EK COMPOSER, DO COMPOSER, TEEN COMPOSER!! (LUCKNOW CENTRAL – Music Review)

Music Album Details
♪ Music by: Arjunna Harjaie, Rochak Kohli, Tanishk Bagchi, Sukhwinder Singh & Mychael Danna
♪ Lyrics by: Kumaar, Adheesh Verma & Sukhwinder Singh
♪ Music Label: T-Series
♪ Music Released On: 18th August 2017
♪ Movie Releases On: 15th September 2017

Lucknow Central Album Cover

 

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

To buy this album on iTunes CLICK HERE


Lucknow Central is a Bollywood drama film, starring Farhan Akhtar, Gippy Grewal, Inaamulhaq, Deepak Dobriyal , Diana Penty, Rajesh Sharma and Ronit Roy. The film has been directed by Ranjit Tiwari, and produced by Viacom18 Motion Pictures, Monisha Advani, Madhu C. Bhojwani and Nikkhil Advani. The plotline of this film closely resembles that of recently released ‘Qaidi Band’, and it is obviously a coincidence of the worst case. There is a difference though. The music here, is done by multiple composers. Leading the way is youngster Arjunna Harjaie, with three songs, and after he impressed so much in ‘Titoo MBA’, I cant wait to hear what he did here. Tanishk Bagchi has two songs too, and one is a remake, because he is the remake specialist according to T-Series. Guest composer Rochak Kohli presents one song in the album. All three of these composers have proved their mettle in the past, and it goes without saying that when it is an Advani production, the film is bound to have good if not great music. Also, I think Farhan Akhtar himself looks into the music of his films, and so it is bound to be great. Comparisons between this film and ‘Qaidi Band’ are sure to happen, but I noticed ‘Qaidi Band’ relied much more on the music, and this will rely much more on plot points. It reflects even in the number of songs — that film had nine, while this one has five and one version. So let’s see if this album supports the film!


1. Kaavaan Kaavaan

Singer ~ Divya Kumar, Chorus ~ Shivek, Anubhav, Aditya, Shubham, Umesh, Veljon, Vishal and Sarthak From Asm Academy, Original Composition by ~ Sukhwinder Singh & Mychael Danna, Music Recreated by ~ Arjunna Harjaie, Original Lyrics by ~ Sukhwinder Singh, New Lyrics by ~ Kumaar

When Bollywood starts remaking songs from Hollywood movies (doesn’t matter that the song is Hindi, though) you would think things are finally messed up for real. However, it is a pleasant surprise when the remake actually turns out to be good, and quite innovative. Arjuna Harjai (now spelling his name as Arjunna Harjaie) returns after a year and a half, after the song from ‘Do Lafzon Ki Kahani’ last year, and gets the opportunity to recreate this quite popular Punjabi number ‘Ajj Mera Jee Karda’ (Monsoon Wedding). The original had been composed jointly by Sukhwinder Singh and the film’s composer Mychael Danna. Now this remake is quite a good one. The composition has been kept intact for most of the song, with Arjunna having composed a new prelude to the song, with a haunting tune that immediately gets you interested. The original composition is good, and the “Kaavaan Kaavaan” portions, which I found irritating in the original, actually sound good here. The thing that makes this remake worthwhile though, is the amazing music. Arjunna equips a booming dhol rhythm (Vishal Dande), that has the required effect on the listener, making him or her groove to it happily. The shehnaai gives a wonderful traditional feel to the song. Strings and dafli have been used occasionally to infuse a strain of pathos through the song, and especially the antara (incorporated from the original itself) is beautiful, both in tune and its arrangements. The numerous tempo changes would normally be very confusing to a listener, but here, Arjunna manages them so seamlessly, it is unbelievable. As for the vocals, Divya Kumar steps into Sukhwinder Singh’s shoes without a problem, but because he does so, it evokes memories of Divya’s own ‘Jee Karda’ (Badlapur) in the first line of the song. 😄 And then a layman can easily say, “Hey! It’s a copy!” Because he wouldn’t know that ‘Ajj Mera Jee Karda’ came before ‘Jee Karda’. But I commend the makers for firmly sticking with Divya’s voice anyway, since he has sung amazingly — the Punjabi-ness comes across beautifully through his voice, and he especially does the emotional portions very nicely. Kumaar’s additional lyrics are good too, adding on Sukhwinder’s original. An apt remake, with an amazing rhythm, and changes that do not disrupt the original song’s integrity.

Rating: 4/5

 

2. Meer-E-Kaarwaan

Singers ~ Amit Mishra & Neeti Mohan, Music by ~ Rochak Kohli, Lyrics by ~ Adheesh Verma

Rochak Kohli enters the soundtrack next, with his sole song, which happens to be a wonderful Sufi duet, with, again, a strain of pathos running through it. The composer doesn’t usually get to do such songs, but he did impress us with the amazingly soothing ‘Rozana’ (Naam Shabana) earlier this year, so it is no surprise that he ended up composing this one so well. The composition is so fresh, and quite like the Pritam school of alternative rock, it mixes Sufi sounds with a templated rock rhythm. Without the Sufi, the rock would’ve sounded incomplete, and vice versa. So it is like a beautiful combination that couldn’t be avoided. The antara is beautiful, and I must mention Neeti here, because she has sung her antara splendidly, and it is a delight to hear her in that whispery voice of hers. Her co-singer, Amit Mishra, builds on where Pritam left him off in ‘Bulleya’ (Ae Dil Hai Mushkil), and here, he makes an effort to remain soft and not as energetic as he was there, and the result is excellent. The arrangements are rich as well, the dholaks providing the authentic Sufi touch, while the amazing guitar work (Keba Jeremiah) and strokes (Tapas Roy) are one of the highlights of the song. The choruses at the end and in the second interlude, have been composed beautifully. Also, there’s a pause after the second interlude, where one thinks the song ends, but it seems Rochak has more to give us! The lyrics by Adheesh Verma are great too! A song that wonderfully mixes elements of Pritam and Shankar-Ehsaan-Loy styles of composition, and a beautiful Sufi-Rock arrangement!

Rating: 4.5/5

 

3. Teen Kabootar

Singers ~ Mohit Chauhan & Divya Kumar, Additional Vocals ~ Aflatunes, Music by ~ Arjunna Harjaie, Lyrics by ~ Kumaar, Rap Written & Performed by ~ Raftaar

Arjunna returns to the album with his second song, this time, a fun a cappella number full of onomatopoeia. The beginning itself gets your interest peaked and you listen closely right from the beginning, where the singers do an innovative sargam, that sounds excellent. The composition by Arjunna, yet again, resembles the style of a cappella that Shankar-Ehsaan-Loy are well-known for, and they have succeeded with it in songs like ‘Maston Ka Jhund’ (Bhaag Milkha Bhaag). The composition doesn’t appeal to you at once though. It is the various vocal rhythms and sound effects that help you to find it appealing. The vocalists do an amazing job. Mohit’s metallic voice is the perfect choice for the song, and when he goes seamlessly from low to high notes, it sounds wonderful! Divya usually takes the high octaves and does so here as well. These lead singers definitely do well, but the backing vocalists also provide a very fun element to the song! The interlude where they sing “Chaaku Chaaku Leke Jaa..” is so fun to listen to! Even Raftaar’s rap adds an element of fun to the song. About the arrangements, whatever I say will be less. Amazing percussions (Taufiq Qureshi’s Mumbai Stamp) and guitar work makes the song appealing to listen to, and as mentioned before, Arjunna’s amazing use of the a cappella style in a desi way makes this song sound very unconventional. Kumaar’s situational lyrics too are clever and serve the purpose well. This song might be Arjunna’s ticket to many more Bollywood films which need quirky music!!

Rating: 4/5

 

4. Rangdaari

Singer ~ Arijit Singh, Backing Vocals by ~ Arjunna Harjaie, Music by ~ Arjunna Harjaie, Lyrics by ~ Kumaar

Arijit Singh has started to get songs in every film yet again; there was a kind of low phase intermittently. The only difference is that before, it used to appear right at the beginning of soundtracks. Now it has changed. And in this album too, we see an Arijit Singh song popping up as the fourth song on the soundtrack. The composition is amazingly beautiful. Arjunna Harjaie composes a wonderful Sufi tune, which is familiar to the ears, but soothing nonetheless. The hookline is something you’ve heard time and again, but still works its magic to soothe you down. Especially that line “tu laagey mujhe dushman si..” has been composed very beautifully. The antaras are beautiful, and the whole structure of the song reminds me of the recently released ‘Bairaagi’ (Bareilly Ki Barfi) which sadly, didn’t work for me as well as this. Arjunna decorates his magical composition with stellar musical instruments. First of all, he gives the genuine Sufi touch with the dholaks (Aanchal Goud), which sound wonderful and very earthy. But it is the interlude, in which he introduces a wonderful flute piece (Shubham Shirule), accompanied by a MIND-BLOWING sargam by Arijit (or is it Arjunna?). And it is then that the song gives off beautiful Rahmanish vibes, but also gets its own place in your heart. The Duff rhythms do sound too heard-before, but they’re ignorable due to the wonderful things Arjunna has added besides that. The ethnic strings sound amazing here, and as always, Tapas Roy has done magic with them. The vocals by Arijit are top-notch, but it is his everyday composition and he aces it as was expected. The lyrics are very impressive here as well. A beautiful Sufi song, with a familiar sound, but still impressed me because of its innocence!

Rating: 4.5/5

 

5. Kaavaan Kaavaan (Remix)

Singers ~ Sukhwinder Singh & Renesa, Original Music by ~ Sukhwinder Singh & Mychael Danna, Music Recreated by ~ Tanishk Bagchi, Original Lyrics by ~ Sukhwinder Singh, New Lyrics by ~ Kumaar

So ‘Kaavaan Kaavaan’, the opening track of the album, gets a ‘Remix’, or so T-Series calls it. But this isn’t the remix of Arjunna Harjaie’s song. It is the remix of the original song from ‘Monsoon Wedding’, done by Tanishk Bagchi, the third composer of the album. Also, I wouldn’t call it a remix at all, since it might just be another remake of the song by Tanishk, but Arjunna’s must have gotten chosen as the main version. This one is merely Tanishk’s original take on this song. That having been said, I can say Tanishk has worked very hard on this one. He tries to add digital beats wherever possible to make the song sound fresh, but some places it just doesn’t work, especially after the Indian arrangements that led the Arjunna version. Not that Tanishk hasn’t added dhols and all, but the emotion of the song doesn’t come across as well in this one. For a dance track though, this is better. Tanishk also ropes in Sukhwinder himself to re-dub the song, and that’s definitely a plus point. Renesa does the female portions of the song, and she sounds awesome. What bugged me was the hookline, where I found the backing vocalists too loud. A more zesty remake, but not more effective.

Rating: 3.5/5

 

6. Baaki Rab Pe Chhod De

Singers ~ Brijesh Shandilya, Vayu, Tanishk Bagchi & Arman Hasan, Music by ~ Tanishk Bagchi, Lyrics by ~ Kumaar

Tanishk’s second song serves as the caboose for this album, closing the album on a very lively and bright note. I say this because right from the beginning of the song, you know it is going to lift your spirits. It starts quite similarly to ‘Raula’ (Jab Harry Met Sejal), with lively plucked strings. The composition is fun to listen to, too, but gets slightly disjointed in the latter parts. It starts off brilliantly though, and the hookline is delightful. The arrangements here too, are mainly digital beats, but this time they succeed in remaking the song livelier. Tanishk’s trademark liveliness comes across well through this song, and it is a thing to wonder, why he spends time in doing some remakes. The singers do justice to the song, the lead singer, Brijesh doing an exceptionally good job. Little Arman Hasan, who we heard in ‘Kankad’ (Shubh Mangal Saavdhan), singing alongside his father Raja Hasan, does well too. Vayu has probably done some backing vocals, so I couldn’t really place him in the song! Kumaar’s lyrics, are amazing. He writes some amazingly positive lines in this one too, taking the support of various scientific inventors like Thomas Edison and Graham Bell. Lively song, but could’ve been slightly better!

Rating: 4/5


Lucknow Central is one of those rare multicomposer albums that is a delight to listen to. Well, I guess when each composer knows what he is best at, and delivers the best of whatever he is best at, with the proper supervision by the director and producer, the multicomposer album can also turn out well. Ek Composer, Do Composer, Teen Composer, But No Sign That This Album is Multicomposer!!

 

Total Points Scored by This Album: 4 + 4.5 + 4 + 4.5 + 3.5 + 4 = 24.5

Album Percentage: 81.67%

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

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

Recommended Listening Order: Rangdaari = Meer-E-Kaarwaan > Kaavaan Kaavaan = Baaki Rab Pe Chhod De = Teen Kabootar > Kaavaan Kaavaan (Remix)

 

Remake Counter:
No. Of Remakes: 31 (from previous albums) + 02 {counting both different takes on ‘Ajj Mera Jee Karda’} = 33

 

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

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FORMULA FOR SUCCESS: SIMPLE REHNE DE!! (SIMRAN – Music Review)

Music Album Details
♪ Music by: Sachin-Jigar
♪ Lyrics by: Priya Saraiya & Vayu Srivastava
♪ Music Label: T-Series
♪ Music Released On: 25th August 2017
♪ Movie Releases On: 15th September 2017

Simran Album Cover

 

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

To buy this album on iTunes CLICK HERE

To hear “Baras Ja” on Saavn CLICK HERE

To buy “Baras Ja” on iTunes CLICK HERE

♪ To hear “Baras Ja” on YouTube:


Simran is an upcoming Bollywood drama film, directed by Hansal Mehta, produced by Bhushan Kumar, Krishan Kumar, Shailesh R. Singh, and Amit Agarwal. The film stars Kangana Ranaut, Soham Shah, Mark Justice, Hiten Kumar and Esha Tiwari Pande in crucial roles. The film revolves around a Gujarati lady settled in the United States of America, who gets involved in crime. The film does seem quirky and very racy, and definitely very humorous. Now, Hansal Mehta usually does not rely on music to carry his films forward, as is evident from the fact that out of his recent film, ‘Shahid’ had just one song (not even released properly by a music label), and ‘Aligarh’ had no songs. Then there was ‘Citylights’, which, due to it being a joint venture with the Bhatts, had a stellar album by Jeet Gannguli. This film seems to be Hansal’s lightest film in a long time, and the result is that we can read the names of Sachin-Jigar in the credits, for music. Now, roping in Sachin-Jigar can’t mean anything except that Hansal wants great music for this film, doesn’t it? Accordingly, Sachin-Jigar have scored six songs for the film, and very situational too. Still, before I reveal much, let’s see how the music fares!!


1. Lagdi Hai Thaai

Singers ~ Guru Randhawa & Jonita Gandhi, Lyrics by ~ Vayu

“Doodho nahaao, phoolo phalo tum,
LED jaisi karna glow tum,
Sabko duayein yeh naseeb rakhna,
Jodi sada ye muskuraaye!
Maike ki photo ik kareeb rakhna,
Aisa na ho ki bhooli jaaye, jaaye, jaaye!
Jadon nache baby sajj dhajj, Lagdi hai thaai!”

– Vayu

It must be so difficult to compose for seven film albums in a year, but Sachin-Jigar are up and about, composing for the fourth album, which happens to be ‘Simran’. The first song matches Sachin-Jigar’s roots, as it is a Gujarati track by soul, but Punjabi by sound. Actually, it’s a beautifully thought out fusion of Gujarati and Punjabi, something nobody would ever be able to do this well and this seamlessly! The composition is perfectly suitable for a song that should make you get up and dance, and the desi touch, both Punjabi and Gujarati, add to the enjoyability of the song. Both the mukhda and the antara have been composed on the same tune, and Sachin-Jigar follow the trend to keep the song short and more appealing. The short length never hampers the beauty of the song. The hookline is amazing as well, but it is the arrangements that makes the song sound amazing. When it starts, you may be quick enough to dismiss it as yet another typical Punjabi number, added into the album just to be another ‘London Thumakda’ (Queen), but later you realise the magic, when the Gujarati dhols begin to awe you. The brass band (Trumpets by Kishore Sodha) is used very nicely here, and without sounding stale or heard-before, it provides a nice and fresh touch. But what is really amazing, is that wonderful flute (Naveen Kumar) which has been played in a very typical Gujju style, and it does nothing but inspire you to learn how to play flute! 😛 But I’m sure this kind of a flautist would take years to become so good! The vocals are amazing. At first, I thought Guru Randhawa has been chosen just because he has a history of many pop songs with T-Series, but turns out, he has given the Punjabi touch to the song very genuinely, and keeps aside all his pop song background for this one filmy song! Jonita is a surprise package; singing in Gujarati and all — though I think she is Gujarati. Anyway, she sings the old lady portions with as much ease as she does the lead heroine’s portions! In fact, she sings the Dadi Maa portions in Gujarati even better!! One thing I didn’t enjoy was the drunk part at the end, it seemed forced. Vayu’s lyrics are some of the most positive wedding song lyrics I’ve seen in Bollywood, a place where people come to weddings only to eat, drink and dance. But here, Vayu makes the characters sing things like “LED Jaisi Karna Glow Tum!” I swear, it is one of the most positive blessings I’ve heard in a Bollywood wedding song, and so less dramatic than the blessings they used to sing in songs like ‘Maahi Ve’ (Kal Ho Naa Ho) and all! All in all, this is a very enjoyable Gujju-Punjabi fusion, with amazing arrangements to accompany the energetic vocals!!

Rating: 4.5/5

 

2. Pinjra Tod Ke

Singer ~ Sunidhi Chauhan, Lyrics by ~ Priya Saraiya

“Jannat ke saaye, jannat le aaye hai,
Baahon mein, ab zindagi,
Kismat ki dori jo, baandhi woh kholi,
Jeene chali, main abb zindagi,
Pinjra tod ke, tod ke, udd jaana hai,
Baahein kholke, kholke, udd jaana hai!”

– Priya Saraiya

The next song starts off as a mellow composition, with piano notes almost assuring you that this is going to be a sad number. However, it is wonderful to see how Sachin-Jigar seamlessly change the mood of the song, making it uplifting and motivational as the song progresses. That is almost like a symbol infused into the song by Sachin-Jigar. The lyrics by Priya Saraiya talk about breaking free of restrictions, and flying freely — so Sachin-Jigar have probably structured the song in a way to resemble that, starting off very slowly, but breaking free subsequently! What a wonderful form the song takes on, once you realise that! Sachin-Jigar’s composition is nothing new, it is the usual Sunidhi pathos, but it works wonders even though it is heard-before. After all, it isn’t necessary for things to be complicated to like them, is it? The hookline is very motivating, as is the second antara, a sprightly conclusion to the otherwise soft song. It takes on a more energetic tempo and composition, and even has more energetic arrangements, since the electric guitars and drums truly break out in that part. The rest of the arrangements have a soothingly Western touch — starting off with amazing piano, progressing into a euphoric acoustic guitar-led arrangement, until the aforementioned second antara arrives. The interludes contain a wonderful “Oley Oley“, by a backing vocalist I suspect is Jonita Gandhi, she sounds exactly like her. This type of song nowadays, usually goes to Sunidhi, and she aces it, as always. It’s nice to see her finally getting recognised not only as a singer of those upbeat numbers she was terribly typecast for in the late 2000s. Priya Saraiya’s lyrics, as mentioned before, are motivating and uplifting, in the true sense! This is probably Priya’s best work in a long time! A beautiful song, with a simple and heard-before vibe, but still manages to impress monumentally!!

Rating: 5/5

 

3. Meet

Singer ~ Arijit Singh, Lyrics by ~ Priya Saraiya

“Tu hi mera meet hai ji,
Tu hi meri preet hai ji,
Jo labon se ho sake naa judaa,
Aisa mera geet hai ji!”

– Priya Saraiya

The next song happens to be a very happy-go-lucky romantic song, sung by Arijit, the kind of song Sachin-Jigar have usually done many times with Atif. Since their songs with Arijit have always been unconventional and never-heard-before, this comes as a surprise, as it conforms to the regular Arijit school of romance. However, the composition is really charming, and has you hooked (at least to the hookline) in the first listen. In the subsequent listens you “try” to get hooked to the mukhda and antara. Sadly, I still can’t recall the tunes of these portions immediately, even after having listened to the song at least six times by now. Does that mean the song is bad? Not at all. The song is amazing. Sachin-Jigar weave magic even with those notes that evoke memories of compositions by other composers, but doesn’t really evoke memories of any song in particular. It has the charm of an old Bollywood song, and it is the kind of composition to which we would say “Ah, the nostalgia”, after listening to it after a long time somewhere in the future. It is for this reason that the song gets such a huge repeat value even though it isn’t hooking as such. The hook has wonderful variations Arijit takes not every time, so they remain exclusive, but you keep waiting for the times he does take those variations! The arrangements are just as soothing as the composition; again, a wonderful piano piece opens the song, coupled with a magical and fairy-tale-like strings portion, until the Acoustic guitars come in to lighten up the mood. The whole thing sounds so fulfilling with that wonderful composition. The guitar riff repeats throughout the song. The interlude has a nice flute portion, which keeps you listening, if not hooked. Arijit aces such songs, and does so yet again. Again, I must mention those wonderful aalaaps of his, in the hookline. Priya writes amazing lyrics here too, but here they’re quite simple, even more simple than ‘Pinjra Tod Ke’, and has a plain and straightforward theme — love. A charming love song, with simplicity ruling it.

Rating: 4.5/5

 

4. Single Rehne De

Singers ~ Shalmali Kholgade & Divya Kumar, Lyrics by ~ Vayu

“Mere dad bole karle shaadi, varna marr jaayegi boodhi daadi,
Shaadi kar, shaadi kar, shaadi kar, aakkho din shaadi kar,
Aur koi kaam nahi hai kya??”

– Vayu

A laugh riot arrives next, with a song that’s evidently about the main character trying to convince her father to let her stay single. There is actually very less by way of composition in the song, whatever little there is, just keeps repeating. The song is more like a rap, but it is the lyrics that hold it higher than it would have been. Vayu cracks you up with humorous lines that usually don’t find their way into songs; they are typical to scripts of rom-coms, but I find it very cool for them to find their way into a song. The production too, is good, but very repetitive again. Nevertheless, it goes with the unconventional nature of the lyrics. Shalmali Kholgade renders the rap with a feisty attitude, and Divya Kumar, relegated to the background does his one line well. Shalmali says the conversational portions of the song, at the beginning in such a funny, humorous way, that you start to get interested in the song due to her! Not a very fresh composition, but fresh lyrics and vocals, and even arrangements, which are sadly repeated too much!

Rating: 4/5

 

5. Simran

Singer ~ Jigar Saraiya, Lyrics by ~ Priya Saraiya

“Chulbuli hai, chulbuli hai, nakchadhi hai, manchali hai,
Palak jhapakte falak churaa le apni Simran!
Jaani anjaani, thodi si deewaani,
Deewaana sabko banaa de apni Simran!
Ho, suljha ke hi khud hi yeh badhaye apne dil aur dimaag ki uljhan!
Oye oye oye Simran, alhad si Simran!
Na jaane tu chali re kahaan!”

– Priya Saraiya

The title song which we heard in the trailer is presented to us next, and it is this song which is actually the one that took the most time for me to like. The composition is very likeable, and has a lilting charm to it, in a very playful way, and has a charming ‘Barfi’-esque vibe to it, with the numerous sound effects and the whole description of the main character. The composition is great, if you look at it, but the arrangements confused me. Firstly, I was apprehensive about them because they were so similar to the ‘Barfi’ title track, with the whole accordion, mandolin and vocal sound effects, that I wasn’t sure if I liked them! I love ‘Barfi’, but I just felt weird about this song being so close to that. Later on, I started appreciating the arrangements, because of their lilting European touch and it was definite that Sachin-Jigar’s music would be inspired by Pritam’s as they were his disciples after all! Jigar has sung the song himself, and he has carried it out very well, and his raw, Un-autotuned vocals make the song even better as it sounds more natural and casual! The lyrics by Priya too, do a great job in acquainting us with the character of Simran, and her nature. A good title song, with an amazing arrangement.

Rating: 4.5/5

 

♪ Bonus Song

♪ Baras Ja

Singer ~ Mohit Chauhan, Lyrics by ~ Priya Saraiya

“Jo nainon mein hai boondein,
Inhe rukhsaar ko, jee bhar ke chhoone de zara…
Ae dil, baras jaa, baras jaa na!
Abb toh aakar bhigo de tu mujhe!”

– Priya Saraiya

Now this song released later, a few days after T-Series had released the “Full Album”. Coincidentally, it had flooded in Mumbai on that day, and they came with a song called ‘Baras Ja’ the same night, so maybe they were waiting. 😶 Anyway, the song is probably the best, and least simple song on the soundtrack. It has a very complicated tune, but in spite of that, it is so easily loveable! It starts with a very sublime sound of the matka, and again, a soothing flute portion (Sachin-Jigar have really gotten it right with the flute in this album!!) that ensures you that this song was worth the wait! The composition is beautiful, very 90s, and very earthy at the same time, being very soothing. The antara is very, very amazingly composed, and Sachin-Jigar mix elements of Pritam’s and Rahman’s style of composition, to present to us a song, that is rooted to Indian music, especially in the arrangements. The song is decorated with beautiful flute pieces, and the Indian percussion really helps give it that earthy feel. Wonderful piano notes provide the much needed Western touch to the song too, but the Indian-ness overpowers it. Mohit Chauhan reminds us of his ‘Tum Se Hi’ (Jab We Met) days, and croons the song just as mellifluously. He does get a beautiful song all to himself after a long time, after having two songs by Pritam in ‘Jab Harry Met Sejal’, sharing space with a co-singer in both of them. This is his first solo song after a long time! Priya Saraiya’s lyrics again, are very effective in bringing out the romance, and help give the song another thing to boast about. If it had been released earlier, it would’ve been easier for people to find, with all the other songs of the album, and got more audience! I am sad because this is definitely the best of the album!!

Rating: 5/5


Simran is yet another beautiful album from Sachin-Jigar. After three albums this year, out of which one was a multicomposer one, they strike gold yet again with their fourth one. I definitely think we can attribute the beauty of this album to one and only one reason — that it’s a solo composer album, and the director Hansal Mehta was clear in what he wanted. The freedom and creative liberty given to Sachin-Jigar is evident, because they’ve made some of the most beautiful melodies, without making things too complicated. That shows us how things can be made more attractive by following a simple formula — “Simple Rehne De!!

 

Total Points Scored by This Album: 4.5 + 5 + 4.5 + 4 + 4.5 + 5 = 27.5

Album Percentage: 91.67%

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

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

Recommended Listening Order: Baras Ja = Pinjra Tod Ke > Meet = Simran = Lagdi Hai Thaai > Single Rehne De

 

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

DAGAONKAR BABU SANGEETBAAZ!! (BABUMOSHAI BANDOOKBAAZ – Music Review)

Music Album Details
♪ Music by: Gaurav Dagaonkar, Abhilash-Joel, Debojyoti Mishra & R.D. Burman
♪ Lyrics by: Ghalib Asad Bhopali & Anand Bakshi
♪ Music Label: Saregama
♪ Music Released On: 17th August 2017
♪ Movie Released On: 25th August 2017

Babumoshai Bandookbaaz Album Cover

 

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


Babumoshai Bandookbaaz is a Bollywood crime comedy film, starring Nawazuddin Siddiqui and Bidita Bag and directed by Kushan Nandy. The film has been produced by Kiran Shyam Shroff and Ashmith Kunder. The music for this film has been given (five out of six songs) by Gaurav Dagaonkar, a composer we hear in Bollywood quite infrequently. The last time we heard him was in ‘Wah Taj’ when he made a song that nobody heard again. Before that though, he had given some good music for ‘Heartless’ (2014), and ‘Kaafirana’ (Joker; 2012). Hopefully since he’s in charge of the major chunk of the album here, he will do his best. The guest composers are a debutant duo named Abhilash-Joel, who have worked on a scratch composition by Debojyoti Mishra, and built their song around it. Hopefully, they make a great debut! So let’s jump into this bandookbaaz album and hope it is sangeetbaaz!!


1. Barfani (Male) / Barfani (Female)

Singers ~ Armaan Malik / Orunima Bhattacharya, Music by ~ Gaurav Dagaonkar

Gaurav Dagaonkar starts off this album with a delightfully haunting (What an oxymoron) classical number, based on raag jog. The composer really pleasantly surprised me with his amazing command over classical notes. The way his notes have come out in such a mellifluous manner, is commendable. The mukhda is an instantly gripping portion, and the hook, ‘jal jaane do‘, is what gives you the goosebumps. The antara, in the ideal way that classical songs usually go, follows a more happy-sounding route, and it contrasts very well with that haunting mukhda. The composition reminds you of many 90s songs, when Bollywood music was so heavily inspired by traditional classical music. The lyrics by Ghalib Asad Bhopali are quite intense, and do justice to the song’s theme quite perfectly. The word ‘barfani‘, is a word I’m hearing for the first time in a Bollywood song in recent years! The song is presented in two versions, male and female — both with the same haunting arrangements, thanks to a wonderful beat given by the jingle bells (ghungroo), and a very beautiful play of the guitars and the Dobro (Shomu Seal) which give a very sitar-ish sound. The male version is sung with impeccable finesse, by Armaan Malik, and I believe this is his first such song, which is so heavily based on classical music. He handles the song beautifully, in the lower octaves, and I believe it is his career’s best performance, solely because he tries something new! Orunima Bhattacharya is in charge of the other version, and she takes up a higher pitch, and aces it, and you can tell she has been classically trained. A beautiful and haunting romantic song to start off the album!

Rating: 4.5/5 for Male Version, 4.5/5 for Female Version

 

2. Aye Saiyan

Singers ~ Orunima Bhattacharya & Vivek Naik, Original Composition & Lyrics Traditional, Music Recreated by ~ Gaurav Dagaonkar

The second song seems like a song that was a residue from the ‘Anaarkali Of Aarah’ album that released earlier this year. It follows the same folksy vibe, as if there’s a dance going on in the village. Gaurav aces the composition, which is essentially a Bhojpuri folk song, but his music makes it more lively and likeable. The same tune is repeated throughout the song, so it does get a bit tedious towards the end, but I guess that’s how the folk song is. The lyrics are funny, if you understand Bhojpuri. The harmonium (Satyajeet Prabhu) leads the way right from the beginning, giving a very fresh vibe to the song, and the sprightly rhythm and percussions (Satyajeet Jamsandekar) is enjoyable as well! There are amazing dholaks that give the song a rhythm to which you can nod your head! The vocals by Orunima are great here as well, and she showcases her versatility in this song, which is so different from the first one! Vivek Naik has a short interruption, which disturbs more than sounds good. A fun and cute folksy number!

Rating: 3.5/5

 

3. Ghungta

Singer ~ Neha Kakkar, Chorus ~ Vivek Naik, Santosh Bote & Rahul Chitnis, Original (Hook) Composition by ~ R.D. Burman, New Composition by ~ Gaurav Dagaonkar, Original Lyrics by ~ Anand Bakshi

Here comes another remake, and this time, it’s incorporated into an item song. But before we apply our judgements to that sentence, let’s listen to the song with an open mind. Because when I did that, I really enjoyed the song, thanks to Gaurav Dagaonkar’s enjoyable music, and Neha Kakkar’s very energetic vocals! The song is the remake of R.D. Burman’s ‘Haye Re Haye Tera Ghungta’ (Dhongi), and what I liked is that the only part taken from the old song is the hook. The only difference is that the girl is singing ‘mera ghungta‘ instead of the boys singing ‘tera ghungta‘. The rest of the composition goes well with that hook, and especially the antara is very catchy, and has a trademark Panchamda touch to it. The arrangements are just as lively, with the signature Maharashtrian dhol-taasha rhythm backing it. But amazing guitars (Arvind Haldipur) welcome the listeners into the antara, and that makes the antara sound even more enticing. The vocals are something that propel the song to heights that might not have been touched, had the singer been different, or if Neha Kakkar had sung even a little bit lifelessly. However, her rendition is lively, and she proves again how much energy her voice has. Ghalib Asad Bhopali’s lyrics are very typical to this genre. One of the better of such songs to release this year.

Rating: 3.5/5

 

4. Chulbuli

Singer ~ Papon, Additional Vocals ~ Vivek Hariharan, Music by ~ Gaurav Dagaonkar

The retro vibe kicks in with the next song, a naughty, mischievous number with a very retro tune. Gaurav Dagaonkar has composed it very well, and right from the opening harmonium bar, you know you are in for a treat. The composer has created a nice vaudevillian-esque tune, resembling the musical style that was prominent in the 50s. The tune of the Mukhda is amazing, and gets you gripped there itself. The lilt of the song is increased by the tempo and the beats. The Antara is irresistible, again having a very retro tune. The arrangements are beautiful; surprisingly, they’re a little less retro-esque. The European touch is high in them, with the accordions, mandolins and chimes being most prominent. However, to balance this old-school vibe, Gaurav throws in a number of wonderful things like electric guitars, drums and brass instruments. The vocals are mellifluous, and what can you expect other than mellifluous when it is the genius Papon behind the mic? His voice is so magnetic, you just can’t pay attention to anything else. Vivek Hariharan joins him in backing vocals. His rendition reminds me of ‘Labon Ka Karobaar’ (Befikre), and so do the arrangements, now that I think of it. Ghalib’s lyrics are great and fun! The best song of the album yet!!

Rating: 4.5/5

 

5. Khali Khali

Singers ~ Mohit Chauhan, Music by ~ Debojyoti Mishra & Abhilash-Joel

The debutants Abhilash Lakra and Joel Dubba step in for this song, and they are in charge of a melancholic number, that haunts your soul. The composition is very haunting, and has been composed with such notes, that are sure to make you emotional, and frightened at the same time. The pace is very slow, aptly so. The problem arises in the Antara, where the song gets into the Bhatt mode, and as the listener, I started to zone out. And the way it runs after that is very tedious. The duo tries to make up for that with mysterious arrangements, but that too, sounds maudlin. There are amazing strings though, all throughout the song, and even the percussions are great. Mohit Chauhan sounds good, but doesn’t manage to keep our interest in the song. The lyrics are good, again. Not very impressive of a debut.

Rating: 2.5/5


Babumoshai Bandookbaaz is a pretty surprisingly good album! I was expecting very little from it before the first song came out. After that came out I started hoping for a little more, and the makers just gave more and more after that! Gaurav Dagaonkar finally gives an album that he can be proud of for ages — with Indian classical, folk, European music that proves his versatility. The debutant duo Abhilash-Joel do disappoint relatively, but show promise in their great sense of composition and arrangements. That makes this a quite sangeetbaaz album!!

 

Total Points Scored by This Album: 4.5 + 4.5 + 3.5 + 3.5 + 4.5 + 2.5 = 23

Album Percentage: 76.67%

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

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

Recommended Listening Order: Barfani (Male) = Barfani (Female) = Chulbuli > Aye Saiyan = Ghungta > Khali Khali

 

Remake Counter:
No. Of Remakes: 24 (from previous albums) + 02 (from Babumoshai Bandookbaaz) = 26

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

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

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

Jab Harry Met Sejal Album Cover

 

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

To buy this album on iTunes CLICK HERE


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

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


1. Radha

Singers ~ Sunidhi Chauhan & Shahid Mallya

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

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

 

2. Beech Beech Mein

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

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

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

 

3. Safar

Singer ~ Arijit Singh

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

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

 

4. Butterfly

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

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

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

 

5. Hawayein / Hawayein (Film Version)

Singer ~ Arijit Singh

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

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

 

6. Parinda / Parinda (Search)

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

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

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

 

7. Ghar

Singers ~ Nikhita Gandhi & Mohit Chauhan

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

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

 

8. Yaadon Mein

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

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

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

 

9. Raula

Singers ~ Diljit Dosanjh & Neeti Mohan

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

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

 

10. Jee Ve Sohaneya

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

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

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

 

11. Phurrr (Film Version)

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

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

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

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


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

 

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

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

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

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

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

 

 

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

THE MUSICAL DIVINITY THAT WORKS ONLY PARTIALLY! (SHIVAAY – Music Review)

Music Album Details
♪ Music by: Mithoon & Jasleen Royal
♪ Lyrics by: Sandeep Shrivastava, Sayeed Quadri & Aditya Sharma
♪ Music Label: T-Series
♪ Music Released On: 7th October 2016
♪ Movie Releases On: 28th October 2016

Shivaay Album Cover

Shivaay Album Cover

 

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

To buy this album on iTunes CLICK HERE


Shivaay is an upcoming Bollywood action thriller film starring Ajay Devgn, Erika Kaar and Sayyeshaa Saigal in lead roles. The film is directed and produced by Ajay Devgn himself. The film seems grand at every scale, and hopefully, Ajay’s direction proves to be fruitful and the movie becomes a success. The trailer makes everything looks so magnanimous, that I am really getting excited for the movie. For the time being though, all we can do to get close to the movie, is spend time with its music. The music of ‘Shivaay’ has been composed by Mithoon, a music composer who rarely gets to experiment these days because of the incessant demand of the public for more and more ‘Tum Hi Ho’s, and Jasleen Royal, who debuted just last month in ‘Baar Baar Dekho’. She is more of a guest composer as she has composed one song in the album, with one version, and Mithoon has composed the remaining three songs. Hopefully, the two have worked well to make Ajay Devgn’s directorial a good musical as well. Let’s find out! 😀


1. Bolo Har Har Har
Singers ~ Mithoon, Mohit Chauhan, Sukhwinder Singh, Badshah, Megha Sriram Dalton & Anugrah, Backing Vocals by ~ Parthiv Gohil, Music by ~ Mithoon, Lyrics by ~ Sandeep Shrivastava

The album starts off on an epic, grand note, with a devotional song in a very innovative style. The song starts off with a couplet by Mohit Chauhan, who sings it with immense perfection and concentration. And then there’s Mithoon’s electrifying rock guitar riff, along with Sukhwinder Singh’s classical bols. The composition of Mohit’s part has been done in a very typically Mithoon style by Mithoon, and the rest of the song is actually rap. The only thing that has a tune, is the hookline (Sukhwinder’s part). Megha Sriram Dalton very effectively leads the way with a mystical Aghor Mantra throughout the song, and her parts are what I keep waiting for in the song. The lead singer is obviously Badshah, and with his raps, he praises Lord Shiva a lot. Mithoon’s electrifying arrangements are very attractive, and help to attract the new generation towards the song. The rock guitars really crank up things in the song, while club beats and a very striking EDM makes the song worthwhile. Percussion by Bobby Shrivastava gets full marks. The vocals by all singers are awesome, and the confidence with which Badshah performs the rap, is applause-worthy. There are many parts of the rap that stand out among the rest. One such line I loved was “Wohi shunya hai, wahi ikaay, jiske bhitar basa Shivaay”, and yet another was the climax line, “Ja ja Kailash, ja kar vinaash”. The way these lines are repeated in the song, is just awesome. Megha Dalton sings her mantras very convincingly, while Mohit Chauhan’s parts are haunting and Sukhwinder’s parts are the energy of the song — whenever you feel it going a bit weak, his parts come and lift it back up. Backing vocals by Anugrah and Parthiv Gohil are good as well. Towards the end, all the singers’ parts come together, and with the help of a strong backing rock template, Mithoon brings a very good end to the song. The lyrics are by the film’s scriptwriter Sandeep Shrivastava himself, and he’s also written the raps, which are merely performed by Badshah, fortunately, and fortunately, performed very well! His lyrics are very good, describing Lord Shiva gloriously. A strong opening to the album, and a song that will give the movie a strong opening too! 😀 Also, happy to see that Mithoon tried out something different!!! #5StarHotelSong!!

 

2. Darkhaast
Singers ~ Sunidhi Chauhan, Arijit Singh & Mithoon, Music by ~ Mithoon, Lyrics by ~ Sayeed Quadri

After the electrifying rock song, Mithoon mellows things down with a song that starts with a very comforting piano tune, and Sunidhi’s sweet voice. The song is a romantic one, and sees Mithoon back in the ‘vintage Mithoon’ mode, which is totally different from the Mithoon who gives endless ‘Tum Hi Ho’s. The composition is very pleasant, uplifting and calm, and gives you a sense of calm as well. The starting paragraph by Sunidhi is the mukhda, and it is a kind of unplugged start to the song, after which Arijit comes with the hookline, a very beautiful tune that Mithoon seems to have saved for a special movie, like this, for a superstar like Ajay. The line “Tu meri baahon mein duniya bhula de” hits you so hard (with love) that you just fall in love immediately. Arijit renders the hookline with a very happy tone, and makes you smile after hearing it. However, he has used his very bored, casual voice tone here sometimes, and sometimes, suddenly becomes interested in delivering a good rendition. 😀 I don’t know what that’s about, all I know is that the final result is amazing. He sounds awesome in the high notes, and a little less in the low notes, but it works anyway. Sunidhi is perfect as usual. Her notes are mostly on the high scale in this song, and she sings them gracefully. Her vocals here remind me of her vocals in ‘Yaaram’ (Ek Thi Daayan) where she went oh-so-gracefully from low notes to high notes and back! The first antara, sung by Arijit, has a very typical and heard-before tune to it, but Arijit delivers it so passionately, that it sounds awesome. Sunidhi, on the other hand, aces the wonderful, mellow composition of the second antara. After both antaras, there is a wonderful addition by Mithoon where he sings “Tu meri baahon mein duniya bhula de” in a very different, rhythmic way. At the end of the song, Sunidhi wraps things up with a very soft and gentle rendition of the hookline, just like she opened up the song. She does it so nicely, that she would impress anybody’s grandmother, as she places everything right where she takes it out from. 😀 😛 (Don’t worry if you didn’t understand that, it was ridiculous anyway) The arrangements are scintillating. Mithoon decorates the song with very lively percussion (programmed by Bobby Shrivastava) and that gives the song a quite pleasant, upbeat touch. Of course, Mithoon’s piano keeps impressing you throughout the song, and guitars (Kalyan Baruah) are very breezy. The singers complement the arrangements so well, that everything falls into place perfectly. Sayeed Quadri’s lyrics are mind blowing. Once again, he impressed with simple words, and Mithoon has taken them and woven a beautiful melody out of them. Romance at its simple best! Arijit and Sunidhi ace this one, and Mithoon should start giving more such songs!! #5StarHotelSong!!

 

3. Raatein / Raatein (Reprise)
Singers ~ Jasleen Kaur Royal / Jasleen Kaur Royal, Music by ~ Jasleen Kaur Royal, Lyrics by ~ Aditya Sharma

Jasleen steps into the album as a guest composer for this song, which appears in two versions in the album. The first version is a sweet, breezy composition that I would have liked, had it not been so, so, so similar to Jasleen’s ‘Kho Gaye Hum Kahan’ (Baar Baar Dekho). The composition style, the dulcet, calm and breezy melody, we’ve all heard before in the song from ‘Baar Baar Dekho’. It seems like Jasleen has modified some notes somewhere and presented this song after modification. The vocals too, are very similar to the way she sang in that song. Arrangements might be the only difference in both songs, but very slight. The guitars are here too, but it is joined by pleasant percussions that will sound awesome in the theaters. Strings do their job very well. At the end of the first antara, Jasleen has added a wonderful strings orchestra, with crisp strokes, which is worth hearing the song for! And at the end of the second, she adds a strings piece which is in one piece and not broken into strokes. The flute that she has placed in places throughout the song, is wonderful, while the banjo towards the end really makes the mood lighter. However, at the end there’s an “Oooooo-ooooo-oooo” which is a copy paste of the “Oooooo-ooooo-oooo” from ‘Nachde Ne Saare’ (Baar Baar Dekho). The “Hey-ya-hey-ya” effect that she has put in places around the song, is pleasing though. Aditya Sharma, who had written ‘Nachde Ne Saare’ too, writes this one quite nicely, but it gets boring after a while. The reprise is just as opulent in terms of arrangements. The reprise starts with a tune that Jasleen had used in the antara in the original version. This version is more of an unplugged version, with a slow pace and a haunting sound about it. Jasleen sings in a whispery voice for this one, and it turns out to produce a very haunting effect. In the first half, the song is unplugged, until a grand, striking percussion takes away the silence to gradually pull you into a more sinister land. The oboe very nicely conveys the sinister nature of the song. In the second half, Jasleen starts singing in a high pitch and louder, to make that sinister touch more evident. The ‘Hey-ya” tune is tweaked to make it sound more sinister, too! 😀 Basically, this song is just the original tweaked, to make it sound sinister. The arrangements are more opulent, with strong percussion and graceful strings bringing out the haunting quality of the song. The lyrics here have also been tweaked, and work for the theme of this version. Overall, both versions have great arrangements, but the first one is too similar to Jasleen’s previous song, while the second one is not soemthing I would take out time to listen to again and again — it will sound great in the theaters! A bit of a disappointment from the promising Jasleen Royal! 😦

 

4. Tere Naal Ishqa
Singer ~ Kailash Kher, Music by ~ Mithoon, Lyrics by ~ Sayeed Quadri

The last song on the album started off with a tune that resembles the opening tune of ‘Ji Huzoori’ (Ki & Ka) a bit, and I was so excited for a moment, because Mithoon with another ‘Ji Huzoori’ would be as fun as the world with another India. 😀 But to my disappointment, what followed was a composition that seemed to have worn out right away. The mukhda was so melancholic, that you get set back right away after it starts, and it just gets more boring after that. The hookline is decent, with the typical Mithoon trademark over it. The whole song reminded me of ‘Zaroorat’ (Ek Villain) instead of ‘Ji Huzoori’. 😦 And that isn’t good! The antara is quite slow-paced and hard to catch. The cross line which joins the antara to the hook, is also so outdated. The song has a very laid back tune in general. Kailash Kher’s vocals don’t help, as it just makes the song sound more outdated. He ends up boring the listener as the song progresses. The arrangements by Mithoon were a sort of a saviour for the mediocre composition, with rock livening things up a bit. The typical electric dafli-like beats just follow the tried-and-tested formula, which I’ve started hating after Vishal-Shekhar have overdone it in such songs. The length of the song is also a letdown. Such a melancholic composition, and six minutes, is a too long time! I really don’t like it when Mithoon takes such outdated tunes and stretches them for six minutes. On the other hand, I didn’t even notice how six minutes passed during ‘Darkhaast’. Sayeed Quadri’s lyrics are good here too, but could’ve done with better composition by Mithoon. A lacklustre melody that has worn away with time.


Shivaay partly lives up to expectations. The album offers a very electrifying song that will be the cracker for this Diwali, and a very sweet romantic song, but other than that, the other songs seem to suffer. Jasleen seems to be stuck in her comfort zone, and must get out of it, considering that this is only her third song and it smells so much of her first. Ankit Tiwari was different. He took so long to get out of ‘Sunn Raha Hai’ that all his songs started overlapping and then we got used to it, and got a pleasant surprise whenever he let go of it. But I don’t wish that to happen in Jasleen’s music, as she seems very promising a composer. Mithoon’s last song is just avoidable, as it reeks of the 2005-2007 era so much. At the end of the day, the musical divinity only partially works.

 

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: Darkhaast > Bolo Har Har Har > Raatein (Reprise) > Raatein > Tere Naal Ishqa

 

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

REFRESHING AWARA-PAN!! (HAI APNA DIL TOH AWARA – Music Review)

Music Album Details
♪ Music by: Ajay Singha, Subhash Pradhan & Pervez Quadir
♪ Lyrics by: Mohit Pathak, Pinky Poonawala, Bulleh Shah & Kumaar
♪ Music Label: Zee Music Company
♪ Music Released On: 7th June 2016
♪ Movie Releases On: 24th June 2016

Hai Apna Dil Toh Awara Album Cover

Hai Apna Dil Toh Awara Album Cover

 

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

To buy this album on iTunes CLICK HERE


Hai Apna Dil Toh Awara is an upcoming Bollywood rom-com, starring Sahil Anand (‘Student of The Year’, ‘Babloo Happy Hai’) and Niyati Joshi. The film has been directed by Monjoy Joy Mukerji, and produced by Deepakk R. Gupta, Neha D. Gupta and Monjoy Joy Mukerji. The music of the film has been given by Ajay Singha, Subhash Pradhan & Pervez Quadir. Ajay Singha impresses me with remakes of old Bollywood songs that play on ‘Sony Mix’ channel, and it is his first Bollywood album, so expecting a lot from him as his pop album ‘In Raahon Mein’ was something worth hearing too. Meanwhile, Subhash Pradhan has composed for Bollywood movies like ‘Mere Dost Picture Abhi Baaki Hai’ (2012) and ‘Doctor I Love You’ (2015), which I’ve never heard of before. Therefore, there are not many expectations from him, but more than zero for sure. The third composer, Pervez Quadir, is a famous pop singer/composer, but I’ve never heard any of his works, so again, I can’t have any expectations as such. All I can hope for, is that all three composers do something great to make this small album big with their music! Ajay leads the album with four songs, while Subhash and Pervez each compose one song each. Let’s see how the music of ‘Hai Apna Dil Toh Awara’ turns out!!


1. Chu Liya
Singers ~ Papon & Neha Rajpal, Music by ~ Ajay Singha, Lyrics by ~ Mohit Pathak

Ajay Singha opens the album with a serene love duet with a predominant calm and dulcet sound to it. The composer has managed to create a very sweet love song that would instantly grab the listener’s attention. A very pleasant Assamese rhythm manages to keep you listening for more and more magic, and gives a very pleasant North-Eastern touch to the song. Ajay’s composition is not the usual Bollywood romantic song, but oozes with positivity. It makes you feel so good, and that is why it just wins your heart. Ajay has wonderfully used the Northeast flavour to make the song lovable, and it turns out to be beautiful. Acoustic guitars complement the usual Northeast folksy arrangements like flute and the percussion (dafli). The flute is the star of the song, and leaves a very happy impression on you. The very raw sound effects liek that of water and shakers make you feel so close to nature and if you close your eyes and hear it, you can just imagine a beautiful scenery in front of you.  The singers use their talent to take the song to another level. Papon in a romantic duet is a very rare thing to hear (I think the last romantic duet he sang was ‘Tu’ (Bobby Jasoos) with Shreya Ghoshal) and he sounds perfect in the song, more so because he is from the Northeast. 😀 On the other hand, Neha, a regular in Marathi albums, sounds weaker and more amateurish, but pleases you nevertheless. She sounds like Version 2 of Sadhana Sargam. Mohit Pathak, Ajay’s lyricist for ‘In Raahon Mein’, his pop album, writes pleasant lyrics as well, with Bollywood written all over them, yet sounding good with the composition and arrangements. A very soft and pleasant love song, that is a refreshing break from typical overdramatic love songs. #5StarHotelSong!!

 

2. Meheram Mere
Singer ~ Mohit Chauhan, Music by ~ Ajay Singha, Lyrics by ~ Mohit Pathak

Ajay continues with the pleasant breeze of music with his second song, this time crooned by Mohit Chauhan, perfect for this kind of song. The composition has shades of Pritam in its every note and line. Ajay has presented another pleasant romantic song, this time with a very soothing Sufi touch to it. The hookline is a very trademark Pritam-esque composition, and one wonders whether Pritam himself has helped with it. The mukhda is totally composed in a style that Pritam has become famous for mastering. Ajay has done a good job composing something that is light to the ears, and at the same time, makes you tap your feet and nod your head to the beats. Ajay’s arrangements are also very typical, yet strike a chord with the listener. Guitars and tablas stand out like the heroes of the song. Mohit’s professionality really helps the song, which otherwise, might never have sounded so beautiful and catchy. His beautiful and smooth voice is what makes the listener get so enchanted by the song, which is nothing new or special. Mohit Pathak has written yet another typical Bollywood song, but yet again, it appeals to the ears solely because of the pleasant composition and arrangements. Yet again, simple and sweet arrangements and a strong, but heard-before composition fails to BORE! 😀 Something that appeals to the ears even though it is so plain and heard-before! #5StarHotelSong!!

 

3. Hai Apna Dil Toh Awara
Singer ~ Nikhil D’Souza, Music by ~ Subhash Pradhan, Lyrics by ~ Pinky Pooniwala

The title song has been composed by Subhash Pradhan, and comes very unexpectedly after two beautiful romantic songs. This one, too, follows the same pattern as the previous two. It follows a template that has been done before, heard before, loved before, and yet, it impresses you with all its simplicity. Subhash has tried to make a very sweet-sounding, happy-go-lucky song, and succeeded. He makes sure that the listener will have a smile on his or her face after the song is over and also while it is playing. The best thing is that (and I’ve loved this thing in many recent songs) the hookline is so laid-back and humble, and that is what makes the song so special. You don’t even feel like the hookline just played, but it leaves an impact on you just as well. Arrangements are as breezy as the composition, with a strong countryside touch to them, with guitar riffs being the most prominent throughout the song. The harmonica has also been used very well, and so has the flute. Drums at certain places do accentuate the moment better. Nikhil with his husky voice, brings in the perfect feel of someone bored with his routine life and longing for a change, and Pinky Pooniwala beautifully explains that with the lyrics. The “hoo hoo hoo” by Nikhil is really commendable, and is very nicely and seamlessly done. A perfect song for a long drive, oozing of freshness and a pleasant breeze! An unexpected surprise from Subhash! #5StarHotelSong!!

 

4. Tere Ishq Ne Nachaaya
Singer ~ Pervez Quadir, Music by ~ Pervez Quadir, Lyrics by ~ Bulleh Shah

Pervez jumps into the album with the next song, which is the first song on the album that is actually upbeat and not calm. Pervez has taken Bulleh Shah’s poem and made a clubby number out of it. It still has that essence that it should have, but it sounds quite odd at places. Pervez has composed it well, keeping the essence of the poem in mind. It has been given a soft and soothing tune, something like a chant. It isn’t exactly what you would call catchy. The arrangements though, are a good mix of techno sounds, guitars and drums, which keeps you from getting bored. However, if the purpose was to keep you entertained, it doesn’t quite get fulfilled, as the lyrics and composition do not go well with those arrangements. Pervez’s voice too has been programmed weirdly, and it comes across as a mad mix of voices reciting a poem in a hodgepodge manner. Not an impressive fusion!!

 

5. Bhool Saari Baat
Singer ~ Ajay Singha, Music by ~ Ajay Singha, Lyrics by ~ Kumaar

Ajay re-enters into the album with this song, a quiet and soothing sad song. It has been composed on very minimal arrangements, and doesn’t fail to grab you into its web of enchanting music. The composition has been very carefully done, so as to make you love it to the fullest. Recently, ‘Kapoor & Sons’ had a similar sad song ‘Saathi Rey’, which had a just as pleasant and sweet and positive touch to it. Ajay has surprised me a lot with the composition, which is so simple, yet so complex. The way the composition travels from low notes to high, so very effortlessly, is just praiseworthy. The arrangements are nothing but some acoustic guitars, soft strings and fingersnaps as the rhythm. Shakers have been used well, too. Ajay has rendered the song with a calm presence, and a very controlled voice, though we can hear the autotune at places. And he sounds like Atif Aslam at places, when he goes on the loud high notes. Nevertheless, it is a great attempt from his side. And the highlight of this sweet little song are the very poetic lyrics by Kumaar. It is just so haunting to hear the lyrics along with the dulcet composition. They are very heart-touching, and Kumaar is an expert at such lyrics, as well as silly and insane ones! 😀 A masterpiece, that doesn’t try at all to be a masterpiece. Soft, soothing, and haunting without any haunting notes at all! #5StarHotelSong!!

 

6. Dil Ke Rahi
Singer ~ Raman Mahadevan, Music by ~ Ajay Singha, Lyrics by ~ Pinky Pooniwala

The last song on the album is quite similar to the title song, with a countryside flavor, something that sounds a lot like a travel song. The acoustic guitars make the song feel breezier than it should. The base composition is quite bland and not as appealing as the other songs. Ajay has tried to make a breezy and catchy composition, but nothing works out as planned. The hookline doesn’t grab your attention, nor does any other part of the composition. The arrangements are the saving grace, with a catchy guitar-drums combo that always works for such songs. Rock guitars, a wonderful sitar, and piano notes attract your attention on the way towards the end of the song, but there’s not much else to hear and you end up getting bored soon. Raman’s voice isn’t pitch perfect either, and that makes it worse. The slow pace of the composition doesn’t go well with the upbeat and breezy composition here, and though it tries to sound like an IndiPop song, it ends up sounding pretty stale. Pinky Pooniwala’s lyrics are good, though. Nothing new, but nothing bad, either. A song that is a disappointing end to an unexpectedly great album.


I wouldn’t even have reviewed Hai Apna Dil Toh Awara. I had never heard about the movie or anything about the songs. But when I heard it, I was pretty blown away with the dedication of the makers. Even though the movie might not have a big star cast to boast of, the makers have made sure that the music finds as many takers as possible. The songs are a fresh change from the usual albums to small films as these, and I was really surprised on hearing it. Refreshing!

 

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: Meheram Mere > Bhool Saari Baat > Hai Apna Dil Toh Awara > Chu Liya > Dil Ke Rahi > Dil Ke Rahi

 

Which is your favourite song from Hai Apna Dil Toh Awara? Please vote for it below! Thanks! 🙂

 

THE SULTANATE OF VISHAL-SHEKHAR IS BACK TO REIGN!! (SULTAN – Music Review)

Music Album Details
♪ Music by: Vishal-Shekhar
♪ Lyrics by: 
Irshad Kamil
♪ Music Label:
 YRF Music
Music Released On: 31st May 2016
♪ Movie Releases On: 
8th July 2016

Sultan Album Cover

Sultan Album Cover

 

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

To buy this album on iTunes CLICK HERE


Sultan is an upcoming Bollywood sports drama film, starring Salman Khan and Anushka Sharma in the lead roles. The film has been directed by Ali Abbas Zafar, and produced by Aditya Chopra. The story revolves around a Haryanvi wrestler who goes by the name Sultan (Salman Khan), who has problems in his professional life. His struggle to get back into the wrestling scenario forms the story of ‘Sultan’. The story seems the usual Bollywood story for a sports film, but the execution is what matters. While we wait for the execution to come in front of our eyes, the music album is here for us to cherish. The album marks the comeback of duo Vishal-Shekhar, who disappeared after a mediocre album, ‘Happy New Year’ (2014). They gave that foot-tapping song in ‘Fan’, again for YRF earlier this year, again for a Khan, Shahrukh. This time they come back to compose for YRF’s ‘Sultan’, which is coincidentally their first Salman Khan film!! That’s kind of hard to believe isn’t it? Such a talented duo and composing for Salman for the first time! 😀 What was Salman doing all these years? Playing table tennis with Himesh and Sajid-Wajid? Apparently, he has moved on from his clichéd composers and after Pritam’s stylish and full-of-variety ‘Bajrangi Bhaijaan’, and Himesh’s old-fashioned, but enjoyable ‘Prem Ratan Dhan Payo’ last year, he comes back this year with a new choice of Vishal & Shekhar, who are geniuses when it comes to being innovative. Expectations are sky-high and there are so many reasons. a) Vishal-Shekhar’s comeback. b) Vishal-Shekhar’s first for Salman. c) Vishal-Shekhar composing for YRF.. (remember ‘Ta Ra Rum Pum’ and ‘Tashan’?) Something phenomenal indeed is expected. Something mind-blowing and something innovative — just because Vishal-Shekhar are on board. They have composed a big nine-track album, with seven songs, one version and one theme. Let’s see how many of them rise up like a real ‘Sultan’! Really hoping this comeback makes it really big (once again) for the duo after their rough patch recently, the last great album being ‘Hasee Toh Phasee’ (2014)! They must emerge as Sultans!


1. Baby Ko Bass Pasand Hai
Singers ~ Vishal Dadlani, Shalmali Kholgade & Isheeta Chakrvarty, Rap by ~ Badshah

The soundtrack opens up with a fun-filled dance number that has been composed by the duo to really suit Salman’s presence in it. The song starts off with a wonderful rhythm, that you can set your feete tapping to immediately, as soon as it starts. Composed of techno sounds, dhadd, and manjeeras,the rhythm really hooks you right away, and Isheeta’s folk portion doesn’t really help in making you run away from the song. In other words, the song starts off really catchily, just as it should!! Vishal-Shekhar have really moulded themselves into a complete folksy manner, and delivered a composition that would easily connect with the masses. It is very typical, very Salman types, yet it instantly catches onto you. The hookline, kind of composed on the base rhythm of ‘Selfie Le Le Re’ (Bajrangi Bhaijaan), impresses with its briskness. The techno noises after the short hookline are wonderful, and so is the playful flute! The mukhda by Vishal and Shalmali, really grabs your attention. Arrangements in the song are fabulous. The use of techno has been done really impressively. The brisk interventions of the flue are just lovely! They really stole my heart. Traditional instruments like harmonium, dholaks, manjeeras, tumbi, dhadd, impress as well in their small parts. Vishal-Shekhar really know how to fuse everything together into a catchy package. There is a rap by Badshah completely styled like an antara, as it is very cleverly joined with the hookline after it is over. Badshah’s rap is fun to hear, but I miss the very raw Haryanvi feel of Honey Singh’s Haryanvi rap here. Anyway, it is enjoyable. Shalmali sings in her soft voice, which I like better than her other, low-pitched voice. She does the Haryanvi accent very well. She too, has a small stanza to sing after a bit of Badshah’s rap, after which Vishal comes back for the hookline. For Vishal, I’ve no words to express how much I loved his rendition. He sings with the same infectious energy, that he puts into all his other songs, so it is not a surprise. The way he sings the hookline, though resembling his rendition of the hookline of ‘Selfie Le Le Re’, still sounds so mind blowing and cool. Irshad Kamil is back to his fun, enjoyable lyrics. He can easily mould himself to write so many different types of lyrics and they always appeal! He takes the hookline and writes such fun-plus-funny lyrics around it, a usual male v/s female battle as we have in Bollywood dance numbers many times. An infectious, catchy number, perfect as the first song in a Salman album. Vishal-Shekhar have composed a perfect song for Salman, right in their first stint for him! Energetic vocals, enjoyable lyrics, and booming arrangements all make this one a WINNER! #5StarHotelSong!!

 

2. Jag Ghoomeya / Jag Ghoomeya (Female)
Singers ~ Rahat Fateh Ali Khan / Neha Bhasin

A beautiful guitar loop starts off the next song, and you know Vishal-Shekhar are back at doing their thing with the soulful romantic songs. The song is a romantic song, with shades of Vishal-Shekhar’s style, yet suiting Salman’s style perfectly. The composition is a breezy, love ballad with a really happy-go-lucky touch to it, and graced with a beautiful folk rhythm. The mukhda is very charming, and the hookline really lives up to its name — it hooks you completely. The rhythm of the hookline is just too catchy to dislike. It is the antara though, where Vishal-Shekhar really work magic. It has been composed in a manner that reminds you of Vishal-Shekhar’s work in ‘Tashan’, for some reason unknown. Maybe the folksiness makes it connect to ‘Tashan’. The line “jaisi Tu hai vaisi rehnaa” is very pleasant, and my personal favourite from the song. It has some charm in it. The female version has the tempo cranked down a bit, and that appeals so, so much! The duo excels in the arrangements too, as always. In the male version, their brilliance in arranging music is seen in the way they add folk guitars, acoustic guitars and rock guitars into the same song. Percussion is brilliant, with a folksy but electronic dafli and dholak rhythm backing the song. Shakers have been used very cutely. The first interlude has a very majestic strings portion which reminds one of ‘Zehnaseeb’ (Hasee Toh Phasee). It has a strong hangover of that song. However, the mandolin is what steals the show. It is very cute and pleasant to the ears. In the female version, however, Vishal-Shekhar really impress. They have arranged it very beautiful with almost nothing but a folkish guitar in the background. Percussion is very beautiful, and very less and soft too. For me, this is the winner even though it offers less! To talk about vocals, Rahat’s soulful voice brings that rustic feeling to the song (and also brings the Salman-iyat 😛 ) and sounds very familiar, yet appeals. Again, it is the female version which emerges as the winner. Neha has tried something new this time, with an innocent romantic song. Her husky voice perfectly makes for the rustic setting of the movie. The accent is something to fall for! I couldn’t help but miss Harshdeep Kaur here, though! Not that Neha’s rendition is bad in any way!! 😀 Her voice simply reminded me of Harshdeep’s and then I started wanting to hear the song in her voice. 😛 Kamil’s lyrics are sweet, simple, innocent; in short, amazing. Amazing simplicity and innocence in this romantic song. Something worth hearing on loop! For me the female version is better, but both are a #5StarHotelSong!!

 

3. 440 Volt
Singer ~ Mika Singh

I saw the title and singer’s name of the next song and told myself, “Finished. The goodness of this album is over. It’s all over, dude. You were an idiot to think that the album would be so great.” After all, I’ve not been liking Mika’s songs of late; the same, old, repetitive meaningless party tracks. But boy, was I wrong! The song is utterly enjoyable! Nothing less than that. Enjoyable to the fullest. Each and every second is something to cherish and enjoy. I don’t know what Vishal-Shekhar fed Mika before recording the song, but here he sounds very, very different! He doesn’t belch out his words like always, he doesn’t eat any of the syllables, and neither does he try to sound like a pop star. Instead, he pronounces everything perfectly, sings in a very soft textured voice, and tries to sound CUTE! And it works! He does sound cute. Don’t believe me? Hear it! The duo have given him a song quite unlike his style, yet perfect for him! It is a slow-paced, but very catchy and groovy song based on the filmi Qawwali template. It is one of the most entertaining Qawwali spoofs I’ve heard this year. And then there’s that ‘Fake Ishq’ (Housefull 3). [Okay, now ‘Housefull 3’ has really become an example, hasn’t it? Sorry! 😅😅 Couldn’t resist from writing that, though!] Vishal-Shekhar have composed something that is immensely attractive, something that doesn’t only have a catchy hookline to do all the work, but a hardworking (in getting us addicted!) mukhda and very diligently composed antaras. The antara is a very weirdly addictive, slow piece that you can’t get out of your head. The part in the hookline when Mika repeats “Chhoone Se Terey” is just so crazily gooooddd! (Can’t think of a synonym for ‘good’. That’s why I elongated it. No time! 😂 ) The way Mika sings in a Haryanvi accent fulfills my dream of hearing him sing that ever since he didn’t sing the title track of ‘Boss’. (Which I had thought he had sung when I first heard it). The duo’s arrangements are very creative. The rock factor works really well in filmy Qawwalis, so there it is. The harmonium and tablas are also awesome. A wonderful electronic substitute for the tabla has been added by the duo, which you can hear at 2:47 in the song. That space is usually taken by the tablas in any Qawwali. While he first interlude has a full-on rock guitar solo, the second goes the calm way with a Spanish sounding tune on strings and tablas. Irshad Kamil writes very entertaining lyrics, perfectly suitable for a lovestruck Romeo. The hookline is so funny, yet creative. “Lagey 440 Volt Chhoone Se terey”. Now don’t say I unnecessarily hate the lyrics of ‘Hous– oops! ENTERTAINING to the core!! Something very creative and innovative! P.S. Mika as a Qawwali singer sounds awesome! #5StarHotelSong!! (P.P.S. Sorry for the essay)

 

4. Sultan
Singers ~ Sukhwinder Singh & Shadab Faridi, Backing Vocals ~ Abdul Sajjad, Zuber Hashmi, Arun Ingle, R N Iyer, Mandar Aapte, Kaustubh Datar, Rahul Chitnis, Nitin Tupe, Swapnil Godbole, Mangesh Chavan, Nitin Karandikar, Vijay Dhuri, Jitendra Tupe, Mayuresh Madgaonkar

The title song, arrives quite late into the album, and starts off very softly. Later, a voice quite like that of Vishal Dadlani joins the rock guitars that start off the song, and sing some motivational lines. We’re kind of figuring out what’s going on, when suddenly, an electrifying Sukhwinder Singh takes things into his hands and with him, the song goes uphill, and how! An energizing electric guitar hook starts playing, to be joined later on by energetic drums and a wonderful chorus. The composition is also just ad energetic, and definitely motivational. The duo redo their own ‘Tashan Mein’ (Tashan), but in a very different manner. A way better version of the seemingly unbeatable song, in terms of dynamism and vigour. The hookline is very unconventional as it ends abruptly with the chorus singing “Rre sultan”. The khoon and mitti refrain is very catchy, and suits the theme, doesn’t it? All the parts of the song are energetic, and full of the spirit to work and win. The rock arrangements are not over the top, and because of the commercial nature of the rock song, it will appeal to all, unlike other rock songs which aren’t so commercial. You can barely hear anything besides the rock guitars and drums, which I must say, are very classily done. There are some parts in the antara when the rock simmers down, but other than that, rock is everywhere. Sukhwinder and Shadab are a fit duo to sing the song, with Shadab getting very less in comparison to Sukhwinder. Sukhwinder is clearly the king of all this. A wonderful techno-sargam entertains highly in the first interlude. Irshad Kamil’s lyrics are highly motivational and more than a character-themed title song, like Salman’s other title songs where the leading hero is a larger-than-life supercop (Ahem, ‘Dabangg’!), the song sounds like a pure motivational and inspirational song. The energy of Sukhwinder and Shadab combined with the energy of Vishal-Shekhar’s guitars and drums, and the intelligence of Kamil’s pen, makes for an enjoyable and worthy listen! One of Salman’s best title songs!! He’ll be like “Achho title song paayo .. Paayo… Aayo.. Laayo… Gaayo.. Bio —” Where’d that come from? 😕 #5StarHotelSong!!

 

5. Sachi Muchi
Singers ~ Mohit Chauhan & Harshdeep Kaur, Backing Vocals ~ Marianne D’Cruz, Nisha Mascarenhas, Rajiv Sundaresan & Neuman Pinto

Now, the next song is really beautiful. Vishal-Shekhar create a very happy-go-lucky romantic song, very unconventional. The song starts with a wedding baaja type band, playing the tune of the hookline, which sounds really out-of-place, and confusing. However, things clear themselves up when the song starts after the band moves on. A wonderful banjo + harmonica instrumentation sets things into place, and creates a very American folk ambience. (You know, cowboys. 😛 ) Without thinking about what cowboys are doing in Haryana, I start grooving to the feel-good, breezy music. However, it took me very long to really start grooving a lot to the music. The song grows on you as slow as a snail. But when it finishes growing upto however much it wants to grow, it sounds very good to the ears. The same thing happened to me. The composition, though a little weak, sets in after a few listens and seems to very attractive. The Western breeze in the arrangements is something not heard recently in Bollywood. (I don’t really like it when it comes in Bollywood music, though. Sounds boring, generally, too!) Mohit and Harshdeep sing the composition perfectly, with the right amount of gusto. Especially in the hookline, “yeh khwaab hai, chaahatein…. Tere kehne Se li Maine parvaazein”, Mohit along with the backing chorus sings very awesome. The harmonica and banjo sound mind-blowing. The lighthearted composition works really well after some time, just that it takes some time to mark its place in the otherwise commercial album. Irshad’s lyrics are just as lighthearted as needed. This time, a two-sided love song. 😀 A song with less appeal, but will slowly emerge as an undoubted #5StarHotelSong!!

 

6. Bulleya
Singer ~ Papon, Backing Vocals ~ Altamash Faridi & Shadab Faridi

While Mika sang a filmy Qawwali earlier in the album, Papon is here with a full-fledged traditional Qawwali of his own. Vishal-Shekhar have composed a totally sweet, innocent composition for this Qawwali, fit for mehfils. Papon starts off with a very lovely AdLib, after which Vishal-Shekhar kick in with the beautiful Qawwali rhythm, complete with the Faridi brothers singing in a heavenly manner, and a harmonium striking the chords of our hearts. Papon rejoins with very sugary lines written wonderfully by Kamil. He renders them very beautifully, and those waah’s cant stop from escaping from your mouth. The way the duo connects this part to the hookline, is when you really get transported to another world. And the hookline is what keeps you there. And you stay there for the remaining duration of the song. A beautiful entrancing arrangement of dholaks, tablas, dafli, harmonium and chimtas, complements Papon during his heavenly rendition. The foot-tapping rhythm is what makes the song sound so beautiful. The rhythm in the hookline is indescribable. It is also the composition that has brought out the bliss in Papon’s voice. Vishal-Shekhar’s divine and spiritual composition is what makes you love everything about the song. The interlude has a wonderful rock guitar portion, which doesn’t sound out-of-place in the spiritual song at all. The Faridi bros are excellent in their spiritual interventions in the song. Lastly, Irshad is a genius. He has written such impressive romantic, spiritual and sad lyrics, which are excellent. It is like a request from the boy to his lover, instead of the usual sad romantic songs where the boy assumes that the girl is leaving him and starts wailing. 😂 The way the spiritual touch has been put into the lyrics, is wondrous. Divine, spiritual and blessed. Something to hear on loop! Perfect ‘Coke Studio’ material from Vishal-Shekhar! Papon, you are a rockstar!!! #5StarHotelSong!!

 

7. Tuk Tuk
Singers ~ Nooran Sisters & Vishal Dadlani

This song starts with a weird AdLib like one in a Qawwali. I am guessing that has been sung by Shekhar. Anyway, the AdLib makes way for some entrancing, divine techno music. It is so beautiful, that you can’t stop from swaying. Piano, chimes and techno sounds have been wonderfully fused together to make something really addictive and entrancing. The Nooran Sisters start off with their usual folksy Punjabi rendition, which starts off really promising. And then, it drops down so fast. The hookline arrives so fast, you are not sure what actually happened. Suddenly, the techno trance breaks and you find yourself in a very typical Punjabi tumbi-dhol arrangement (with very low volume, like Amit Trivedi’s style) with a very averagely composed hookline. It takes quite some time for the song to pick up pace again, and that is when Vishal comes in with his out-of-this-world rap! His rap is actually meaningful. The song is another meaningful, inspirational one, which completely grips you until the part I mentioned arrives. After Vishal’s raps though, the Punjabi part sounds perfectly fine and acceptable. It is the “re bole dhola dhol tadak dhin” line that plays the spoilsport in the song. It just sounds out-of-place here. Everything else falls into place perfectly. Even the antara, which has a Punjabi folk arrangement, sounds great. So why does that hookline sound odd? The flaw is in the abrupt composition. The EDM and techno music is really addictive, and the programming on the Noorans’ voices is very cool. The fusion is really something to appreciate, and something other composers must follow soon!! Irshad’s lyrics are very inspirational, and the metaphors are very clever. Something that would have been exceptionally innovative, but spoiled by the hookline!!

 

8. Rise of Sultan
Singer ~ Shekhar Ravjiani, Backing Vocals ~ Abdul Sajjad, Zuber Hashmi, Arun Ingle, R N Iyer, Mandar Aapte, Kaustubh Datar, Rahul Chitnis, Nitin Tupe, Swapnil Godbole, Mangesh Chavan, Nitin Karandikar, Vijay Dhuri, Jitendra Tupe, Mayuresh Madgaonkar

To close this very much awaited album, we have something on the lines of a theme song. Again motivational in spirit, this track takes the khoon-mitti refrain of the title song and has it crafted into a wonderful background piece. The composition as we know it, it purely motivational and so it has a very positive effect in this track. It makes the song sound so otherworldly. Shekhar leads the vocals with a horde of backing vocalists following him, without which it would’ve sounded lifeless. What I really want to praise is the MINDBLOWING percussion. They are so energetic and vigorous, you can’t help but love them. The rock guitars do not leave this opportunity of showing their prowess either, and impress yet again, along with their new companion, the percussion. The song suits the storyline of the film, as it starts slow and gets high-spirited towards the end, with the strings and brass kicking in later on. It is symbolic of the “Rise” of the character, Sultan. A perfect title, I must say! An INVIGORATING end to the impressive album! #5StarHotelSong!!


Sultan turns out to be way better than expected. Yes, I know my expectations were huge anyway, but not so high! I had never expected such a great album, especially when there is Salman’s commercialism to cater to. But Vishal-Shekhar really prove themselves. They are experts in music arrangements, and they use this plus point to raise the level of each and every song in the album. If there is a typical Salman dance number in ‘Baby Ko Bass Pasand Hai’, there is also a spiritual Qawwali in ‘Bulleya’ and an enjoyable track in ‘440 Volt’. An album full of variety, and I’m thinking, one of Salman’s best albums since 2010. Ali Abbas Zafar has brought out the best from the duo, considering the movie’s genre. If Vishal-Shekhar can deliver so well in a film that doesn’t need such good music, I can’t even imagine what they will do in films like ‘Banjo’ and ‘Befikre’ coming later this year! 😉 The sultans of Bollywood are back to reign!!

 

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

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

Recommended Listening Order: Bulleya > Jag Ghoomeya (Female) > 440 Volt > Sultan > Jag Ghoomeya > Rise of Sultan > Baby Ko Bass Pasand Hai > Sachi Muchi > Tuk Tuk

 

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

 

Note: ‘Sultan’ will be included in July 2016 monthly awards 🙂

Next “dish”: Raman Raghav 2.0, Chef: Ram Sampath