaar > Nachan Farrate > Baaton Ko Teri > Mere Humsafar > Yolo (this one, better leave it unheard! 😝 )

 

Which is your favourite song from All Is Well? Please vote for it below! 🙂

 

Next “dish”: Phantom, Chef: Pritam Chakraborty

 

THE BAJRANGBALI OF BOLLYWOOD MUSIC IS BACK!! (BAJRANGI BHAIJAAN – Music Review)

Music Album Details:
♪ Music by: Pritam Chakraborty
♪ Lyrics by: Mayur Puri, Amitabh Bhattacharya, Kausar Munir, Shabbir Ahmed, Neelesh Mishra
♪ Music Label: T-Series
♪ Music Released On: 8th July 2015
♪ Movie Releases On: 16th July 2015

8902894357128_cover.1500x1500-75

Bajrangi Bhaijaan Album Cover

 

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

To buy this album on iTunes CLICK HERE


Bajrangi Bhaijaan is an upcoming Bollywood action/comedy/drama (let’s say masala, but not quite masala) film, starring Salman Khan, Kareena Kapoor Khan, Harshaali Malhotra and Nawazuddin Siddiqui in the lead roles. The film is directed by Kabir Khan, and produced by Salman Khan and Rockline Venkatesh. The story of the film is about how a man named Pawan Chaturvedi (played by Salman Khan), a devout Hanuman bhakt, finds a small mute girl from Pakistan (played by Harshali Malhotra), who has wandered across the border into India. Since she has no way to get back over the border, it is up to Pawan to get her safely back to her home. But instead of being excited for the film, as is the case with many Slamn Khan films, this time, I’m more excited about its music. Why, you ask? Because the man behind it, is none other than Pritam Chakraborty, returning after a one year sabbatical after doing ‘Holiday’. Yes, it is Pritam’s third time working with Salman, if you count the single from ‘Bodyguard’. That just increases the expectations more, and from Pritam, the expectations are always sky-high, being one of the most renowned composers of the industry. Therefore, it was a pleasant surprise when news came out that Pritam would compose for this film. So, let’s see what Pritam comes up with as an Eid Dhamaka, and as his comeback!!

NOTE: Despite me being a huge fan of Pritam, the review is going to be totally unbiased, and will be judged fairly, just as all albums are.


1. Selfie Le Le Re
Singers ~ Vishal Dadlani, Nakash Aziz, Pritam, Rap By ~ Badshah, Additional Vocals ~ Aditya Pushkarna, Lyrics by ~ Mayur Puri

Something is just compulsory in a Salman Khan film. And that something is, an introductory song featuring Salman, which projects him as either, the most virtuous human being ever in existence (e.g, ‘Bodyguard’ title song, ‘Baaki Sab First Class Hai’ from ‘Jai Ho’), or the most naughty and casual human being in the world (e.g, ‘Character Dheela Hai’ from ‘Ready’, ‘Jumme Ki Raat’ from ‘Kick’). And the first song of the album, falls in the former category. It projects him as the biggest devotee of Hanuman that ever exists! And for such a song, mass appeal is a must, catchy tune is a must, great programming is mandatory, and lyrics have to spot-on and such, that it should stay with us for quite some time after the song plays in the movie, creating an impact of the character’s character. (That sounds confusing, but just read it again — it’ll be clear sometime or the other. :p ) The song, which is a fulltoo masala dhamakedaar number introducing the audience to the protagonist, works very well as far as mass appeal is concerned. The tune is really catchy, especially the hook going “Ae Le Le Ae Le Ae Le Ae Le Le Le Le Re”, with Nakash delivering with the perrrfect amounts of energy and gusto. Pritam, who always brings some memorable, crazy and infectious tunes, has proved yet again what an expert he is at it. Moving on to arrangements, it is really, really weird and unusual having techno synthesizer sounds in a desi song, but Pritam manages to make it sound as if it is the convention for years, to have techno sounds in such songs. Percussion of dhols, also probably techno, sounds great as well. Harmonium bits please the ears too. The vocals, done by an ensemble of singers, and headed by Vishal Dadlani are right up to the mark. Vishal’s spontaneous energy can never cause harm to any song at all, by now I have understood this fact. The first antara, he delivers flawlessly. Badshah’s rap makes up the second antara, another impressive rap in a row, after that awesome one in ‘Vande Mataram’ (ABCD 2). This one, he’s not rapping as a patriot, but a devotee of Hanuman, and the lyrics and rap both sound great! The only thing that really upset me here, is Mayur Puri’s lyrics. The creativity in the mukhda with the use of pure Hindi words, if applaudable, but that is all ruined when the title of the song comes in — “Selfie”. It doesn’t make sense at all. The song should have been only about a Hanuman devotee, and didn’t need any scope of Selfie whatsoever, in my opinion. Of course, it’s not his fault, but the makers’ fault. Selfies are in demand nowadays, and so will this song be, which is great in all aspects, except the ‘Selfie’ aspect, which makes the lyrics sound forced, and also the tune of the title line!

 

2. Tu Chahiye
Singer ~ Atif Aslam, Lyrics by ~ Amitabh Bhattacharya

Now time for some romance, after the craziness. Though this song is a romantic song, it has been given a treatment completely different from what is given to a romantic song. Yes, it starts like a normal romantic song, with soft guitar riffs, that instantly make you nod your head, but as soon as the hookline plays, you will understand a bit what I’m talking about, and will completely understand it by the first interlude. Pritam has given the song a total EDM treatment, with club beats, but still retains the soulfulness and calmness of the song. The groove is so funky, you can’t resist to nod your head, not as you nod it to other EDM tracks, but a bit calmer than that. Atif Aslam, singing for Pritam for the umpteenth time, but for Salman, the first time, nails the composition, but his slightly wavery voice may seem unusual at first. Later on, as you get accustomed to it, you would not imagine anybody else crooning this number. His transition from low notes to high notes within a millisecond is just extraordinary! Though I mentioned that Pritam has given a complete EDM treatment to the song, there are some parts which have wonderful instruments performing along with the techno beats. For example, strong violins and a heavenly sarangi in the first interlude, and strings in the antara, guitars almost everywhere else, they all lessen some boredom that EDM might give to certain lot of people, who don’t really like EDM (like me!) The wonderful kids’ chorus going “Woh oh oh..” is like an interesting advertisement on TV — it doesn’t let your mind wander off even in breaks! (interludes 😉 ) The composition is just beautiful again. Though I have to admit that the mukhda sounds very ordinary, the antara is something not anybody can do! The way that each line is at a pitch higher than the previous is just so pleasant! The best part of the song, however, is arguably the last one minute of the song. Pritam composes a sort of conclusion (it doesn’t seem like a proper antara) which takes the form of a gripping climax, if a song has one. The composition of that part is just something that invokes goosebumps. The way Atif says “Chhuann” and “Agann” is praiseworthy, and also blissful. Again, lyrics are nothing to be boastful about, but this time, they at least go well with the song and don’t sway from the theme. They appeal to the ears, however simple they are. Isn’t that Amitabh’s specialty? To make simple songs sound sweet, and philosophical songs sound genius, and other humorous songs do the needful! 😀 The Pritam-Atif combo hasn’t lost its spark even outside the Tips banner! A wonderful EDM-infused love song, sure to have you grooving even if you are sitting still, in one place! #5StarHotelSong!!

 

 

3. Aaj Ki Party
Singer ~ Mika Singh, Lyrics by ~ Shabbir Ahmed

It is a Salman Khan film, yaar! How can it not have an out-and-out celebratory and solely promotional track that would help the film gather audiences?? So of course, here it comes in the form of ‘Aaj Ki Party’, and Eid celebration track sung by the ideal desi party track singer, Mika paaji. Pritam goes the ‘Gandi Baat’ way, with a 6/8 standard dappankuthu rhythm, with very addictive beats. Here, instead of South Indian instruments as the nadswaram, thavil though, Pritam uses synthesizers to grace the song, supported by dhols, again technologized, quite like “Selfie Le Le Re” arrangements. Mika delivers the song very energetically, and is one of the main reasons to keep the listeners engaged for most of the time. The presence of a female singer would have been fun though, in such kind of a song. The kids’ chorus features in this song too, and at this point, it really makes me wonder who these kids are, because they do an awesome job here too, singing a vocal rhythm that is just so crazy, that you have to repeat it yourself, just for the sake of trying something stupid, but fun! What I’m talking about is: “Dum Dum Dukur Dukur, Dum Dum Dukur Dukur, Dum Dum Dukur Dukur, Dhing Fatafat Dhingdi Popo!!” Weird, but the next cool thing. Composition of the mukhda may be pretty ordinary, but the antara sees things getting more interesting, with something really unexpected, and that is a calm-ish and cooling portion in a dance track, the effect off which is magnified because of the arrangements. Shabbir Ahmed writes here too, what he always writes, and he seems to be an expert of what all happens at parties, which is why he always gets to write such songs. 😂 Not impressive, but the composition helps it to sounds at least a bit catchy. The repetition of the mukhda once more at the end, seemed really unnecessary, and has just increased the length of the song, with nothing new than what we already heard in the other parts of it. That’s why it stands as long as four and a half minutes long, when it could have been just three and a half or four. Enjoyable, but isn’t going to have a very long playlist life!! Good for promotional purposes, though, as it is a Salman film!

 

4. Bhar Do Jholi Meri / Bhar Do Jholi Meri (Reprise)
Singers ~ Adnan Sami / Imran Aziz Mian, Song ~ Traditional, Music Recreated By ~ Pritam Chakraborty, Original Lyrics ~ Traditional, New Lyrics ~ Kausar Munir

Finally, a song which I feel, has been added because it is actually important for the narrative, without caring about whether it will be loved by people or not, and without having any worries of criticism. A Qawwali track is the next in this album which has given nothing but variety until now, but only one excellent track. It being a Qawwali really made my hopes rise up like a rocket at launch time. And I was not at all disappointed. It features in two versions, so it is a double the treat for Qawwali lovers like me. Someone who you would never imagine could pull off a Qawwali, sings the first version, and that somebody is Pakistani pop singer Adnan Sami. No complaints, though! With his voice, he brings a total variation to the Qawwali genre, and those variations really bring a smile on the faces of people who love innovative things. His bold and distinct identifiable voice is a pleasant surprise in the track, and his various nuances make the ambience even more spiritual. The other version is sung by Imran Aziz Mian, who had sung ‘Main Sharabi’ for Yo Yo Honey Singh some three years ago. His voice sounds more like a traditional Qawwali artist’s, and hence doesn’t quite appeal, though it is perfect conventionally. Of course, I would choose the unconventional stuff over the conventional stuff, which is why Adnan won my heart here. However, Imran’s beautiful adlib-like intro sounds better than Adnan’s, with shades of the intro of Pritam’s own ‘Ye Tune Kya Kiya’ (Once Upon Ay Time In Mumbaai Dobaara). Also, his improvisations at the end of the track sound really perfectly placed, as if preparing the audience for some impending suspense right after the track ends. Talking about the composition, the mukhda has been recreated by Pritam from the classic folk Qawwali of the same name, previously sung by prominent voices as Sabri Brothers and Nusrat Fateh Ali Khan. Pritam has composed the antaras though, and how greatly! The spiritual factor doesn’t disappear at all, and the emotional connect is present throughout the track. Especially the second antara really upholds the divinity of the track. New lyrics in the antaras, by Kausar Munir are excellent, and again, sound really sacred. Arrangements are not very innovative, just tablas and dholaks, but perfect for a Qawwali; I just wish Pritam would’ve experimented a bit regarding them. His touch though, is recognizable in the interludes, when those harmonium, bulbul-tarang and tabla pieces kick in, reminding listeners of the ‘Once Upon A Time In Mumbaai’ albums. Even though I’ve not heard the original, I’m sure the makers have done utmost justice to it in terms of lyrics, arrangements, new composition and also vocals! Spiritual in the true meaning of the word! #5StarHotelSong!!

 

5. Chicken Kuk Doo Koo
Singers ~ Mohit Chauhan & Palak Muchhal, Yodeling By ~ Wylie Gustafson & Nernhard Betschart, Lyrics by ~ Mayur Puri

Next up on the album is something that defines Pritam. Time and again, he has been churning out crazy, yet lovable and cute songs that just get glued into the folds of your brain, and can never be removed from there, after that. Something exactly like that, is what makes up the next song, a silly, groovy and wild song that does nothing but what I have described above. Palak starts off the track, chanting some humorous lines in a voice, sounding the least ever like her normal voice in other songs. The sound effects accompanying her in these lines are just even more catchy. In no time, the song breaks into full sprint, with an utterly sweet Goanese flavour dominating the song, and awesome Hyderabadi-flavoured nadaswaram making short but unforgettable interruptions throughout. And to lead the song in the vocal front, we have someone who has been rarely heard from in Bollywood recently, the man with a golden voice, Mohit Chauhan. And he carries the song totally on his shoulders, with the perfect expression required for a comic song like this, yet not making it sound extremely immature either! The way he delivers some words, leaves a great impact on the listeners, sounding really addictive. Of course, another reason that he sounds so great, is that the underlying composition itself, is just irresistible. With shades of ‘Tu Mere Agal Bagal Hai’ (Phata Poster Nikhla Hero), it has just the right mixture of entertainment, comedy and catchiness, not to mention likability. It has a very sweet overall feel to it, which makes it stay with you for long. Palak barely has any important parts after her intro, but can be heard in the antaras, supportung Mohit, oh-so-sweetly. Pritam’s Goan-meets-South arrangements do create an impact, but those yodels are what really stand out in the song, very efficiently carried out by Wylie Gustafson & Nernhard Betschart. The guitars impart the Goan feel, nadaswaram does the same to bring a South flavour, and lively chicken sounds entertain throughout the song. The song sounds even more flavoursome, thanks to Mayur Puri’s impressive and entertaining lyrics, showcasing everything food. It makes the song sound very delicious! Too much cuteness! But who’s complaining! A must-not-miss! #5StarHotelSong!!

 

6. Zindagi Kuch Toh Bata / Zindagi Kuch Toh Bata (Reprise)
Singers ~ Jubin Nautiyal / Rahat Fateh Ali Khan & Rekha Bhardwaj, Lyrics by ~ Neelesh Mishra

So far, the album has been quite lively, energetic and entertaining. Also, not to mention, slightly massy. However, the wishes of those who were craving for a thought-provoking and pensive melody, will finally be fulfilled with the next track on the album. A no nonsense, utterly serious and philosophical song is up next in the album, something that would leave everyone awestruck. And that includes me. There is a slight confusion as to which version is the reprise, so I’ll just call them the ‘solo’ version (by Jubin) and ‘duet’ (by Rahat & Rekha) henceforth. So, first comes the solo version. Jubin finally gets something he deserves, and that is, his first song with a mainstream music director like Pritam, in a mainstream film like ‘Bajrangi Bhaijaan’. Guitar plucks make way for him into the melody, and when he starts, I have to admit, he sounds not so effective, but his voice works like slow poison, getting better and better with each passing second. The composition with endless twists and turns, makes you just want to lay down and listen to it on end for a long time, nonstop. The slight nasal twang in Jubin’s voice makes things better for the listener, and also makes the song appeal to whoever’s listening. The hookline has been crafted with uttermost love and passion, something that Pritam can do with his eyes closed. The conclusion, with the Western-style choir, makes the song end on an intense note, and does not disappoint at all. In the duet version, similar notes start off the song, but here, Rekha soon takes over with a short aalaap until Rahat steals the limelight from her, with his high-pitched, soulful and rustic voice. Conversely, the arrangements in this version are more to the Western side, with a dynamic soft rock template, consisting of guitars and drums, in a fast pace. This version, too ends with an awesome improvisation, this time with the Western chorus singing something, while simultaneously, Rekha sings some beautiful classically-crafted lines in the foreground. Lyrics by Neelesh are something you just can’t afford not to pay attention to! If you miss the wonderful lyrics, it’s something truly unfortunate for you. They’re just brilliant, and the same in both versions. Something you can’t miss!! Very thoughtful, and one of the best Salman songs in recent times! Both versions are great in their own places! #5StarHotelSong!!

 

7. Tu Jo Mila / Tu Jo Mila (Dekhna Na Mudke) / Tu Jo Mila (Reprise)
Singers ~ K.K. / Javed Ali / Papon, Lyrics by ~ Kausar Munir

To bring the album to a conclusion, we have another soft and melodious song, this one appearing in three versions! It would take you back to the ‘Tum Mile’ days, mostly because of the two versions by singers like K.K. and Javed, whose songs from that album were stupendous. It really is a treat to hear them singing for Pritam again after two years. K.K’s version comes up first, and he proves that he is an expert at such songs, his sugary-sweet voice just perfect for such compositions. The arrangements, mostly soft guitar strums, which get loud only in the hookline, and that too, the pleasant kind of loud. Breathtaking strings are also present in the arrangements. The sitar is a wonderful surprise thrown in by Pritam, and takes listeners aback when they hear its inclusion in a Westernized melody as this one. The second version has Javed coming behind the mic, and he too, sings with maximum care and ease, proving that he is no less than K.K. in singing such songs, either. His diction in some places is intentionally different from what it should be, like ‘Dharkan’ for ‘Dhadkan’, but it just sounds sweet and cute that way. His version sounds more sweet than K.K’s but that might be because the arrangements are slightly, just slightly, softer, and his voice texture is more fine. Lastly, comes Papon’s version, totally different than the other two in both the treatment, composition and even arrangements. It turns the positive song, into a slightly repentful and mourning song, with some shades of sadness and retrospect. Papon’s metallic voice helps this feel to enter the song very easily, and his wonderful vocal aalaaps, are a treat to hear. The antara has been given a new tune, not as catchy and instantly addictive as the other two, yet applause-worthy, mostly because of the intense arrangements that invoke those goosebumps. It has been given a truly theatrical feel to it, instead of the filmy romance that the other two have. Kausar’s lyrics are commendable, and worth noticing. Pritam’s tune might sound like it has been heard before, but is highly addictive nonetheless, and doesn’t let your mind wander anywhere else. A song which provides a grand finale to this huge, and beautiful album!! Pritam back in form!! #5StarHotelSong!!


Bajrangi Bhaijaan is one of the best albums for a Salman Khan-starrer in recent times. An assorted basket of variety, it offers silly, romantic, pensive, humorous and catchy stuff all in the same container. Not so many moments are in the soundtrack, when the listener gets bored. Rather, there are numerous moments when he is left spellbound and mute, just like the little girl in the movie. Pritam’s comeback after a whole year, and it was really worth the long wait!!

 

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: Zindagi Kuch Toh Bata > Tu Jo Mila > Tu Chahiye > Chicken Kuk Doo Koo > Bhar Do Jholi Meri > Aaj Ki Party > Selfie Le Le Re

 

Which is your favorite song from Bajrangi Bhaijaan? Please vote for it below! 🙂

 

Next ‘dish’: Bangistan, Chef: Ram Sampath

ARTISTIC, BRILLIANT, CREATIVE & DEADLY!! (ABCD 2 – Music Review)

Yes I’m late for my ‘ABCD 2’ Music Review, but today, 14th June, is Sachin Sanghvi of Sachin-Jigar’s birthday, so how about posting it as his birthday gift? 😀 So happy birthday, Sachin, and keep providing us with those infectious tunes with Jigar’s help!!


Music Album Details

♪ Music by: Sachin-Jigar
♪ Lyrics by: Mayur Puri, Vishal Dadlani, Priya Saraiya, D. Soldierz, Rimi Nique & Badshah
♪ Music Label: Zee Music Company
♪ Music Released On: 22nd May 2015
♪ Movie Releases On: 18th June 2015

ABCD 2 Album Cover

ABCD 2 Album Cover

 

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

To buy this album on iTunes CLICK HERE


ABCD 2 is an upcoming Bollywood dance film, starring Varun Dhawan, Shraddha Kapoor and Prabhudheva in the lead roles, and Dharmesh Yelande, Raghav Juyal (Crockroaxz) and Lauren Gottlieb in supporting roles. The film has been directed by Remo D’Souza, and produced by Siddharth Roy Kapur. The film revolves around the struggle of choreographers Suresh (Varun Dhawan) and Vinnie (Shraddha Kapoor) from Nalasopara, a suburb in Mumbai, who go on to win the World Hip-Hop Dance Championship. The movie is a sequel to the 2013 film ‘ABCD – Any Body Can Dance’, with everything bigger and larger than before. A bigger starcast — what with some youth heartthrobs joining the bandwagon, a bigger budget — it’s shot in Las Vegas. A bigger everything, basically. So it is just natural for us to expect a bigger soundtrack too, in terms of both number of songs and quality and also appeal. The duo who has worked very hard in order to reach this stage in their career, where they’re giving us great album after year album, Sachin-Jigar, for whom the album of the first film was a turning point, return to compose for the album, along with 10 songs!! So I’m gonna dive right into this “expectedly” great album that I expect to be bigger than its prequel! 🙂 Let’s find out what we get!


1. Bezubaan Phir Se
Singers ~ Vishal Dadlani, Anushka Manchanda & Madhav Krishna, Rap by ~ Vishal Dadlani, Lyrics by ~ Mayur Puri

As it is clear from the title of the song, the makers of the film have decided to remake and represent the most famous song of the first film, the song that got the film a name and an identification of its own, ‘Bezubaan’, and since they’ve made it again (re-made) they add the words ‘Phir Se’ to the title, which don’t actually appear in the song. So, the song starts with that tune which has gotten itself to be recognized as the characteristic tune of ‘ABCD’, much like we had one for the ‘Dhoom’ franchise, the ‘Race’ films and even for ‘Ra.One’. This time, though, it doesn’t take shape with the help of rock guitars, but with the help of ancient Chinese-sounding flutes. And they haunt you, at the same time grabbing your attention and making you crave for more. Also, the original song was so great, that you can just expect something more great in this sequel to that song, which the starting assures you, that you will get. Where the first song was a soulful, soft number sung smoothly and calmly by Mohit Chauhan along with some electrifying English rap portions in the middle and a scintillating hookline by Priya Panchal, this version of it is dynamic all the way! When you have a vocal powerhouse such as Vishal Dadlani onboard, what else would you expect? And Vishal very efficiently carries the song on his two shoulders. Infusing the right amount of energy and enjoyability in the song as is required, and also as much as is possible, he zips through the song like a lightning bolt, spreading the zing as he goes. This time, there is very little English rap, but mostly, a catchy Hindi rap, written and sung by Vishal too, very effectively. Anushka Manchanda has a very brief portion, but she soothes us down in that small portion, before and after which Vishal spreads his enthusiasm again. The disappointing part in the vocals, though, is Madhav Krishna with the hookline, which doesn’t sound properly in place after Vishal’s virally infectious parts. After Vishal builds up the climax, it ends quite abruptly at the hookline, leaving you thinking that something is missing. Sachin-Jigar have wonderfully composed the new parts surrounding the hookline, and those parts are very catchy, but again, the hookline itself seems out-of-place somewhat. Their arrangements do make up for it however. New and cool techno sounds, with those electric guitars, really make your day whenever you hear the song, and may even serve as your daily dose of energy! That tabla in Anushka’s part is hard to make out, but when you do hear it, you’ll get goosebumps — it’s that awesome! Again, the percussion part at the end, this time starting off with African beats, seems very flat in front of what we had got to hear in the first song. And Taufiq Qureshi is there, in this song too! Was expecting a lot more from him but this is satisfactory! If only this wasn’t a remake, I wouldn’t be comparing at all! Mayur Puri’s lyrics are brilliant like they always are, and the inspirational factor in them hasn’t gone anywhere between the first song and this one! 🙂 A bit disappointing when compared to the original, but definitely an enjoyable start to the album! I know it must be challenging to remake one of your own songs, so no problem!!

 

2. Sun Saathiya
Singers ~ Priya Saraiya & Divya Kumar, Lyrics by ~ Priya Saraiya

The next song is another song that we are familiar with, thanks to the first film. However, the makers hadn’t included it in the OST, but had kept it in the film. That was kind of unreasonable, because it was one of the best songs in the film. After that, the makers got a lot of requests from the audience to release the song as a single, and after two years, the audience’s wish comes true in the form of this song. We get a full, proper song with a mukhda and antara, of which only the mukhda was included in the first film. The duo and Priya Panchal Saraiya have developed the song further, resulting in a song to cherish. The ever-reliable piano intro (it always works, no matter how many times you use it) absorbs you into the song right from the moment it starts. Then Priya, with her smooth-flowing vocals, transports us to dreamland, literally, and we forget all the dimensions of time and space, our ears only open to Sachin-Jigar’s melodious composition, and a wonderful combination of Priya and Divya’s voices. Divya carries put his parts wonderfully, not stumbling anywhere while singing that fast-paced sargam, and he shocks us with his classically perfect rendition. His rustic vocals provide a great contrast to Priya’s more fine vocals, and it sounds brilliant when they have been put together. Priya’s lyrics are great as well, romantic and having an easily-memorizable quality to them. But what really stands out are the duo’s arrangements, a fantastic amalgamation of classical instruments like the tablas, and Western instruments like the piano, violins and even a small drum part somewhere! The violin comes in the interlude, and soothes you down a lot, especially because of Divya’s sargam, wonderfully blended with it. Overall, a nice gift to the audience from Sachin-Jigar, Priya and Divya, wherein we had to wait for two years, but the end result is totally worth it!! #5StarHotelSong!!

 

3. Chunar
Singer ~ Arijit Singh, Lyrics by ~ Mayur Puri

As soon as the next song starts, you are reminded of the haunting, but soothing music that you get to hear in a typical Sanjay Leela Bhansali album. But this time, it is relatively younger composers, Sachin-Jigar trying their hand at this genre. And they succeed, everything in the song as perfect as possible. First of all, I would like to praise Arijit, who, after singing many songs of the same type and feel, finally sings a song which nobody can call a ‘typical Arijit Singh song’. His nuances are brilliant, and ultimately, it is his textured voice that makes you fall for the track. Everything else falls in place later on because, it just so happens that the first time you hear the track, you notice nothing but Arijit. In subsequent listens, you start taking in more and more from the track and that’s why, you end up loving it even more after many listens. Sachin-Jigar’s melody, as I said, is perfectly haunting and very, very touching, suitable for Mayur’s even more touching lyrics. While ‘Meri Maa’ (Yaariyan) was the best “Ode-To-Mother” song of last year, this year’s has definitely got to be ‘Chunar’, what with the really heart-touching lyrics by Mayur, and the suitably emotional-izing tune to it. If you think this is too many awesome things in one song, wait till you hear about the arrangements, because I’m yet to tell you about them! It starts off with wonderful, haunting sound of a string instrument (turns out it’s a harp, as Sachin said here when I asked him), which just draws you in, after which you cannot escape until the song is over. It sounds like it’s a classical instrument and that’s why I was really surprised to know it’s a harp!! It’s been given a great classical effect! Kudos to the duo for that! It plays constantly in the background for the whole mukhda, after which comes a stunning interlude, something so cool that you won’t believe your ears! Techno sounds coupled with an electric-sounding sitar, wow!! And those vocals! It makes for a wonderful listen! The beats that accompany Arijit in the parts where the harp is silent, are awesome too! Techno beats in a semi-classical composition, sounds awesome! Heart-touching, emotional, and beautifully written, sung and composed!!! #5StarHotelSong!!

 

4. Happy Birthday
Singers ~ Sachin Sanghvi, Jigar Saraiya, Varun Dhawan & D. Soldierz, Lyrics by ~ Mayur Puri, D. Soldierz

In the next song, Sachin-Jigar and Mayur Puri take us one year back, when ‘Johnny Johnny’ had become a rage in the nation. The same insanity, quirkiness, catchiness and infectious nature of that song, returns in this song. While it starts with ignorable dialogues that go away quickly, the parts that follow will have you grooving before you know it! The fact that none of the singers, except Varun Dhawan in some places, are recognizable due to the over-the-top programming done to the voices, can easily be ignored too, because the tune of what they’re singing, is something that is too hard to resist. The composers themselves get behind the mic, and program their own voices so weirdly, that the weirdness starts to sound genius! The various voices they obtained by programming their voices, are really funny and apt for such an energetic and crazy, wacky song. D. Soldierz, a Delhi based Punjabi music duo, has been well utilized in the song, and the line they have sung is what got me to like this song so much, it’s just composed so well by Sachin-Jigar! The beats in the song do resemble those of ‘Johnny Johnny’ a lot, but no complaints! They’re actually really infectious beats! The female voice going “Awww” so many times in the song, sounds so great!! Varun’s rap has been programmed too much as well, and so it sounds very weird when he says some lines after his rap, in his real voice! Mayur’s lyrics here, are quirky and well-suited to the requirements of the song. D. Soldierz have also written a few lines, I guess the ones they sang. 😂😂 I know, I don’t get any prize for guessing that! The duration of the song has been kept really short at just three minutes, which is just right for such a song. An overdose might make all the listeners crazy! (I mean that positively 😂) By now Sachin-Jigar have become experts at giving the public something that they will 100000% love!! This song joins the ranks of ‘Khoon Choos Le’, ‘Johnny Johnny’, ‘Paaji Tussi Such A Pussy Cat’ and ‘G Phaad Ke’! #5StarHotelSong!!

 

5. If You Hold My Hand
Singer ~ Benny Dayal, Lyrics by ~ Mayur Puri

With each song of the album showing us a different genre, this one comes to the tried-and-tested breezy romance formula, which the ranks of Vishal-Shekhar, Shankar-Ehsaan-Loy and Pritam have done many, many times in the past. This song too, falls in the category of songs which have a mix of English and Hindi lyrics, but actually make sense, and make you want to snap your fingers along to the catchy hookline. Sachin-Jigar go into typical Vishal-Shekhar’s ‘Anjaana Anjaani’, ‘I Hate Luv Storys’ etc, mode for this one, with the familiar-sounding “Oh-oh-ohhh” chorus, and that peppy tune of the lines “You Calling Out For Me, You Got Me On My Knees”, plus that unmistakably Vishal-Shekhar-ish hookline. Benny the rockstar carries it out with ease, managing both the English and Hindi parts effortlessly. He is back after quite some time, all the way after ‘Bang Bang’, and this is his first Hindi song this year to release! There are female backing vocals to support him, which sound suspiciously enough, like Shefali Alvares. And some more in another place sounding like Priya Saraiya. 😅 Arrangements are nice and relaxing, with all the techno sounds placed in a great, calming way. Mayur’s lyrics are good, and thank God they make sense, because some songs mixing Hindi and English make no sense at all. Yes, there are some place in the beginning where the words don’t rhyme in the line that follows, but the tune and Benny’s vocals covers that part up. Did Sachin-Jigar compose this or Vishal-Shekhar!? 😄 An awesome composition which kind of seems like Sachin-Jigar are paying a tribute to Vishal-Shekhar! Awesome, catchy composition, lyrics that are easy to grasp, and a wonderful and engaging performance by Benny! #5StarHotelSong!!

 

6. Hey Ganaraya
Singer ~ Divya Kumar, Lyrics by ~ Mayur Puri

We were treated with a semi-classical ‘Chunar’ earlier in the album, only to be surprised with a full-fledged classical piece later on, in the form of ‘Hey Ganaraya’. The harp is used once again, in a very traditionally Indian way, to start off the song. It is a song overflowing with divinity and devotion, which would surely arouse the faith and bhakti in you. In the first film,,we had two power-packed, dynamic and dhamaakedaar Lord Ganesha songs ‘Shambhu Sutaya’ and ‘Sadda Dil Vi Tu’, but in this film, there is a sole Lord Ganesha song, which is focused in its path, and never diverting from its path. A serious devotional song was definitely not expected, but now that we have got it, I cannot do anything but praise it. Divya Kumar, who was on backing vocals in ‘Shambhu Sutaya’ (identifiable, but uncredited) gets to carry this one solely on his shoulders. Once more, he gets to showcase his versatility and also his effortlessness in performing the sargam. Additional voices supporting him, have done stupendous work, wonderful tabla bols, and an uptempo piece that makes up an interlude, in a pretty Garba-esque style. Sachin-Jigar’s composition is full of the required feel of devotion — that haunting sound, which ironically drives all the fear out of your mind! Their composition is most probably based on a raaga, and makes sure not to steer away from the classical genre even once. Arrangements are unbelievable, as well. The traditional instruments like tablas, dhols and nagada, have been equipped very, very well. The conclusion to the song, has to be paid very close attention to, especially if you are a classical music lover. The tabla solo will just blow you away! Mayur Puri’s lyrics have that ‘pray-and-call-out-to-God-when-in-dilemma’ feel in them, and I think all of us can relate to them in some way or the other. Many of Lord Ganesha’s names have been used, and sound beautiful the way they have been incorporated into the song! A full-fledged classical delight, nothing less!! #5StarHotelSong!!

 

7. Happy Hour
Singer ~ Mika Singh, Lyrics by ~ Mayur Puri

After the devotional classical song, a mandatory ‘drunkard’ song, which is necessary in all of today’s albums, jumps unto the album. But this one is a bit different from all those irritating songs. This one has a catchy and addictive starting to it, made up of techno sounds and a tune that wouldn’t really make you turn away and skip the song in disgust. Instead, it makes you eager to listen on, to see what is in store for you in the rest of the song. Well, I know not many have liked this song (in fact, I’m probably the only one I know who loves it…) but I don’t know what’s the problem in it. First of all, the slow-paced the which acts as slow poison, gives it the infectious feeling it should have, making it join the ranks of the classic ‘Intehaan Ho Gayi Intezaar Ki’ in terms of tempo, and the composition too seems a bit inspired from that song. A depressed soul, drinking the night away, blurting out his emotions, but no moments which will have you scrunch your face in disgust, no disturbing moments at all. Half of this, thanks to the incredibly humourous lyrics by Mayur Puri, which have been rendered just as comically by Mika. As I said, the composition takes time to grow, and I’m not sure if it will grow or not, either! It has many abrupt twists and turns and tempo changes, which might seem weird at first, but blend in, in no time. But it did on me, so I hope that at least someone else is on my side regarding this song! 😀 Sachin-Jigar’s arrangements are interesting as well, with those weird yet creative sounds starting off the song, and the beats on which the whole song plays. In the hookline, those techno pinball-like sounds are so catchy! And the interlude, with the unexpected dhols, is awesome too, played at a higher tempo. Divya Kumar, identifiable in the backing vocals, does good too. The conclusion to this song is also extraordinary, with the tempo increase and the high-energy arrangements of techno sounds. Something that will grow on you with time; something really enjoyable and catchy! #5StarHotelSong!!

 

8. Naach Meri Jaan
Singers ~ Benny Dayal, Shalmali Kholgade, Siddharth Basrur & Rimi Nique, Lyrics by ~ Mayur Puri & Rimi Nique

Here comes another genre, another feel and another sound to the album. This time Sachin-Jigar bring in a perfect Latino-flavoured dance track, with just the right arrangements that help us groove to the beats. The opening techno sounds are just enough to grab your attention, mostly because of their attractive sound and also the catchy tune! After that, Brazilian trumpets and percussion kick in, making the Latino ambience more prominent. Benny Dayal gets his second song in the album, and he starts off with a bang, singing an effective intro to the song. Though Shalmali is part of the song, she has been surprisingly kept in the background, with the main female vocals belonging to Rimi Nique,  of ‘India’s Raw Star’ and ‘The Voice Thailand’ fame, making a powerful and perfect Bollywood singing debut, with an energetic dance number. Her smooth and sugary vocals provide a great contrast between the upbeatness of the song and themselves. She could very well become the new club sensation after Shefali Alvares and Shalmali Kholgade, in the upcoming months. Out of Siddharth Basrur and Shalmali in the background, Shalmali can be heard and identified in her parts, since her voice doesn’t really match with Rimi’s, but I couldn’t identify Siddharth anywhere, because I’ve never really got hold of what he sounds like from his earlier songs. Rimi’s English solo towards the end, is awesome, with those Brazilian beats supporting her. The song makes you feel as if you are in a Carnival in Brazil, itself! Mayur and Rimi work together in writing the song, with Mayur most probably behind the Hindi lyrics and Rimi in charge of the English ones. The lyrics are entertaining, yet nothing out of the box. Though everything falls right into its place, Sachin-Jigar’s composition and arrangements are what makes this a must-listen! #5StarHotelSong!!

 

9. Tattoo
Singer ~ Shefali Alvares, Lyrics by ~ Mayur Puri

The next song starts very, very dynamically and extremely addictively, with the freaky vocals going “Ayy-ay-ay-ay-ay-ay-ayy”, sounding a lot like they’ve been sung by Hard Kaur, followed by Shefali’s rhythmic lines that build up the suspense up until the very attractive hookline arrives. The uniqueness in Shefali’s voice works in favour of the song once again after her three songs in ‘Bombay Velvet’, and gives it a Western feel, although the lyrics, composition and beats try to keep it as desi as possible. Her rendition is really one of the best in her career in this song, unlike those songs where she gets to be following the footsteps of the male singer, and sing stuff we hardly notice all around the male singer’s lines. Here, she gets the whole song to herself, and doesn’t miss the opportunity to make it as worthwhile as she could. Sachin-Jigar’s addictive tune has to be praised too, of course for this, as it is something, the type of which we haven’t heard for quite some time in Bollywood, a masala-meets-urban type of dance track. Especially the hookline, they have composed really well, and it is something that you can’t just remove from your mind once you’ve heard it! Their beats, too are groovy and foot-tapping, making sure you enjoy yourself all throughout the duration of the song. The various experimentations that have been tried out, also do not fail to impress, and sound really cool. The interludes are mostly made of these weird sounds, that really attract you towards the song. The tune of the line “Ishq insane hai you know” is really catchy as well. Mayur Puri has also written pretty fitting lyrics to the genre of the song, perfectly mixing youth lingo with the desi words. Sensational!! The beats will make you awestruck!! #5StarHotelSong!!

 

10. Vande Mataram
Singers ~ Daler Mehndi, Tanishka Sanghvi, Badshah & Divya Kumar, Lyrics by ~ Mayur Puri & Badshah

The grand finale to the album starts in a very grand manner, with the youngest singer in the album starting it off, Tanishka Sanghvi, Sachin’s daughter, singing in perfect rhythm! We heard her in Sachin-Jigar’s ‘Coke Studio @ MTV Season 4’ episode in the song ‘Laadki’, and here she debuts in Bollywood, with the perfect song, a patriotic anthem. Daler Mehndi, rarely heard nowadays in Bollywood, backs her up with even more grand lines in his deep and impactful voice, also singing the hookline, a new take on the national song of India, ‘Vande Mataram’, which Sachin-Jigar have woven with genuine and true love for the country, as is evident in the result. Recent so-called patriotic songs in Bollywood like ‘India Waale’ (Happy New Year) haven’t managed to achieve as much emotional connect as this one does. While that one seemed like fake patriotism, this one actually awakens the patriot in you, and gives you a proud feeling to be an Indian. Another great feat that the duo has achieved with this song, is incorporating what might be the best rap ever in Bollywood in recent days, performed by Badshah. Of course, the no-nonsense and meaningful quality of the rap helps the rap to sound so good. It is full-on desh-bhakt rap written and performed wonderfully by Badshah. (Yup, that same guy who did ‘Saturday Saturday’ and ‘Abhi Toh Party Shuru Hui Hai’ raps.) Isn’t it unbelievable?! The unexpected ‘Chunar’ incorporation into the song also comes as a pleasant surprise, with Divya Kumar getting to do the honours along with Daler paaji. As it concludes with all the more grandeur, you can’t help but let the tears that were, till now, held back, escape. The “Sujalam Suphalam” chants help to conclude the song, with Divya Kumar and Daler Mehndi performing perfect, heart-touching aalaaps, and finally, Tanishka almost ending it all with her rendition of “Shubhra jyotsnaam phulkit yaamini…” before Divya and Dealer come back yet again to provide the perfect, energetic finale to the seven-minute long track. You must’ve noticed I’ve nowhere mentioned about the duration, and that’s just because I wanted to get you acquainted with how worthy the song us of your full-fledged attention for each second of these seven minutes. Sachin-Jigar’s arrangements are mostly dhols and other traditional instruments like manjeeras and a wonderful shehnaai / nadaswaram solo during Badshah’s awesome rap. The energy of the arrangements is so high, that you won’t even notice each of the instruments as an individual, but will remember them as a team. Mayur’s lyrics are full of patriotism, not the fake kind, but this time, true and genuine affection for the homeland. Tanishka with her innocence, Daler with his dynamics, Divya with his heart-toucfing performance, and Badshah with one for the best raps in Bollywood’s history together with Sachin-Jigar’s GENIUS patriotic composition, make this song something to cherish!! A seven-minute-long patriotic treat!! VANDE MATARAM!! #5StarHotelSong!!


As per the huge expectations, ABCD 2 indeed surpasses the sequel in all aspects, musically, and how!! The contrast that each track brings about, is indescribable, and Sachin-Jigar’s successful experimentations in each of them is yet another applaudable thing. They prove their versatility yet again, with an album that contains everything for everyone, from the masses to the classes! Though ‘Bezubaan Phir Se’ does disappoint when compared to the original ‘Bezubaan’, everything else is just spot-on when it comes to the departments of music, composition, lyrics and vocals. The mass appeal of each of the tracks, is also very high! Sachin-Jigar at the peak of innovation and experimentation!! ABCD 2 – Artistic, Brilliant, Creative and Deadly, Too!!

 

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: Chunar > Sun Saathiya > Vande Mataram > Hey Ganaraya > Naach Meri Jaan > Happy Birthday > Happy Hour > If You Hold My Hand > Tattoo > Bezubaan Phir Se

{NOTE: Sorry for the HUGE review once again after ‘Bombay Velvet’, but it was totally worth it!! And the album was long too, standing 10-tracks long! 🙂 }

 

Which is your favourite song from ABCD 2? Please vote for it below!! 🙂

 

FOUND: AN ODDBALL SOUNDTRACK! (FINDING FANNY – Music Review)

Album Details:-
♪ Music by:- Mathias Duplessy & Sachin-Jigar
♪ Lyrics by:- Mukhtiyar Ali, Alan Mercer & Mayur Puri
♪ Music Label:- Sony Music
♪ Music Released On:- 18th August 2014 (on Saavn) & 21st August 2014 (on iTunes)
♪ Movie Releases On:- 12th September 2014

Finding Fanny Album Cover

Finding Fanny Album Cover

 

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

To buy this album on iTunes CLICK HERE


Finding Fanny is an upcoming Bollywood comedy film, which is releasing in both English and Hindi. The film, directed by Homi Adajania and produced by Dinesh Vijan, stars Arjun Kapoor, Deepika Padukone, Naseeruddin Shah, Dimple Kapadia and Pankaj Kapur. Ranveer Singh and Anjali Patil are playing special appearances in the film. The film is a film ‘hatke’ from the usual Bollywood ‘naach-gaana’ and ‘pehli nazar ka pyaar’ types, and revolves around five characters (being called oddballs in all promotions) on a road trip to Goa to look for the love interest of Naseeruddin’s character, which is how the film has got its name, ‘Finding Fanny’. 😛 As far as the music is concerned, I was not at all expecting anything from it, and when an unknown name Mathias Duplessy was seen in the trailer, hope became even more less. Turns out he is a Spanish composer who had composed in ‘Peepli Live’ as well. When the news of Sachin-Jigar composing a track came out, I got a bit excited to hear their song. So what did I get after all from the soundtrack of ‘Finding Fanny’? Read on to find out!


1. Fanny Re:- Singer ~ Mukhtiyar Ali, Music by ~ Mathias Duplessy, Lyrics by ~ Mukhtiyar Ali

The album kicks off with a fun track, composed by Mathias and sung and written by Mukhtiyar Ali, a Rajasthani singer. The lyrics are Punjabi and Mukhtiyar has written then beautifully, and sung even beautifully. He has not sung perfectly, and that is the thing which made the song more attractive, as if someone who is not professional is singing. Had he sung perfectly, the song wouldn’t have sounded so crazy. The accordion, harmonica, banjo, Spanish guitars and violins have been arranged beautifully. All these instruments create such a fun ambience, that you feel like dancing and grooving along to the music. The small harmonica part after each line of the mukhda just sounds cute. The accordion has been placed wonderfully, and the guitars and banjoes are pretty much omnipresent. The hookline is very attractive, and will definitely attract the masses too towards this un-massy movie. Mathias has done a great job to make something that will cater to Indian audiences. The overall composition is awesome, and sounds exactly like a 1950s Bollywood song, because of the unusual rhythm (unusual for today 😀 ) Mukhtiyar’s voice is very unique, and he has provided the right craziness for the song, and unknowingly (maybe they were trying to make a serious song, who knows?) he has made the song sound crazy and zingy. This song has the capacity to attract all kinds of listeners, it’s just that good. Definitely worth listening many times! #5StarHotelSong!

 

2. Mahi Ve:- Singer ~ Mukhtiyar Ali, Music by ~ Mathias Duplessy, Lyrics by ~ Mukhtiyar Ali

The makers of the film might have not thought it enough to give one good song, because they might’ve had a doubt whether people would listen to it on loop, so maybe that’s why they added another version of it, that too right after the first. The same song is played, same instrumentations, same singer, same music composer (obviously…) and same lyr– No, not exactly same lyrics. What’s changed, you ask, in the lyrics? Well the word ‘fanny’ has been taken out, and has been replaced with ‘Mahi’ and the word re with ve. Everything else is ditto xerox copy. 😛 You can hear ‘Fanny Re’ on repeat or add both of them to a playlist called ‘Fanny and Mahi’ 😛 and listen to them on repeat together. 😛

 

3. Ding Dong:- Singer ~ Mathias Duplessy, Music by ~ Mathias Duplessy, Lyrics by ~ Alan Mercer

The third song starts with guitar playing, followed by some whistling and some vocals by Mathias, which don’t mean anything I guess. When the real words start, we get to know they’re in English. Alan Mercer has written them, and they are fine. The composition is full French style. It feels like a song which Tom from ‘Tom and Jerry’ sings to a female cat. I don’t know where I got that thought from, but it does! I can imagine him mouthing these words! The guitars support Mathias throughout the song, and the accordion is present in this song too. Mathias sings well, and with the correct expressions. The backing chorus does its job great too. The composition being very heavily influenced by French music, it won’t find many takers from the Indian masses. Also, since the lyrics are English, pure Bollywood fans would hate this song. I would say it is a great attempt at making something different (for Bollywood, that is, because this guy must be composing these types of melodies everyday 😛 ) Great attempt. Definitely hear it if you’re bored of the cheap lyrics of Bollywood masala films and the dhating-ness of Bollywood music.

 

4. Shake Your Bootiya:- Singer ~ Divya Kumar, Music by ~ Sachin-Jigar, Lyrics by ~ Mayur Puri, Dinoo

Finally, familiar names arrive, in the form of Sachin-Jigar, Divya Kumar & Mayur Puri. They have come together to make a song, with a weird name, utterly weird arrangements and equally weird lyrics. All the weirdness, but when its our two and only 😛 Sachin-Jigar, we can instantly fell, without hearing the song, that they have another great offering in store for us, hidden behind all the weirdness. The sound effects that open up this chartbuster are some of the weirdest noises ever heard in Bollywood music. The sound of an opera singer, and a church organ, some coughs 😛 (yeah, coughs!) and some sounds of a chair creaking, all add up to the madness. They build up the crazy atmosphere which is required in order to listen to this song in the right mood, or else you might be sad, and you wouldn’t enjoy the song at all, or you might be angry, and you would just get even angry after hearing this song. But they have added great sound effects to prevent all this from happening. It is a feel-good medicine! 😀 The song has been composed excellently, with Sachin-Jigar at their experimental best. The arrangements are mostly techno sound effects. Guitar is also prominent. The Goan flavour is finally evident in this song, mainly on the hookline when the chorus says ‘Heyyyy’. Divya again rocks in a non-folkish track. Looks like everyone in the industry is impressed by him, with good reason! The female singers in the background singing say maka maka maka sound hilarious. The tune is catchy as well, and will be liked by many. It is experimental and at the same time, a commercial chartbuster as well. Lyrics are by Mayur Puri, and I guess we can never be disappointed by this man! He’s awesome, and never fails to write funny, crazy and still awesome lyrics! A crazy, zany, insane, and whatnot track! Another chartbuster from Sachin-Jigar with them at their experimental best! #5StarHotelSong!


Finding Fanny is a refreshing soundtrack, with all three songs being good. The songs are definitely good, but I’m not sure whether they will all cater to all kinds of listeners. The English song especially, will have the least number of listeners, as that genre is a bit less explored in the industry as of now. The other two will definitely find more listeners, but not all will like them. Again, they are of a very different kind compared to regular Bollywood songs. They are not the kind of songs that everyone would instantly grow an affection towards. They are ‘oddballs’ among the rest of the Bollywood songs of nowadays. Nevertheless, I liked them, but since they will get limited audiences, I will rate the album accordingly 🙂 An album which stands out compared to Bollywood albums, but is definitely not suitable for masses, and that too, the masses of India, people who like romantic songs, item songs and dance songs, but all in Bollywood ishtyle!

 

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

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

 

Which is your favourite song from Finding Fanny? Please vote below! 🙂

 

Next “dish”:- Khoobsurat, Chefs:- Sneha Khanwalkar & Badshah