A PERFECT, SOOTHING, SHAB-TIME ALBUM!! (SHAB – Music Review)

Music Album Details
♪ Music by: Mithoon
♪ Lyrics by: Amitabh S. Verma & Mithoon
♪ Music Label: Tips Music
♪ Music Released On: 22nd June 2017
♪ Movie Releases On: 30th June 2017

Shab Album Cover

 

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


Shab is an upcoming Bollywood romantic drama, starring Ashish Bisht, Arpita Chatterjee and Raveena Tandon in key roles. The film has been directed by Onir, the director of films like ‘My Brother Nikhil’, ‘Bas Ek Pal’ and ‘I Am’. The film has been produced by Sanjay Suri and Onir for Anticlock Films, WSG Entertainment and Surya Entertainment. So since I don’t know much about this film, let’s jump right into talks about the music. Onir’s one-time collaborator for ‘Bas Ek Pal’, Mithoon, has been roped in for the music of this film as well, and in the process, he bags his first solo album after 2013’s ‘3G’ {Yes, it too, had one background piece by Amar Mohile, in which case his last non-infiltrated soundtrack was 2010’s war film ‘Lamhaa}. The music of ‘Lamhaa’ (and even ‘3G’, at that) was amazing, and that just goes to show us how Mithoon can free himself in solo albums, unlike the restricted Mithoon we see in multicomposer albums. For this film, since he has composed the majority of the ‘Bas Ek Pal’, in which Pritam had played the infiltrative role, we know he shares a great rapport with Onir, and can just hope that this collaboration between the two turns out to be just as great. With no further ado, let’s get into this short soundtrack!


1. O Saathi

Singer ~ Arijit Singh, Lyrics by ~ Mithoon

Of course, along comes Arijit, right in the first track because this is a Mithoon soundtrack after all, which is rather incomplete without an Arijit song nowadays. (Then again, any soundtrack without Arijit these days, is deemed as incomplete, so I don’t really know what to say.) So Mithoon starts the album of ‘Shab’ (which means ‘Night’), with a song that is perfect to listen to at night-time, preferably just before going to sleep, and I say that because it is so soothing and emotional. Yes, it has a sensuous tinge to it too, and that soothing tinge is quite like that heard in many old Western songs. The composition itself starts off in a very Western manner, with those short lines with a nuance in the middle. And Arijit renders them spot-on. After those lines, though, there is the real black magic that starts, and black magic of a Mithoon song is superior to any other composer’s black magic for me, and when Mithoon is in the form, he will definitely produce a very successful, addictive composition that just haunts you. And the portion that gives you these amazing goosebumps, is the part that goes “Tuuuu Iss Jagah…”. 💜. Arijit’s intricate nuances during that part, really give you gooseflesh such as you might never have experience before, in any song, except in a Mithoon song itself. And yet, the composition isn’t something you could call ‘typical Mithoon’ either. He seems to mould himself accordingly, each time. But one thing is for sure: after the underwhelming music he gave in ‘Half Girlfriend’, he makes up for it highly, with this single song! The arrangements just help to increase the haunting nature of the song. A very soft guitar starts off the song, and that hooks you instantly. Later, a very templated Mithoon beat sets in, but it doesn’t hamper the song at all, because at the same time, the beautiful cross line starts. And how do I even explain the hookline? The amazing variations Mithoon has made Arijit take in the hookline, each time he sings it, are just so awe-inspiring! They touch your heart instantly. The guitar and digital beats continue for the rest of the song, and nothing much more by way of arrangements caught my attention, except a couple of drum beats occasionally. Arijit’s vocals are topnotch. I don’t know why composers hesitate to give him different types of songs, and though this isn’t completely different from his stereotype, it still shines because he sings in such a nuanced manner, and not in a templated manner, as if he is trying to recreate the magic of a former song of his. This song is trying to create history on its own merit, and that is what is amazing about it. One place where Arijit just stole my heart then and there was, when, in the ‘antara‘, which actually has the same tune as the mukhda, he sung the word “Zindagi” in such a professional way, with a nice variation on the “Gi” syllable at the end of the word. And of course, he sung the hookline so beautifully, I can’t imagine anybody else singing it; they wouldn’t have done as much justice to it. The lyrics by Mithoon too, are amazing! A perfect, soothing song to start the album off. 

Rating: 5/5

 

2. Musafir

Singer ~ K.K., Lyrics by ~ Amitabh S. Verma

The way the next song starts off, with a very highly promising harp portion, you would think that it would blow you off your feet by the time the melody starts off. However, after the harp portion ends, the song just goes downhill from there, barring some occasional interruptions of catchy music. I can say very confidently though, that the composition is the major spoilsport here. The hookline provides brief respite intermittently, with the “Aiyyayyaa Aiyyayyaa” loop that, though very heavily influenced by many such songs that have released over the past ten years, is catchy nevertheless. A line in the antara, goes abruptly low-pitched, and it sounds quite forced and awkward. Mithoon, once again, succumbs to peer pressure and tries to spin up a composition that reeks a lot of many other songs, and of course, using K.K. as the singer makes it sound even more clichéd. That having been said, I must admit, that K.K. has really done a great job at singing, as always. It is the music arrangements that redeem the song’s favour in our hearts. The harp in the beginning of course, is amazing, but all throughout the rest of the song, a nice drum-and-guitars rhythm stabilises the arrangements and make them listenable. A nice interlude on a mouth organ, is a nice and pleasant thing to listen to. The second interlude on the accordion is even better! Mithoon’s clever additions of chimey sounds, also helps in keeping us listening. The lyrics by Amitabh Verma are not excellent, but good enough. Quite disappointing after the first song which was a masterpiece, this one is a one-time listen; any subsequent listens will be due to the amazing arrangements!

Rating: 2.5/5

 

3. Awaari / Awaari (Reprise)

Singers ~ Mithoon / Neha Bhasin, Lyrics by ~ Amitabh S. Verma

The first note on the guitars, of the following song gives a feeling that a jazz song is about to follow. And the riff that follows is so catchy, you instantly get drawn into the song. The composition of this song is like a breeze of fresh air after the tedious composition of the previous song. The Mukhda starts a bit too abruptly to digest, but it steadies down as it approaches the hook. The hook is a very sweet and catchy one, reminding me of Hawaiian folk. The first antara follows the structure of the Mukhda, with that oddly-placed first line. But it is the second antara that has all the magic in it. That tune is so like a Mithoon trademark magical composition. The magic of the composition only comes out full-fledgedly, though, in the Reprise, and I’ll tell you why later. First, the arrangements. While the original version sung by Mithoon, has a very breezy and pleasant touch with the nice jazzy guitars mentioned before, and a very nice Caribbean touch through the percussion, the Reprise sung by Neha Bhasin has more of a lounge-ish feel, complete with calming guitars, and a slower pace and tempo. The lovely piano and finger snaps in Mithoon’s version make it seem more lively, and more of a daytime song, if you know what I mean. But Neha’s version is beautifully arranged so that it sounds like a perfect night-time, soothing song. The Reprise really won over my heart with its simplicity and less stuff happening in the background, giving more space for the listener to get drowned in its magical sound. Coming to the vocals, recently Neha expressed her desire to sing all-female songs in an interview, and surprisingly, one of her solos released not long after that. She aces the beautiful composition with a very layered and nuanced rendition of the song, in her trademark husky voice. This time, she takes up a higher pitch than she usually sings her songs in. The slow pace that she gets to sing the song in, make the composition sound better, and that’s how we finally get the gravitas of the composition in this version. After ‘Jag Ghoomeya’ (Sultan) last year, she gets another song to shine in, solo. Mithoon, on the other hand, sings his version with a lively and playful aura around him, and manages to connect with the listeners, but not quite as much as Neha could. Amitabh Verma’s lyrics are good here as well, mostly they are a description of the male protagonist’s dream girl. Experimentation by Mithoon pays off here, with a typical Mithoon composition arranged to a playful Caribbean rhythm in one version, and a serene and graceful arrangement in the other.

Rating: 3.5/5 for Mithoon’s Version, 4/5 for Neha’s Version

 

4. Afiya

Singers ~ Mohammed Irfan & Arun Daga, Lyrics by ~ Amitabh S. Verma

The final song on the album comes in form of a Qawwali-ish song, much similar to the types of songs Mithoon used to give us before the whole ‘Tum Hi Ho’ turnabout. The composition is a very strong sad song, and has every element of Mithoon’s beautiful composing skills. The song has heavy influences of Mithoon’s ‘Banjaara’ (Ek Villain), but still manages to stand tall. The hook is beautiful, and the antaras manage to keep you listening. That lower pitched line in the Antara is mind blowing, and the way it proceeds till the next interlude, has to be some of the best parts of the song. By way of arrangements, Mithoon employs a beautiful digitally-produced rhythm that really works in the Qawwali genre. The claps always work, and work here too. The Saarangi is one beautiful addition to the arrangements, as is the santoor. These were two instruments I would least expect in a Qawwali. The vocals by Mohammed Irfan and Arun Daga are very impressive as well. They harmonize with each other and complement each other spectacularly. Amitabh Verma has written great lyrics here too, but I don’t really know what “Aafiya” itself, means! A perfect end to the album; a trademark Mithoon Qawwali!

Rating: 4/5


Shab, is quite an impressive album from Mithoon, after a long time. It has been a long time since he has been allowed to compose solo for a film, like he used to back in the day, and he lives up to expectations. Though there is an overpowering romantic theme in the album, the album manages to escape from being monotonous or repetitive. And a reason for that is, that there are only four songs. But since only one of them is distinctly disappointing, I can say that Mithoon has really performed well, considering that he never gets solo albums nowadays. Overall, this is a perfect ‘Shab’ (Night) time album, full of soothing music! 

 

Total Points Scored by This Album: 5 + 2.5 + 3.5 + 4 + 4 = 19

Album Percentage: 76%

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

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

Recommended Listening Order: O Saathi > Awaari (Reprise) = Afiya > Awaari > Musafir

 

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

CRYBABYIEE WEDS NRI!! (SWEETIEE WEDS NRI – Music Review)

Music Album Details
♪ Music by: Arko Pravo Mukherjee, Jaidev Kumar, Palash Muchhal, Raaj Aashoo & Shah Jahan Ali
♪ Lyrics by: Arko Pravo Mukherjee, Dr. Devendra Kafir, Late Shyam Bhateja, Palak Muchhal, Shakeel Azmi & Banjara Rafi
♪ Music Label: T-Series
♪ Music Released On: 24th May 2017
♪ Movie Releases On: 2nd June 2017

Sweetiee Weds NRI Album Cover

 

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

To buy this album on iTunes CLICK HERE

{P.S. The song “Shiddat (Reprise)” is sung by Mohd. Irfan on Saavn and YouTube, and Sharad Patel on iTunes. Since the former is there on two sites, I will review that}


Sweetiee Weds NRI is an upcoming Bollywood rom-com, with the clichéd theme of a wedding. The film stars Himansh Kohli and Zoya Afroz in the lead roles, and is directed by Hasnain Hyderabadwala, and produced by Cyrus Dastur, Dhaval Patel, Sada Bhuvad, and Tariq Mohammed. I couldn’t care less about the plot of the film, so heading on towards the music front. We have a multicomposer album, as is the norm for T-Series, but it is shocking to not see any of the T-Series protégés working for the film. Except maybe Arko. Jaidev Kumar, Palash Muchhal, Raaj Aashoo and newcomer Shah Jahan Ali are the other composers for the film. Jaidev just gave us a better-than-the-original mata-ki-chowki recreation of Badshah’s ‘Kala Chashma’, and he gets one song here. Palash, back after doing nothing in films for three years, gets five songs all of a sudden in this film. Let me break the suspense. It is actually two songs, one of them having four versions. Raaj Aashoo, who has composed quite passable music before, gets a song and its reprise too, while Shah Jahan Ali, newcomer, gets one song too. Let me specify that even Arko has one song only. So with five composers and ten tracks, let’s see whether this grand wedding is just all quantity or has some substance too.


1. O Saathiya

Singers ~ Armaan Malik & Prakriti Kakar, Music by ~ Arko Pravo Mukherjee, Lyrics by ~ Arko Pravo Mukherjee

Thankfully, the first song is composed by the person whose song I was waiting for and at least expecting something from, Arko. And sure enough, the song is a pleasant and enjoyable listen. The composition is a breezy one, and starts off quite pleasantly. The soothing quality of the song continues as it progresses, and the  peak point of the song is the “Humrahi” hook, which is like fresh air. (Don’t watch that part in the video song though! 😂) There is no antara as such, the mukhda is repeated twice in the song, once by the male singer Armaan and the other time, by the female singer, Prakriti. That’s why the song ends up sounding shorter than it is, because the mukhda is repeated twice and that’s it. The arrangements are breezy as Arko’s arrangements usually are. The Acoustic guitars, and shakers and those digital beats in the hookline, giving a ballroom feel, are amazing. The interlude consists of a nice, feel-good, guitar piece, followed by a refreshing flute portion, which is in turn followed by a sweet piano piece. The vocalists carry the song out with ease, Prakriti sounding amazing with the nuanced singing. Armaan sings in that slightly uncomfortable low pitch which he rarely sings in, in the beginning, but gets better in the high pitched hookline. Arko’s lyrics are typical romantic song lyrics, but suit the ambience of the composition. A simple but sweet and effective song.

Rating: 4/5

 

2. Kudi Gujarat Di

Singers ~ Jasbir Jassi, Sonia Sharma, Akasa Singh & KD, Music by (Original and Recreation) ~ Jaidev Kumar, Original Lyrics by ~ Late Shyam Bhateja, New Lyrics by ~ Dr. Devendra Kafir, Rap Written by ~ KD

Jaidev Kumar steps in here, and with another remake, after his remake of ‘Kala Chashma’ in the recent ‘Behen Hogi Teri’. As we know, this music company’s latest fad is to remake hit Punjabi pop numbers of the 90s, and after they remade ‘Ishq Tera Tadpaave’ by Sukhbir, in ‘Hindi Medium’ last month, they choose ‘Dil Le Gayee’ by Jasbir Jassi to remake this month. And the ingenious naming system of T-Series starts again, naming this one ‘Kudi Gujarat Di’, which are just the words that appear right after ‘Dil le gayee’ in the song’s lyrics. However, I’m quite pleased with this remake. The main reason is that Jaidev Kumar, who had composed the original, which was in fact his debut, has recreated it. So he keeps the flavour of the song intact, and yet manages to add a pleasant club touch. The composition has been kept the same, and lyrics have been changed. Unlike the ‘Ishq Tera Tadpaave’ remix, this one actually is a remake. The arrangements have been changed to good club arrangements that are actually enjoyable. The techno sounds here, make the song more viable for today’s audience, who is only behind club songs. The vocals are great too, with Jasbir showing that he is still sounding as young as ever. The female singers, get very less scope, and I don’t even know which of them has sung what. A rap by someone called KD sounds very spoofish and amateurish. The new lyrics by Dr. Devendra Kafir, who wrote ‘Bolna’ (Kapoor & Sons) before this, are fun but typical. An enjoyable remake. 

Rating: 3.5/5

3. Musafir / Musafir (Reprise) / Musafir (Remix)

Singers ~ Atif Aslam & Palak Muchhal / Arijit Singh / Atif Aslam & Arijit Singh, Music by ~ Palash Muchhal, Lyrics by ~ Palak Muchhal

The next song witnesses Palash entering film music after a long time; his last release was ‘Amit Sahni Ki List’ in July 2014 if I’m not wrong. And this song, he provides in as many as three different versions. The composition is a very typical, Bhatt-ish composition that at first seems very bland and boring, but sounds better the next time. And when you start liking it, you start listening to it frequently, and after listening to it a lot, you start hating it. So like almost all Bhatt-ish songs, this song has a quite uninteresting life story. Jokes apart, Palash’s composition, though nothing innovative, provides temporary relief like Zandu Balm and sticks in your head for that short while as if it has been stuck with Fevicol. (There, I managed to put ‘Dabangg’ references in my review.) The mukhda is very typical, and so is the hookline, so much so that the first time I tried to listen to the song, I didn’t go past the hook. The antara is nothing great either. But despite all this, the song somehow manages to get in your head. So it’s like a Rohit Shetty film — not perfect, but manages to get you watching ahead. The arrangements must be the reason we are able to go forward. Both actual versions (not counting the remix for now) have different arrangements. While the Atif Aslam version has a clichéd-to-the-core acoustic guitar setting with occasional electronic tabla beats, the Arijit Singh version has better arrangements, starting off with a flute, and progressing with a more unplugged-ish acoustic background, piano and guitars. The flute really impressed throughout the song, and Palash isn’t stingy with the use of the flute. Atif’s diction is very irritating in his version, and when he says “Gira” for “Ghira”,Batakta for “Bhatakta“, and “Dikka” for “Dikha“, you can’t help but cringe. Palak joins him to repeat the mukhda at the end of the song. Arijit goes solo in his version, and he rectifies all of Atif’s diction mistakes. However, Palash makes another mistake here, which is making Arijit sing the repeated mukhda at the end, making the song seem extra long. He could have stopped after the antara, or made Palak sing it for some respite from the overbearing drowsiness. The remix is a miserable attempt to quieten the two ever-at-war fan bases of Atif and Arijit, by cramming both into one song. But why would anyone want them to be together in a remix. And I can’t even say how sappy the vocal programming sounds when Palash uses it on Atif, making him sound like a goat. The beats are typical remix beats that make your ears explode. The lyrics by Palak are suitable for the song, but again, very typical and nothing innovative. I don’t even know whether I like this one or not, so I’ll say it’s somewhere in the middle.

Rating: 2.5/5 for Musafir, 3/5 for Musafir Reprise, 0.5/5 for Musafir Remix

 

4. Wedding

Singers ~ Shahid Mallya & Palak Muchhal, Music by ~ Palash Muchhal, Lyrics by ~ Palak Muchhal

Palash’s second song is the wedding song of the album, very uncreatively titled “Wedding”. The composition is something that totally belongs to an Indian animated film for children. Come on, even children’s songs are composed more thoughtfully than this. The “Saiyaan Oh Saiyaan” refrain by Palak is very cheesy. Some of it is way too sweet to digest, and the lack of usual Punjabi arrangements, makes it even more bland. Instead, Palash uses weird-sounding techno sounds that make it sound very over-the-top. And of course, the typical brass band, which is also, unfortunately, digital. A weird EDM-ish interlude tries to makes things “cool”. Palash tries to bring in a folksy feel to the song by roping in Shahid Mallya to sing it, but he sounds so uninterested, it comes out through his singing. And the lines he’s made to sing! 😵 Palak sounds too, too, sweet, like the syrup in Gulabjamun if someone adds too much sugar. Her lyrics too, are straight out of a fairy tale; the cringeworthy Hinglish takes a toll on you by the time the song ends. When EDM and an overly sweet melody spoil everything.

Rating: 1.5/5 

 

5. Shiddat / Shiddat (Reprise)

Singers ~ Armaan Malik / Mohd. Irfan, Additional Vocals by ~ Priyanka Negi, Seepi Jha & Bhuvan Ahuja, Music by ~ Raaj Aashoo, Lyrics by ~ Shakeel Azmi

With Raaj Aashoo’s song, things take an even more downhill turn. Totally overloaded by a very overbearing melancholic sound, the song exhausts you by the time it is over. The composition is something even the Bhatts would shy away from nowadays. What’s more, the song spans for over five minutes, something utterly unbearable. And two versions. So it sadly has eleven minutes of unmerited footage in this already long album. The arrangements are typical digital beats that would be a rage if it were 2007 right now. The vocalists in neither version could keep the interest of the listener in place, till the end. Armaan, trying to be K.K., disappoints like never before. On the other hand, Mohd. Irfan in his version sings in a voice that defies the beauty of his real, silky smooth voice. The female backing vocalists are irritating throughout. I would rather not talk about the unstylish lyrics. Welcome to 2007.

Rating: 1/5 for Shiddat, 1/5 for Shiddat Reprise

 

6. Zindagi Bana Loon

Singer ~ Palak Muchhal, Music by ~ Shah Jahan Ali, Lyrics by ~ Banjara Rafi

Newcomer Shah Jahan Ali comes into Bollywood with this song, and brings yet another old-fashioned, slow-paced song into the album, much to the dislike of the audience. The tune is so complicated, with so many pauses in random places, and no indication as to whether it is a happy romantic or a sad romantic song, that you just forget about it after you hear it once. Shah Jahan Ali must have been feeling like Roop Kumar Rathod felt while composing ‘Agar Tum Mil Jao’ (Zeher), or M.M. Kreem while composing ‘Jaadu Hai Nasha Hai’ (Jism), because the song is like a wannabe version of those. The slow pace doesn’t help either. Neither do the arrangements. The guitars are played so typically, the lack of innovation makes you go crazy. Palak tries to bring nuances like Shreya Ghoshal into her singing, succeeding at none of them. She sings in such an unnaturally high-pitched voice, it even surpasses the cheesiness of ‘Kaabil Hoon’ (Kaabil). The lyrics of the song are cringeworthy again. Another staid composition.

Rating: 1.5/5

 

7. Kinara

Singer ~ Palak Muchhal, Music by ~ Palash Muchhal, Lyrics by ~ Palak Muchhal

Finally the album comes to an end. But waiting right at the end for us, is another version of ‘Musafir’ by Palash Muchhal. This time it has been disguised under another name, ‘Kinara’ because the word ‘Musafir‘ doesn’t come in the new lyrics. But it is a version of ‘Musafir’. This album has so many versions of ‘Musafir’, which means tourist. As if the album is a tourist destination! The composition and lyrics are much the same, except one line in the hook, where the lyrics have been changed. The arrangements comprise an overtly sentimental combination of violin, piano and jingle bells. Palak tries again to imitate Shreya, when she does her Female Versions, like the one of “Sunn Raha Hai” (Aashiqui 2) and that of “Hasi” (Hamari Adhuri Kahani). Even Palash tries to imitate the arrangements of the former, with those jingles and the occasional tabla. Clearly, the makers were under the false impression that the public would love ‘Musafir’ so much that they would hover around long enough to wait for a mediocre female version. 

Rating: 1.5/5 


It looks like the album of Sweetiee Weds NRI was finalized years ago. Dated melodies, arrangements that originated sometime before the dinosaurs, and a tracklist trying to imitate ‘Aashiqui 2’ with vocals that sound bland to say the least and the same vocalists used over and over again, this album isn’t really as good as the makers made it out to be when they were promoting it. Instead of Sweetiee Weds NRI, the name should’ve been Crybabyiee (you can throw a few more e’s in there if you want) Weds NRI!!

 

Total Points Scored by This Album: 4 + 3.5 + 2.5 + 3 + 0.5 + 1.5 + 1 + 1 + 1.5 + 1.5 = 

Album Percentage: 40%

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

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

Recommended Listening Order:  O Saathiya > Kudi Gujarat Di > Musafir (Reprise) > Musafir > Wedding = Zindagi Bana Loon = Kinara > Shiddat = Shiddat (Reprise) > Musafir (Remix)

 

Remake Counter:
No. Of Remakes: 14 (from previous albums) + 01 (from Sweetiee Weds NRI) = 15

 

Which is your favourite song from Sweetiee Weds NRI? Please vote for it below! Thanks! 🙂

A TRIED-AND-TESTED MACHINE! (MACHINE – Music Review)

Music Album Details
♪ Music by: Tanishk Bagchi, Dr. Zeus & Viju Shah
♪ Lyrics by: Arafat Mehmood, Niket Pandey, Ikka, Mohammed Irfan, Jasmine Sandlas, Shabbir Ahmed & Late Anand Bakshi
♪ Music Label: T-Series
♪ Music Released On: 21st February 2017
♪ Movie Releases On: 17th March 2017

Machine Album Cover

 

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

To buy this album on iTunes CLICK HERE


Machine is an upcoming Bollywood romantic thriller starring Kiara Advani and Mustafa Burmawalla, who is the son of Abbas Burmawalla. The directors of the film are Abbas-Mustan themselves, and the movie has been produced by Jayantilal Gada, Haresh Patel, Pranay Chokshi, Abbas-Mustan Films productions, and Dhaval Jayantilal Gada. The film revolves around two racing enthusiasts who fall in love. Abbas-Mustan’a films are known as very massy thrillers, and this seems to be no exception. Music seems to play a very important part in their films, and they make it a point to promote their films’ albums heavily before the movie’s release. And they’ve worked quite well with whatever compoosed they’ve worked with in the past. With the exception of their latest movie before this, ‘Kis Kis Ko Pyaar Karoon’ which had quite a dull album (and it wasn’t a thriller), many of their albums have been hits. They’ve collaborated with Jatin-Lalit (‘Khiladi’), Anu Malik (‘Baazigar’, ‘Baadshaah’, ‘Soldier’, ‘Ajnabee’), Himesh Reshammiya (‘Humraaz’, ‘Taarzan: The Wonder Car’, ‘Aitraaz’, ’36 China Town’) and Pritam (‘Naqaab’, ‘Race’, ‘Players’, ‘Race 2’). All of these albums were quite popular. However, the album to ‘Kis Kis Ko Pyaar Karoon’ was below even that. And it was a multicomposer album! This time around, the duo try to change that by roping in a single composer for five songs of the album, and a guest composer for one song. The man behind most of the album here is Tanishk Bagchi, who is currently riding on the success of his two enjoyable songs from ‘Badrinath Ki Dulhania’. He has worked with the duo in ‘Kis Kis Ko Pyaar Karoon’, for one song (the best song of that album). The guest composer is Dr. Zeus, who also had a song in ‘Kis Kis Ko Pyaar Karoon’. I’m expecting quite a lot from Tanishk though, so let’s jump right in!


1.Itna Tumhe

Singers ~ Yasser Desai & Shashaa Tirupati, Music by ~ Tanishk Bagchi, Lyrics by ~ Arafat Mehmood

(Can’t find any lyrics worth this space)

The soundtrack opens wih a romantic song filled with the Bhatts’ templated sound, but also paying “homage” to another old song, which, since it hasn’t been credited, has to be a “coincidence”. The song’s first line itself makes you instantly think of “Aakhir Tumhe Aana Hai” (Yalgaar), but all the coincidences flee at the end of that line, as composer Tanishk Bagchi sets the song to its very own composition that is quite catchy in itself. Now, Tanishk has never really given such a templated song before, at least not in the romance genre of songs, so it takes a little time to get accustomed to the fact that Tanishk has composed it. Till then, though, the song grows on you. The similarities in the first line of the mukhda notwithstanding, the rest of the song fares quite well as a romantic Bollywood song. Some places sound very heavily heard-before, but that doesn’t lessen the likeability in any way. The antara with its high notes sounds a bit uncomfortable to the ears at first, but sets in after a couple of listens. As a whole, it sounds like a song that the Bhatts had reserved but then never got a film to add it into. The English interlude by Shashaa Tirupati sounds very generic, but again, good enough. The arrangements are what makes the song even more likeable — the strings at the beginning are nice, and the digital beats are charming. Not to mention the cool twinkling sounds that Tanishk had added, which adds considerably to the ‘mechanical’ sound of the song, given that the name of the movie is “Machine”. Yasser Desai (who had dented last year with a couple of songs in ‘Beiimaan Love’ which I had no time to review) doesn’t quite fit in with the song, and his voice is kind of hard to digest; it sounds too robotic. Autotuned heavily, it is quite weird to listen to at first, but as everything else does, his voice also sets in later. Shashaa does her English interlude beautifully, but other than that, doesn’t have any other lines. Arafat Mehmood’s lyrics are quite laidback, not to mention that the conscious effort to add the “..aana hai” and other rhyming stuff at the end of every hookline sounds a bit too forced! An above average start to the soundtrack, but gets the “Machine” theme right, because of the great arrangements and accidentally mechanical vocals.

Rating: 3/5

 

2. Chatur Naar

Singers ~ Nakash Aziz & Shashaa Tirupati & Ikka, Music by ~ Tanishk Bagchi, Lyrics by ~ Niket Pandey, Rap by ~ Ikka

(Utterly banal lyrics!)

Next up we get a party song, which is mandatory in every Abbas-Mustan film, so that they can show the actor driving up in a cool Lamborghini, and then the branded sunglasses of the actress. This time, without Pritam, they have to resort themselves to a quite low-standard party song (I believe that Pritam has given them the best party songs in the past) which tries to be a remake of the classic ‘Ek Chatur Naar’ (Padosan) but fails, because it sounds nothing like it except in bits and parts. And since they haven’t credited the old song’s musicians, I’m taking it to be a ‘spin-off’ like I did for ‘Mere Miyan Gaye England’ (Rangoon). The composition is upbeat and might (notice that I say MIGHT) get Gen Y dancing to its beats, which I still think are too loud for today’s music sensibilities. Though the composition is something I wouldn’t care to listen to again, the arrangements are quite youthful and lively. The beats really do make the song enjoyable, and Tanishk’s offbeat additions make the arrangements all the more weirdly likeable. Weird vocal tweaks added in the weirdest places are quite funny to hear. Otherwise, the composition is quite generic. The vocals are enjoyable as well. Nakash Aziz is enjoying himself in this party track, and his variations make the song worth listening. Shashaa Tirupati sings her lines like a typical club song singer, and she gets her voice programmed heavily as is the tradition in such songs. Ikka’s rap is very short thankfully, and it is not that great either. The other lyrics by Niket Pandey are another set of words more bent towards rhyming instead of making sense. Heard as a club song, it might work. But if you hear it thinking it is a remake, it will spoil the song.

Rating: 2/5

 

3. Brake’An Fail

Singers ~ Jasmine Sandlas, Rajveer Singh & Ikka, Music by ~ Dr. Zeus, Lyrics by ~ Jasmine Sandlas, Rap by ~ Ikka

“Teri Meri Kahaani, duniya yaad karegi soch le,
Brake’An ne mereya fail te sajjna, rok saki te rok le!”

– Jasmine Sandlas

Dr. Zeus enters the soundtrack with his guest composition, another club/party song. Abbas-Mustan seriously can’t go without adding at least two of these in their albums! The song surprisingly, shows no resemblance to previous Dr. Zeus songs, and I was really surprised when I couldn’t find any of those screeching ladies and that trademark Dr. Zeus shattering glass in the song! The composition is quite a melancholic one, considering that it is for a club song. I mean, if he removed the club beats, it could just as well go as an undercover agent and place itself in a Sanjay Leela Bhansali soundtrack as the melancholic track. (Okay, just kidding!) The hookline “teri meri kahaani…” is quite catchy, and the rest of the song too, isn’t bad at all. The composition is actually catchy for once. It is one of those Dr. Zeus songs (probably the only one?) that doesn’t irritate. The arrangements are suitable for the song, and this time, Dr. Zeus aptly replaces those screaming ladies (from ‘Happy New Year’s ‘Lovely’ and ‘Ek Paheli Leela’s ‘Desi Look’) with car brake sounds, according to the theme of the movie, car racing. Jasmine’s vocals suit the song well, and the song wouldn’t have had the same impact with somebody else singing it. Rajveer Singh has quite little to contribute but Ikka has an extra long rap in the middle somewhere, which we just have to wait for it to end. Jasmine herself writes the lyrics for this one, and they are completely in Punjabi, and they seem quite meaningless, considering that it is a Club song. A good song from Dr. Zeus after all those screaming ladies and all that shattering glass.

Rating: 3/5

 

4.Tu Hi Toh Mera

Singer ~ Yasser Desai, Music by ~ Tanishk Bagchi, Lyrics by ~ Arafat Mehmood

(Very staid lyrics!)

Tanishk re-enters wih the fourth track of the album and one can’t help but think of Disney Princesses when this track starts. The arrangements really increase the Disney feel of the song. The composition is quite likeable until that jarring Pakistani pop styled line comes up and the hookline that follows too, follows the same template. The parts where the tempo is slow and everything actually sounds like a ballroom dance, are the best parts of the song, while everything else sounds below average, straight out of a Bhatt movie. The arrangements too, excel in the ballroom portions of the song. The sparkling sounds, coupled with the extravagant strings, set very fantastic arrangements to the song, and especially the beginning of the song, which is very waltzy, sounds amazing. But again, the parts before and during the hookline, sound very laidback and clichéd. There is a nice Spanish interlude which is enjoyable as well. Again, Yasser tries to be Arijit desperately, and one can’t help but sit and point out parts where he sounds a LOT like Arijit, which is almost the entire song. It would’ve been better for the makers to have just called in Arijit. Arafat Mehmood’s lyrics here too, are very very heard-before and offer nothing new. A Bhatt-Disney fusion doesn’t work so well.

Rating: 2/5

 

5.Tera Junoon

Singer ~ Jubin Nautiyal, Music by ~ Tanishk Bagchi, Lyrics by ~ Arafat Mehmood & Mohammed Irfan

“Jeena muhaal hai abb, tera sawaal hai abb,
De bataa, tu zara, kya naam loon main tere pyaar ka!”

– Arafat Mehmood & Mohammed Irfan

Finally, here comes what I was expecting from Tanishk after he showed us his versatility in ‘Badrinath Ki Dulhania’. The composer takes his much-used desert-nomadic styled arrangements (he used it before in ‘Rabba’ from ‘Sarbjit’) and weaves a wonderful melody through it. The composition is just so melodious, it hooks you right away. It is one of those songs that you end up loving even though they are so ordinary, simple and heard-before. However, what made me love this one in spite of all these factors, was the simplicity of the composition, the fact that the déjà vu in the composition didn’t matter to the makers, and they just presented this song with a very simple coating. The arrangements are fascinating, with the mandolin rising high above everything else, even the strings. The claps give wonderful beats that are the highlight of the song. The overlying Arabic flavour works wonderfully in favour of the song. And the vocals are beautiful! Jubin sings in a way I’ve never heard him sing before, so much so that I hardly recognized him the first time I heard the song, until I read the credits! Well, it just goes to show his versatility. Arafat Mehmood is joined by Mohammed Irfan the singer to write this one, and I must say, the composition saved the lyrics, which resort to weird-sounding words to make it work. A great song hidden in an album of songs that are concentrated more in the “average” zone!

Rating: 4.5/5

 

6. Cheez Badi

Singers ~ Udit Narayan & Neha Kakkar, Original Composition by ~ Viju Shah, Music Recreated by ~ Tanishk Bagchi, Original Lyrics by ~ Late Anand Bakshi, New Lyrics by ~ Shabbir Ahmed

“Tu Cheez Badi hai mast mast, tu cheez badi hai mast!”

– Late Anand Bakshi

The last song of the album was a later addition in that it released much later than the other five tracks did. And since I’m always so late in writing reviews, I get the advantage of adding such latecomer songs in my reviews. 😉 Anyway, about the song. As you might already have gauged by reading the name, the song is a remake (this time an official one) of the 1994 super-duper hit track by Viju Shah (who was one of the most innovative young composers of the time) ‘Tu Cheez Badi Hai Mast Mast’ (Mohra). And the man who has been churning out one remake after another, Tanishk Bagchi, is in charge of this one. It was a relief to see him remaking it, instead of T-Series’ other go-to’s for remakes these days, Gourov-Roshin. So after two great 90s songs remade, Tanishk remakes this one with the club theme in mind. It starts off like an ordinary club song, but then that trademark “Pa ni saaaa…” from the old song comes in to indicate that it is a remake of that song. The composition contains almost nothing new except for a short line that Udit Narayan sings (he has redubbed everything for this song; his voice clipping hasn’t been retained from the old song). And yes, that line sounds quite odd in the song. It doesn’t gel in well with the rest of the song. The previous two remakes by Tanishk of course, had the old song’s tune retained, so this one is an odd one out that way. I liked the way he brought the old song’s antara’s tune to become the mukhda and then the antara too, of this version. The arrangements disappoint, with very everyday club beats. The mandolin playing the hookline’s tune provides respite, and so do the electronic tabla beats, but otherwise, the EDM is quite heavy, and too loud as well. The interludes both consist of very heavy EDM that is tough to digest with one of your favourite old songs. I enjoyed the small portion where Tanishk incorporated the old song though, in the second interlude. Vocals by Udit Narayan are awesome; he always manages to sound young! Neha Kakkar too, sings her parts well, without adding unnecessary nuances anywhere. Shabbir Ahmed’s additions to Anand Bakshi’s original lyrics are not any more crazy than the original, and the part which goes “zabardast dast” really calls for a cringe. Not one of Tanishk’s best remakes, but I would say it isn’t his “dosh dosh” as new lyrics have been added, unlike his other remakes (with the exception of the “Badrinath” title song).

Rating: 3/5


Machine seems to be an album miserably bowing down to supposed public demands. There’s a remake, three club songs, three Bhatt-ish romantic songs (of which one excels). Tanishk’s songs range from one sode of the spectrum to the other. If some are utterly boring, some are just as beautiful. Dr. Zeus gets it right with his sole song, but it won’t be something on my playlist for long. A tried-and-tested machine!

 

Total Points Scored by This Album: 3 + 2 + 3.5 + 2 + 4.5 + 3 = 18

Album Percentage: 60%

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: Tera Junoon > Brake’An Fail > Itna Tumhe = Cheez Badi > Tu Hi Toh Mera = Chatur Naar

 

Remake Counter:
No. Of Remakes: 07 (from previous albums) + 01 (from Machine) = 08

 

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

A WEAK AND UNDEDICATED ATTEMPT!! (7 HOURS TO GO – Music Review)

Music Album Details
♪ Music by: Sugat-Shubham & Hanif Shaikh
♪ Lyrics by: Shraddha Bhilave, Sugat Dhanvijay, Hanif Shaikh & Manoj Yadav
♪ Music Label: Zee Music Company
♪ Music Released On: 13th June 2016
♪ Movie Releases On: 24th June 2016

7 Hours To Go Album Cover

7 Hours To Go Album Cover

 

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

To buy this album on iTunes CLICK HERE


7 Hours To Go is an upcoming Bollywood investigative thriller, starring Shiv Pandit, Sandeepa Dhar and Natasa Stankovic is lead roles. The movie has been directed by Saurabh Varma and produced by Nitika Thakur. The movie revolves around a man who has kidnapped seven people as hostages, and asks the police to solve a crime within 7 hours. The music of the movie has been given by debutant duo Sugat-Shubham, and a man who we know as the mastermind behind songs like ‘Aye Khuda’ (Paathshaala) and ‘Tose Naina’ (Mickey Virus), Hanif Shaikh. The latter has composed one song out of four, while the remaining three are by the duo. Out of those three, one is in two versions, making it a total of only three original songs. Hanif’s song has been remixed by Sumit Sethi. Let’s see what this short album for a thriller has to offer! 🙂


1. Tere Naina
Singers ~ Mohammed Irfan & Sarodee Borah, Music by ~ Sugat-Shubham, Lyrics by ~ Shraddha Bhilave & Sugat Dhanvijay

It’s melancholia that starts off the album, with this song, a romantic sad song. The newcomer duo don’t seem to bother whether they’ve made the song catchy or good enough, and they seem to be so careless that the notes in the song don’t even complement each other, and it seems like they change tracks unnecessarily, and so many times, too! At one time, the composition is very pleasant, while the next moment, it turns very sinister and melancholic. For example the mukhda seems like the starting of a proper romantic song, while the hookline and antara is so heavily melancholic, that it just seems out of place. The arrangements are typical Bollywood sad song arrangements, with durns and rock guitars and acoustic guitars. The piano too, fails to gain your attention. The singers seem uncomfortable as well. Sarodee Borah’s voice isn’t as sweet as required for the composition, and I feel someone like Palak Muchhal or Akriti Kakar would’ve been way better. Mohammed Irfan fails to impress, and that’s very rare! His usually soft-as-silk voice doesn’t sound completely mellifluous here, but wherever it does, it sounds good. He does better out of the two. Shraddha and Sugat come together to write a very ordinary song, which contains all the Bollywood clichés right from “Tu Hi hai Saanson mein” to “Mere Dil Ki gustaakhiyaan maaf Karna”, which will just make you roll your eyes. A below average debut by the duo. Even the presence of a strong male singer cannot save this mediocre composition!

 

2. Zinda Hota Mein / Zinda Hota Mein (Reprise)
Singers ~ Nikhil D’Souza / Jubin Nautiyal, Music by ~ Sugat-Shubham, Lyrics by ~ Shraddha Bhilave

The next song has two versions. One by Nikhil D’Souza and one by Jubin Nautiyal. Thanks to the makers of the movie, now we can actually hear the difference between their voices. 😛 Anyway, Nikhil has been given charge of the original version, while Jubin takes up the reprise. The composition by the duo is very slow-paced and melancholic, but this time, the melancholia actually appeals to the listener. The notes have been placed together well and sound perfectly emotional as a whole. The mukhda starts right off, without any prelude or anything, and hooks you from the beginning. The first antara too has the same tune as the mukhda, while the second has a different tune to it, which is all-the-more appealing. What’s most important is that the song doesn’t even try to be good. It’s just innately good. 😛 The mukhda repeats after the second antara, and the hookline wraps up the song. All in all, the song composition and structure is very good. The arrangements in the original version are more sober, with barely audible beats that must be to highlight the lyrics and vocals. There are highly intriguing strings throughout the song, and good percussion in the hookline, though. Rock has been used, but very softly. However, the reprise takes the rock into full swing, with blaring guitars and drums which have shed all their inhibitions that they had in the original version. Personally, I found the reprise’s arrangements better. The strings are way more ravishing here, and make an almost climactic ambience, before the hookline. The guitars have been used wonderfully in the prelude and interludes. This version has more instrumental pieces than the first one, and that makes it more enjoyable. I can see that both versions will play an important role in the progression of the story, and both have different themes. Coming to vocals, Jubin impressed way more than Nikhil. Texture, dedication, pronunciation — they’re all better in Jubin’s version. Nikhil’s voice texture sounds weird, and it seems like he has not sung wholeheartedly, but Jubin has sung confidently and dedicatedly. As for pronunciation, why does Nikhil say “saajishon” instead of “saazishon”!? And why didn’t the duo rectify that? 😛 Anyway, Jubin’s is better. Shraddha’s lyrics are way better than those which she wrote in the previous song, along with Sugat. All in all, the song is a ravishing experience, which will bring one to tears if heard with a proper sound system! Nikhil’s version misses it, but Jubin’s version gets to be a #5StarHotelSong!!

 

3. Dalinder Dance
Singer ~ Hanif Shaikh, Music by ~ Hanif Shaikh, Lyrics by ~ Hanif Shaikh & Manoj Yadav

Hanif Shaikh, the composer of superhit calm songs like ‘Aye Khuda’ and other songs from “Paathshaala” and ‘Tose Naina’ (Mickey Virus), steps in for the last song of the short album, a dance song as is evident from its name. Although it is a dance song, it isn’t enjoyable at all. It is a sheer disappointment from the composer. The composition is something that seems to be Bollywood’s try at making a ‘Zingaat’ (Sairat), but they seem to not have understood that only Ajay-Atul can make that kind of stuff. 😂 Random notes put together to result in an utterly annoying tune, rendered in a sickly annoying voice of the composer himself, is not your ideal dance song. I doubt it’ll be a rage among the masses either! The lyrics (Manoj Yadav — ‘Pyaar Ki Maa Ki’, ‘Veer Veer Veerappan’ — shall I say anything more? You get my point) are disgraceful. By the way, ‘Mercedes’ is pronounced as “Merkadis”, which not even someone who is illiterate does, nowadays. Hanif & Manoj come together and write something that makes as much sense as a bird chirping. Even birds chirping, make more sense than this. :\ SKIP!


7 Hours To Go has one out of four tracks worthwhile of listening. The others are a random blend of melancholia and randomness. The duo has performed better than Hanif, but still not so good. The album could have been many times better! It was overall a weak attempt, undedicated and incomplete!

 

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

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

Recommended Listening Order: Zinda Hota Mein (Reprise) > Zinda Hota Mein > Tere Naina > Dalinder Dance

 

Which is your favourite song from 7 Hours To Go? Please vote for it below! Thanks! 🙂

THE GOGAVALE BROTHERS HIT THE RIGHT CHORDS!! (BROTHERS – Music Review)

Music Album Details
♪ Music by: Ajay-Atul
♪ Lyrics by: Amitabh Bhattacharya
♪ Music Label: Sony Music
♪ Music Released On: 24th July 2015
♪ Movie Released On: 14th August 2015

Brothers Album Cover

Brothers Album Cover

 

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

To buy this album on iTunes CLICK HERE


Brothers is a Bollywood action drama film that released on 14th August, 2015. The film is directed by ‘Agneepath’ fame Karan Malhotra, and produced by Karan Johar, Hiroo Yash Johar and Endemol India. The film stars Akshay Kumar, Sidharth Malhotra, and Jacqueline Fernandez in lead roles, and Jackie Shroff and Shefali Shah in supporting roles. The story revolves around two brothers, who hate each other, and how situations arise that make them fight against each other in an MMA (Mixed Martial Arts) competition. David, the elder brother played by Akshay Kumar, is married to Jenny (Jacqueline) and their daughter suffers from a kidney ailment. How the two brothers eventually come together forms the plot of the story. Yes, I didn’t hear many excellent reviews for this film, nor am I eager to watch it anytime soon, but one thing I was really excited about, was the music. I know I’m late for the review, but I had heard the album the day it released and … Well, read the review to know! 😉 The music has been composed by the same duo that rarely is heard in Bollywood, by whenever they compose, they take the industry by storm. It happened about eight months ago when their song from ‘PK’ became a rage in the nation, perhaps even the world! Before that, their single in ‘Bol Bachchan’ and their album for ‘Agneepath’ was loved by the masses and classes alike. Now they’re back with the ‘Agneepath’ team, to provide the score for yet another movie. Yup, you guessed it! I’m talking about Ajay & Atul Gogavale!! After a long time, they’re coming to compose the full album of a Hindi movie, and expectation are pretty high. After all, they’ve set a very high bar to cross with ‘Agneepath’! So, do they cross the bar, or just miss it, or come nowhere near it?? Read on to find out! 🙂


1. Brothers Anthem
Singer ~ Vishal Dadlani

Enchanting, haunting piano notes start off the album to this drama film. And what follows just blew my mind away! The first one minute holds such wonderful magical stuff, that you are sure to fall in love with this song in the first one minute itself. And get this — it’s all just instrumental for that one minute!!! How wonderfully Ajay-Atul have arranged the instruments in different layers, each instrument kicking off after some eight beats, giving the prelude to the song an enormous depth. The piano notes, joined by the impactful percussions, which in turn are joined by awesome strings, and then an inspirational brass portion, followed by some majestic female humming. Once Vishal Dadlani starts, Ajay-Atul have already managed to create an anthemic atmosphere, one that gives you the energy and makes you enthusiastic enough to complete any task. And we know Vishal, he’s an expert in passing on his immense energy to the listener, just like a vibrating body passes on its energy to the air around it. And he does just that! The mukhda is less of a typical Bollywood mukhda and is more like a short introduction to what’s going to come next. After singing a few lines, the orchestra takes over again, and we are treated to a grand exhibition of various instruments, ranging from the motivational percussions, to a very energizing vocal chorus, some goosebump-invoking strings, and the regal trumpets! It altogether makes for a really interesting interlude before the so-called antara. And I’m calling it ‘so-called’, because its tune is more like that of a mukhda!! Some unusual composition Ajay-Atul have placed in front of us, yet making sure it has us captivated right from the beginning to the end. The backing vocals do a great job in keeping up the motivational aspect, not letting it die for even one second. Vishal has a wonderful portion to sing after the backing vocalists do their job; the tune of which is really motivational and anthemic in the true sense of the term. The second interlude brings forth an impressive drums solo piece, which would keep the listeners glued to the song! Other percussion in this interlude is also commendable. That hook tune, the haunting one, is really beautiful, and using it in this song was a great decision, because it sounds really motivational! Before the song ends, the tune can also be heard played on piano and sung by the choir. And the grand finale to the song is done by a haunting choir part, which increases the suspense and ends the song at the climax of the suspense! It leaves a huge impact on the listener! Amitabh has left no stone unturned in giving the song lyrics that would appeal to the youth, and also such that it would be suitable for an anthem! The words, when put to Ajay-Atul’s very fine and mature melody, really spring to life! An anthem indeed!! Something motivational, inspirational after a long time, and something which is perfectly PERFECT!! #5StarHotelSong!!

 

2. Gaaye Jaa (Female Version) / Gaaye Jaa (Male Version)
Singers ~ Shreya Ghoshal / Mohammed Irfan

Next up, we have a haunting, pensive melody, that is sure to make your eyes well up with tears. The strength of the melody is such that you can’t help but get emotional, no matter how rock-hard you and how much of a macho-man (or macho-woman, for that matter) you may be from the inside. First, we are introduced to the female version, sung mellifluously by Shreya, the modern nightingale of Bollywood music, and a regular in Ajay-Atul’s albums. The moment the song starts, with a showcase of her great command over vocals, humming a haunting tune, the suspense in you keeps on growing as to what for the song has been presented in such a dramatic way. Yes, the song does come across as overdramatic in places, but the absence of a trademark Bhatt stamp, helps listeners to swat that thought away, instantly. Ajay-Atul have woven a touching melody, that touches your emotional strings and makes sure it leaves you in a thoughtful state. The various attractions they have added throughout the song, like the church-templated chorus, and the beautiful instrumentation in the interludes, ensure that the listener does not go anywhere in the six-odd minute song. The female opera-like voice in places increases the haunting effect manifold and leaves an impact on the listener. Mohd. Irfan, though, in the male version, does not create even half the impact which Shreya creates in hers, maybe because of the expression he has unknowingly left out of his rendition. In all aspects other than the vocals, the song is unaltered, yet the choice of Irfan doesn’t seem perfect as that of Shreya had seemed for the former version. Where Shreya sounds like a mother singing for her son in her version, Mohd tries to bring in the aspect of a son singing for his mother in his version, succeeding only to some extent. Amitabh’s lyrics are just as touching as the composition, and if you miss them, the emotional impact of the song will be considerably less than it is when you do pay attention to them! Instruments like flute, strings beautifully grace the composition, and make it perfect as an emotional breakdown song. The antaras have been composed in a slightly lighter-to-the-ears manner, unlike the mukhda which initially scares you with its straightforwardness. Heart-touching stuff from Ajay-Atul, perfectly showcasing the mother-son relationship. A great combination of Indian Classical and Western music styles! Shreya’s version is more recommended than Irfan’s! #5StarHotelSong!!

 

3. Sapna Jahan
Singers ~ Sonu Nigam & Neeti Mohan

After the emotional melody that I’m sure brought your eyes to tears, it’s time for an enchanting romantic track. First of all, I don’t think Bollywood listeners are familiar with the magic Ajay-Atul can infuse into their romantic songs. The romantic songs they’ve given previously for Bollywood movies, fit perfectly into the “romantic song” category, and so naturally Bollywood music listeners have underestimated them in this genre. ‘Saathiya’ (Singham) and ‘O Saiyaan’ (Agneepath) were some of the remarkable compositions from them under this category, out of their previous albums; besides that, I don’t think they’ve given any memorable ones. But hold that thought just for a second… And listen to this song. Because I’m sure, when you’re done hearing this song, you’ll be shocked as to why they haven’t come up with romantic songs like this before in Bollywood — or did the makers of the films not need any? Anyways, this song will wash away all your previous misconceptions that Ajay-Atul can compose only typical romantic songs, and this idea will be immediately replaced by the idea that they can compose anything! Haunting, charming, melodious, lilting, call it whatever you want, but you will never find a single flaw in the song as far as the composition goes. Above that, when you’ve got someone as prestigious as Sonu Nigam lending his voice for your song, what’s the reason to worry? Sonu, another one of Ajay-Atul’s favourites (I really like the way in which they don’t steer clear of some of the seasoned singers even with the inflow of the newer ones) brings the touch of simplicity as well as complexity in each note, and the soft texture of his voice makes it sound all the more heavenly. As for Neeti, I can’t seem to fond anything perfect to say about her in this song!! She too imparts the soft, yet divine and supreme quality in her rendition, leaving the listeners spellbound. Arrangements are just as majestic, with the incredibly enticing piano notes, strings and those oh-so-lovely brass parts. The real magic lies in the awesome orchestration in the hookline “Mere Dil mein jagah khuda Ki khaali thi…”. The tune of that line is also enough to stifle a waah! from your lips, not to mention that wonderful exotic percussion. Neeti’s parts in the antara, are some of the best-composed lines in recent times of Bollywood music. I fell in love with them instantly, maybe because of that recognizable A.R. Rahman feel they carry, either knowingly or unknowingly done. Amitabh too leaves not a single stone unturned in making sure that his lyrics touch the soul. The concept of the lyrics itself is genius! When it’s Sonu with Ajay-Atul, you cannot expect anything less than this!!! But you can definitely expect more in the future!! Extraordinary! #5StarHotelSong!!

 

4. Mera Naam Mary
Singer ~ Chinmayi Sripada

After hearing those first three impressive songs and then finally coming to the end of the album, you feel as if you’ve reached the end of this album a bit too soon! But imagine your surprise when you find out that it is an item song that has been kept at the end of the album which has had very occasional dull moments till now! This very fact kills all the excitement. However, considering what Ajay-Atul had made in ‘Chikni Chameli’ (Agneepath), which I believe was quite tolerable unlike all the other songs of this genre, there was still some hope left in me that they could do the same thing with this song too. Much to my disappointment, I did not find anything all that interesting in the song. ‘Chikni Chameli’ was a recreated tune from one of the duo’s Marathi songs ‘Kombdi Palali’ (Jatra), but they had altered it in many places. Unfortunately, this one too is a remake of the other song ‘Ye Go Ye Ye Maina, also from ‘Jatra’ (it had only two songs :P) And Ajay-Atul have not seemed to make any effort in changing anything from the Marathi song while remaking it. Everything from the tune to arrangements are pretty much the same, except that the arrangements have been a bit more revived and infused with life (they were pretty dull in the original). Here too, they don’t sound that magnificent either! Another drawback is the very wrong choice of singer here. Chinmayi for a romantic song, and I’m fine with it, but for an item song?? Not okay!! With her soft voice, she contradicts the whole energetic aspect that an item song should ideally carry, and this kills the song. Definitely, Shreya or Shalmali could’ve done way better! As for the lyrics, Amitabh seems to have been in a hurry to write something, just so that it fits into the tune and rhymes. It doesn’t appear that he was interested at all whether whatever he wrote made sense. And lastly, how many times does it take to tell someone your name before it gets carved in their brain? Even a mathematics formula gets stuck in our head instantly. But Mary seems to think that she has to remind us every one minute what her name is and how sure she is of her love for us! Pathetic! If there’s anything that might make you groove to the song, it’s the traditional Marathi folk beats that just manage to get you dancing a bit, after which they lose their impact as well. By the time the song ends, you probably would’ve made up your mind never to hear it again! But you’ll have to hear it sometime or the other, because this is the country where such songs are the only ones that are noticed!! Not an ideal ending to an album that impressed so much with its other songs!


Brothers can rightly be called Ajay-Atul’s comeback to full albums. After leaving us craving for more after ‘Agneepath’, they finally decide to show up with their next full album after more than three years! And they do not leave without leaving us happy and enchanted. All four songs are of different varieties, out of which the item song is sure to fail because of less attention given. But barring that, the other songs have not much in them to complain about! Especially ‘Sapna Jahan’! So the Gogavale brothers show their immense talent in a short album, which will, unfortunately, also have a short playlist life too, because of the failure of the film. However, for true music lovers, it will always remain there as a source of calmness gifted to us by the wonderful Ajay-Atul! 

 

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: Sapna Jahan > Brothers Anthem > Gaaye Jaa (Female Version) > Gaaye Jaa (Male Version) > Mera Naam Mary

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

Finally, Thanks for bearing with my late, yet long review!! 🙂 And also, sorry for the delays!

 

Next “dish”: All Is Well, Chefs: Amaal Mallik, Himesh Reshammiya, Meet Bros., Mithoon & Anand-Milind

A PARINDA WITH SMALL WINGS FLIES HIGH!!! (ISHQ KE PARINDEY – Music Review)

Music Album Details
♪ Music by: Vijay Verma, Rashid Khan & Sajjad Ali
♪ Lyrics by: Shakeel Azmi, Manthan, Irshad Khan, Sajjad Ali, Tanveer Ghazi & Shakir Khan
♪ Music Label: Zee Music Company
♪ Music Released On: 15th April 2015
♪ Movie Releases On: 24th April 2015

Ishq Ke Parindey Album Cover

Ishq Ke Parindey Album Cover

 

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

To buy this album on iTunes CLICK HERE


Ishq Ke Parindey is an upcoming Bollywood romantic drama film, starring Rishi Verma and Priyanka Mehta as the male and female lead respectively. The film has been directed by Shakir Khan, and produced by Shyam Motion Pictures. The story revolves around two lovebirds (Ishq Ke Parindey… LOL! 😝😝), Sheen (a Pakistani girl played by Priyanka Mehta) and Faiz (an Indian boy played by Rishi Verma). Of course, the families don’t agree, what with all the Indo-Pak conflict going on for ages, and we all can predict what happens next. So, the plot is nothing extraordinary, nor does it showcase anything unique, but I would call it rather seemingly boring. However, what pushed me to review this album, as it always should be, was the music of the film. You must have been wondering why I’ve chosen to do such a small album, and I’ll tell you why. It’s because I was totally taken aback by the wonderful music of the first two song promos, that I decided to review this album, too. The music of this film has been given by Vijay Verma (who had composed a song in ‘Chakravyuh’ in 2012), Rashid Khan (‘Deewana Kar Raha Hai’ – Raaz 3, ‘Kabhi Aayine Pe’ – Hate Story 2) and Sajjad Ali [Chandwani] (‘Khwaabb’). Out of the three, only Rashid Khan is well-known to me, and so I was not expecting a lot from this album, UNTIL the first two song promos came and surprised me! Here are my thoughts about the album! 🙂


1. Ek Hatheli / Ek Hatheli (Sad) / Ek Hatheli (Remix)
Singers ~ Sonu Nigam & Keka Ghoshal / Sonu Nigam / Vijay Verma & Supriya Pathak, Music by ~ Vijay Verma, Lyrics by ~ Shakeel Azmi

This song excited me right from seeing Sonu Nigam’s name as one of the singers. I was expecting quite a lot from it right from then. And boy, were my expectations fulfilled! When you have a sweet, memorable composition, an awesome singer as Sonu Nigam, and cute lyrics, what can possibly go wrong? The result is a song, that has the whole capacity to attract masses and true music lovers. Though the tune is nothing fresh, and something of the type we have heard and loved many times in the past, it has that freshness which binds you to fall in love with it. The mukhda and both antaras, have been composed simply and very efficiently, ensuring itself a good, wide audience. What’s more, Sonu and Keka (who I don’t think is related to Shreya Ghoshal in any way) have brought in the sweetness and cuteness of the song. Both of them sing beautifully, and do justice to the sweet romantic composition. As for the arrangements by Vijay, they are a great amalgamation of traditional instruments like flute, and contemporary ones like guitars, thus promising a great listening experience for both Classical music lovers and Modern music lovers. Shakeel’s lyrics are also nothing new, yet good enough to bring smiles on our faces, and they suit the sweet composition, or vice versa, whatever he the case. Though the original version impresses, there is a “Sad Version” which doesn’t produce many sparks, only because of the fact that, the composition itself is predominantly a romantic, and sweet-sounding one, not suitable to become a sad one. Also, when they have made the sad version, they have just slowed the pace a bit and added strings in the backdrop, just for dramatic effect, which doesn’t do any effect whatsoever. Anyways, Sonu renders it beautifully. There is remix version, strangely sung by the composer and someone name Supriya Pathak (I’m sure it’s not the same Supriya Pathak you and I are thinking of. 😂) Beats are good, but nobody would go for this one, simply because everyone hates remixes now! All in all, only go for the original version, a beautiful, sweet and romantic melody sung and composed beautifully, and the original version is also a #5StarHotelSong!!

 

2. Dil Tod Ke
Singer ~ K.K., Music by ~ Vijay Verma, Lyrics by ~ Manthan

Now this second song, is the one which made me make this firm decision that I would, no matter what, review this small and unnoticed album. I was taken in by the magical tune and vocals of this song. So let’s see what exactly lured me into the trap of reviewing this album. (It’s a pretty good trap, though! 😀 ) First of all, the song starts with very attractive guitar riffs and some mellow notes played on the flute, which you can’t help but fall for! As soon as K.K., the very, very less-heard-nowadays singer starts singing the composition, you can’t suppress that waah! which comes out from your mouth, or if you don’t say it aloud, you will surely say it in your mind. Not for the vocals, no, but this time, for the composition. What A.R. Rahman or M.M. Kreem were known for in the 90s, Vijay Verma does it in this beauty of a composition. That haunting, but heart-winning composition is just irresistible. The repetition of each line in such a catchy and well-composed way, sounds magnificent. Resemblances in the antara to Rahman’s “Pyaar Ye Jaane Kaisa Hai’ from ‘Rangeela’, make the song sound more fun to hear, actually. 😀 The arrangements, again, are both classical and modern fused together in an efficient way, so as to enhance the composition as far ad possible, and it has definitely worked. It is showing in the results. The guitars, and tablas together sound awesome! That bagpipe-like instrument from ‘Teri Khushboo’ (Mr. X) makes an appearance here too! I really have to know which instrument that is!! The flute also makes wonderful entries occasionally. K.K. has sung the whole song with utterly amazing excellence. It doesn’t even seem that he has sung something after two months (latest was in ‘Roy’) but instead, it feels that he has been having continuous releases the whole time, seeing that his singing is just as soulful and beautiful. I just hope he gets way more songs than he has been getting nowadays. Manthan’s lyrics are typical romantic, sad lyrics, about someone breaking somebody’s heart, and the heart-broken guy telling her that he still needs her, hasn’t forgotten her, can’t sleep peacefully anymore, and other depressing things, which many have gotten pretty used to by now. But because of the lyrics being typical, I cannot neglect such a marvelous composition by Vijay Verma! Ati Uttam (Too good) rendition by K.K., and even better composition by Verma! #5StarHotelSong!!

 

3. Rab Se Maangi / Rab Se Maangi (Remix)
Singers ~ Javed Ali & Palak Muchhal / Mohd. Irfan & Suvani Raaj, Music by ~ Rashid Khan, Lyrics by ~ Irshad Khan

The next song is yet another romantic song, this one composed by Rashid Khan. He chooses his regulars Javed Ali and Palak Muchhal to do the honours with the singing, and they do their part good. The tune, however, is too typical for Rashid Khan. We have heard this kind of stuff innumerable times in Rashid’s earlier songs like “Deewana Kar Raha Hai” (Raaz 3) and “Kabhi Aayine Pe Likha Tujhe” (Hate Story 2). It also somewhat resembles ‘Maheroo Maheroo’ (Super Nani) in its overall sound. Now for this album, too, he brings his regular, typical composition style, with the mukhda, followed by some ohhh-ohhh-ohhh humming. No doubt the composition is good, but very similar to the aforementioned two songs. In other words, I was sure Rashid Khan could do better than just sequels to his previous songs. Another drawback is the utterly atrocious voice programming done to Palak’s voice in the antaras. I think three-odd tracks of her voice have been placed on top of each other, making it take on a very ghostly sound. Even the lyrics are nothing fresh, just strictly suitable for the composition. And the length of the song (about 6½ minutes) given the genre of the song, could frankly have been way shorter. Anyways, some pros about this song are Javed’s mellifluous voice, which did keep me listening at least for the first time. Also, the arrangements by Rashid are good, too. His favourite, the flute, gets to follow him here too. Indian instruments like the santoor, make great surprising appearances. Surprising because most of the song is on a guitar loop, very typical of Rashid. The second interlude with very strange 90s-type percussion (like those 90s songs which had been shot in vast mountain ranges where the actor and actress dance weirdly, without any stress about the world around). The remix version is sung by Mohd. Irfan. Shocked to see his voice used in the remix. It could have been for a reprise. He does well, but his voice is drained out by the strong beats, which really do make you groove. His co-singer Suvani Raaj — not that good. She sounds like an amateur Sadhana Sargam prototype. And imagine this, the remix is even longer than the original! Who’ll spend their time on this remix, except a DJ or a die-hard Mohd. Irfan fan? Anyways, not very captivating, and the length is a setback because of the genre which doesn’t require such a long song. But definitely deserves at least one listen. The remix, however, can be skipped unless you’re a Mohd. Irfan fan (but you’ll still be disappointed after you hear it 😛 )

 

4. Ishq Ke Parindey, Pt. 1 / Ishq Ke Parindey, Pt. 2
Singer ~ Shadab Faridi (Both Parts), Music by ~ Sajjad Ali, Lyrics by ~ Shakir Khan / Tanveer Ghazi

The title track has been given to the third composer on the album, Sajjad Ali, and he does a great job in composing it. First of all it has been composed in two “parts”, both drastically different from each other, and coincidentally, both written by different people, but both sung by the same person i.e, Shadab Faridi. The first “part” starts with a patriotic dialogue about the unity of India & Pakistan, which is followed by a beautiful tune played on the Oud, which suits the theme of the dialogue that preceded it. The dholaks enter, playing a beautiful seven-beat rhythm called the Roopak taal. Half of the splendidness of the song is achieved because of the beautiful captivating rhythm. The flute and occasional strings can also be heard at places throughout the song. The composition is very beautiful and also enough to get stuck in your heads for long even after hearing it only once. Shadab has delivered the composition very awesomely. His deep voice suits the traditional, and heavy composition well. The female backing vocalists (uncredited) really add sweetness to the song. Shakir Khan, the director has written apt lyrics for the situation, full of the spirit of unity, and also very divine-sounding, thanks to the arrangements and composition. It talks about love having no boundaries. The Qawwali feeling given to the song is enough for it to be loved. The second interlude and second antara have been composed pretty creatively, and a kind of prayer to God. So the first “Part” works, now let’s move on to the second. It starts so dramatically, that you actually are surprised by what they’ve done to the beautiful song. The composition and lyrics are entirely different. As for the tune, it doesn’t work at all, being too dramatic. More like a great background piece to play in the climax of the film. At 1¼ minutes, it doesn’t really waste much of your time. The arrangements are also way too booming, not really of the same beauty as the former part. Lyrics are too less to talk about. Shadab, however, delivers with zest and emotion. Go for the first “part”, which is sure to steal your heart, in all aspects — composition, vocals, arrangements & lyrics. The first part is a #5StarHotelSong!!

 

5. Tumse Mil Ke
Singers ~ Javed Ali & Palak Muchhal, Music by ~ Vijay Verma, Lyrics by ~ Shakeel Azmi

Javed and Palak return for another duet, this time helmed by Vijay Verma, who comes back into the album for his third and final song. This duet between Palak & Javed fares much, much better than their other duet by Rashid Khan. Right from the first line, it attracts you and its cuteness makes you keep listening. Javed once again traps you with his utterly sweet and dulcet voice. The composition is one that you would think is from some movie from the 2000s, but it is one of those, that still grasps you from start to end. The hookline itself is so catchy and wonderful, that it will instantly appeal to people of all ages. Palak doesn’t have much in the first half or so, except a line, but she gets an antara to sing later in the song. She sounds very good in this song, thanks to the composition, again. About the arrangements, they are also beautiful, with guitars, flutes and tablas helping to increase the likability of the song. Beautiful orchestration in the hookline makes it stand out even more than it already does. Lyrics by Shakeel are good in this song, with good use of many Urdu words, and imparting a sweet flavour to the song. At 3½ minutes it doesn’t bore, but leaves listeners craving for more. Beautifully composed, arranged, written and above all, sung!! Way to go, Vijay Verma!

 

6. Saiyaan
Singer ~ Raktima, Music by ~ Sajjad Ali, Lyrics by ~ Sajjad Ali

This song is a weird song. It starts with a haunting line by the singer, and the composition seems like one of A.R. Rahman’s less-impressive ones. It is a semi-classical song, which has been composed very averagely, so much that one cannot find oneself liking the song even after repeated hearing. I guess it will make sense only in the movie. Sajjad Ali’s arrangements consist mostly of techno beats and low-pitched flutes. And his lyrics are sad, but not heart-touching at all. Raktima, the singer, carries it out good, with apt backing vocals supporting her, and she even sounds like Madhushree in the song. It didn’t really appeal to me; I don’t think it will to you either! Hard to grasp this composition, and pretty heavy to ears too!

 

7. Maula Karde Karam
Singers ~ Javed Ali, Altamash Faridi, Aftab Sabri & Hashim Sabri, Music by ~ Rashid Khan, Lyrics by ~ Tanveer Ghazi

The melodious welcome to this last song on the soundtrack, is done by beautiful notes on a bulbultarang, which ensure you that a Qawwali is definitely to follow. And just as you had predicted, a divine Qawwali starts with Altamash singing (very expertly) the prelude to it. He sings his part at the start and other parts throughout the song with brilliance. The Sabri brothers, Aftab & Hashim, also do well, and are a great choice for such a Qawwali. All three of these singers sing with utter ease and impeccability, but the one who shines has got to be Javed Ali. With his voice, a mix of smoothness and folksiness, he just takes away your breath, and forces you to say that waah! Of course, as I said, Altamash, Aftab & Hashim are close behind. However, all the credit has to go to Rashid Khan, who has churned out such a catchy, and heavenly Qawwali, which was definitely not expected from him after his above average other song from this album. But each line in the song has been treated with infinite love and care, as is evident when we hear the result, a perfect combination of brilliance and divinity and catchiness. All the traditional Qawwali instruments can be heard in the arrangements, from dholaks, to tablas, to the bulbul tarang mentioned before and the beautiful harmoniums with jingle-bell type chimes. Half the beauty of the arrangements lies in the percussion — a wonderful experience. Lyrics by Tanveer Ghazi are a great mix of romance and devotion. It is one of the romantic Qawwalis which are addressed to God. And the most important thing about the song is, that even though it stands at a long duration of seven minutes, there’s not a single dull or bland or boring moment in the entire song! A beautiful and divine end to the album by Rashid Khan. Definitely the best song of the album! Excellent singing, arrangements and lyrics too! You can’t miss it! #5StarHotelSong!!


Ishq Ke Parindey is one of those albums for movies with a small budget and a very short reach, which unexpectedly surprises highly. Each and every song is as per needs of the script, though as individual songs, a couple don’t strike chords with listeners. However, most of them are such that will instantly appeal to you. All three tracks by Vijay Verma are beautiful and lovable, while Rashid Khan and Sajjad Ali each impress with one of their tracks out of three. However, Rashid’s one song overshadows all of the other tracks on the album. Rarely do albums like these come, which have small reaches and a puny audience but which have very worthwhile songs. The last I remember was ‘Jigariyaa’. With heavy promotion and maybe better-known faces, the album would’ve gotten the deserved acknowledgement, but there are pretty less hopes now. All I can say is that this “Parinda” (the album; parinda means ‘bird’ in Hindi) with small wings (the small budget of the film and album) has flown pretty high!

 

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: Maula Karde Karam > Dil Tod Ke > Ek Hatheli > Ishq Ke Parindey Pt. 1 > Tumse Mil Ke > Rab Se Maangi > Ek Hatheli (Sad) > Ishq Ke Parindey Pt. 2 > Saiyaan

 

Which is your favourite song from Ishq Ke Parindey? Please vote for it below! 🙂

 

Next: 12th Music Mastani Monthly Awards (April 2015)

KICK MEIN KITNA HAI DUM? (KICK – Music Review)

So, I know my review for ‘Kick’ is late, but its for a valid reason. I decided that since it is Himesh Reshammiya’s Birthday today (Happy Birthday to him!) I would post this review today! Please forgive if you nevertheless think it is unnecessarily late even after knowing the reason!


Album Details:-
♪ Music by:- Himesh Reshammiya, Meet Bros. Anjjan & Yo Yo Honey Singh
♪ Lyrics by:- Shabbir Ahmed, Kumaar, Mayur Puri & Yo Yo Honey Singh
♪ Music Label:- T-Series
♪ Music Released On:- 6th July 2014
♪ Movie Releases On:- 25th July 2014

Kick Album Cover

Kick Album Cover

 

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

To hear the extra songs “Hai Yehi Zindagi” by Mohammed Irfan and Salman Khan on Gaana CLICK HERE

To buy this album on iTunes CLICK HERE

Hear ‘Hai Yehi Zindagi’ by Salman Khan on YouTube:-

Hear ‘Hai Yehi Zindagi’ by Mohd. Irfan on YouTube:-


Kick is an upcoming action flick starring Salman Khan and Jacqueline Fernandez in lead roles, with a supporting cast consisting of Randeep Hooda, Nawazuddin Siddiqui and Saurabh Shukla. The film is directed and produced by Sajid Nadiadwala, who is currently having a great time, with many successes to his credit, the latest one being ‘Heropanti’. The film has Salman playing the role of a thief, calling himself as ‘Devil’. Well, the movie definitely looks very interesting, so the music is naturally expected to create enough buzz for the movie before the release, and that has successfully happened. The music is also expected to be awesome, mindblowing and have touches of ‘Bhaigiri’ or ‘Salmania’ in it. This album is another multi-composer album from T-Series, with Himesh Reshammiya and Meet Bros. Anjjan having two songs each (not counting remixes or versions) and Yo Yo Honey Singh having his usual sole song. The album has total 16 songs if versions and remixes are counted, but not counting remixes, it has 9 songs (counting versions 😛 ). If the versions are also not taken into consideration, the number reduces to a mere 5 songs. Toh aa dekhein zara, KICK mein kitna hai dum! 😀


1. Jumme Ki Raat:- Singers ~ Mika Singh & Palak Muchhal (Version 1), Salman Khan & Palak Muchhal (Version 2), Music by ~ Himesh Reshammiya, Lyrics by ~ Shabbir Ahmed & Kumaar

This song has the HR template all over it. Same beats, same arrangements and same overall feel. The song is already a chartbuster, but that might be because of Salman’s star value. The tune is average, with the mukhda a little weak, but both antaras have an awesome tune, covering up the weak mukhda. The beats as I said are typical HR beats, the same as we heard in ‘Go Go Govinda’ and ‘Piya Ke Bazaar Mein’. They are groovy however. The interludes have been done awesomely, with the percussion instruments rocking the scene. The harmonium music is the best part of the song! It is too catchy! Mika is a perfect choice for such kind of songs. Palak sounds different as usual, and this is probably the first time we get to hear her voice in this mode. She succeeds in singing in a low voice as well. I still don’t understand why Shreya wasn’t chosen, because she could have given the right amount of energy needed for this song, which Palak only succeeded to give to a certain extent. The lyrics are just as crazy as any Salman Khan song, and interestingly are written by two people! 😛 The second version sung by Salman is just annoying to the ears. Salman does not sound good at all, and it sounds like he is yelling like Tarzan. I understand he’s not professional, but had he sung a tad better, he might have gotten it better. After all, so many actors are singing nowadays and all of them put their hard work behind it. This time, Salman hasn’t gotten it right though. The rest of the song is exactly the same. Entertaining, and catchy, but could have been better! Go for the first version sung by Mika!

 

2. Hangover:- Singers ~ Salman Khan, Shreya Ghoshal & Meet Bros. Anjjan, Music by ~ Meet Bros. Anjjan, Lyrics by ~ Kumaar

The violin with which this song starts will immediately attract you towards this track. They are followed by beautiful piano notes which instantly reminded me of ‘Surroor’ from ‘The Xposé’. Salman starts this song surprisingly beautifully, with a much more surila voice than what he had sung with in ‘Jumme Ki Raat’. Shreya supports as sweetly as ever and sounds awesome! She is the perfect choice for this song. Her voice resonates wonderfully. The tune is very catchy, and very pleasant to hear. The violin and piano have been used prominently, and electric guitar makes a cameo in the first interlude, sounding great! The beats are also foot-tapping, and make this a very unusual romantic song. The antaras and mukhda have equally brilliant tunes. Salman’s voice has been autotuned, but it doesn’t create a huge problem because it sounds way better this way. Meet Bros. Anjjan have given the required background vocals where needed. They have come up with a very catchy, pleasant and nice romantic tune. A must-listen! Meet Bros. Anjjan are definitely improving! #5StarHotelSong!

 

3. Tu Hi Tu:- Singers ~ Mohammed Irfan (Version 1), Neeti Mohan (Reprise), Salman Khan (Version 2), Music by ~ Himesh Reshammiya, Lyrics by ~ Mayur Puri

Starting with mild piano, followed by violins and then guitars, this track is another beautiful romantic song, sung by Mohd. Irfan and Himesh’s second song for the movie. The first time I heard it, I didn’t feel it was that good, but as I went on listening to it, it kept on growing on me and now I love it! The tune is such that it will take time for you to like it and it won’t attract you in the very first listen. The tune of the ‘woh oh oh’ is the same tune HR had given to the ‘woh oh oh’ in ‘Just Look Into My Eyes’ from ‘Humshakals’. However, it suits better in this song. The guitar riff playing throughout the song is very cute and sounds very sweet! The tune of the antaras is just plain awesome! I don’t think the tune can get any better than that! It is just so beautiful! Mohammed Irfan carries out the song with utter beauty and though he sounds different here, without his usual robotic voice, it still sounds utterly melodious! Mayur Puri is the real star of the song, though. His lyrics are very heart-touching and lovely! The man is really versatile! The reprise version by Neeti Mohan is on a higher scale, and she also sings the marvellous tune flawlessly! Her versatility can be proved any number of times! Salman’s version is a bit underwhelming after these two beautiful versions by the professionals. His voice is autotuned, but here it can be clearly made out whereas it doesn’t seem so obvious in ‘Hangover’. He doesn’t give full justice to the brilliant composition, and makes it boring to hear. A gem of a composition by Himesh, sung just as beautifully by Mohd. Irfan and Neeti Mohan! Yet another #5StarHotelSong!

 

4. Yaar Na Miley:- Singers ~ Jasmine Sandlas, Yo Yo Honey Singh, Music by ~ Yo Yo Honey Singh

Yo Yo Honey Singh arrives to add something supposedly sensational to this album, which I had very less complaints about till now. Well, it’s true he has added something sensational to it, because the song is climbing up the charts slowly. However, I disagree that the song is actually good. The arrangements are mostly techno beats, and are too loud. Moreover, he has roped in a singer who is making her Bollywood debut, Jasmine Sandlas, and I don’t know why everyone is tripping over her voice so much! It is horribly horrible and disgusting, like the song. Honey also tries to sing towards the end of the song, but I think he’s joking, he sounds so stupid! 😂 One day I might even Starr liking the tune because of overexposure of my ears to the song, but I can never like the voice of this new Jasmine person who Honey has discovered. The lyrics are also dumb. With so many stupid, dumb aspects, I wonder how the song will sound good! The tune isn’t even catchy, it just keeps elevating on the scale, and then abrubtly stops with ‘te marjaawan’. It sounds so miserable! One had expected way more from Yo Yo Honey Singh after the innovative songs from ‘Fugly’! Maha-dumb song!

 

5. Hai Yehi Zindagi:- Singers ~ Mohammed Irfan (Version 1), Salman Khan (Version 2), Music by ~ Meet Bros. Anjjan, Lyrics by ~ Kumaar

This song was just recently added to the album, and I haven’t heard it much, just once right now while reviewing. Meet Bros. Anjjan get their excuse for a second song in the album with this one, and it is primarily a sad song with a hangover of ‘Hangover’, so you can say it is a sad version of ‘Hangover’. It is a very beautiful and touching composition, with just as beautiful lyrics as well. Mohd. Irfan does very well and sounds like his usual self in this song. The violins are way more prominent in this song, and support Irfan very well. Salman, in his version, sounds good too, and Meet Bros. Anjjan have again autotuned his voice without making it so obvious. The flute in both versions sounds beautiful too. It doesn’t create as much likability for itself as ‘Hangover’ does for itself. very Touching and emotional composition.


Kick is another one of T-Series multi-composer albums that fail to live up to expectations. Himesh and Meet Bros. Anjjan do their parts of the soundtrack well with a few negligible disturbances here and there, but Honey Singh fails to live up to expectations, and delivers a super-dumb sounding song (if you can call it one). Meet Bros. Anjjan have made the most of the opportunity of working with Salman Khan for the first time, but Yo Yo has wasted it. 😛 Also, Salman Khan movies do not usually depend on music. Considering the previous Salman Khan movies, this one is better. But considering other movies which have been releasing, many have stronger soundtracks because of having a single composer or composer duo or trio working on the songs. When the album falls into the hands of more than two composers, things start falling apart, and more often than not, the album misses out expectations by miles, as is the case with this album, though not by miles, but surely we were expecting a lot more from it! An album which has been destroyed just by the super ridiculous multi-composer formula which is favored so much nowadays. 

 

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

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

 

Which is your favourite song from Kick? Please vote for your favourite! 🙂

 

Next “dish”:- Pizza 3D, Chefs:- Mikey McCleary, Saurabh Kalsi, Shamir Tandon, Gaurav Godkhindi & Ramon Ibrahim