AN ALBUM WHICH GROWS ON YOU IN SLOW MOTION!! (BHARAT – Music Review)

Music Album Details
♪ Music by: Vishal-Shekhar, Julius Packiam & Ali Abbas Zafar
♪ Lyrics by: Irshad Kamil & Ali Abbas Zafar
♪ Music Label: T-Series
♪ Music Released On: 17th May 2019
♪ Movie Released On: 5th June 2019

Bharat Album Cover

Listen to the songs: JioSaavn | Gaana

Buy the songs: iTunes


Bharat is a Bollywood film starring Salman Khan, Katrina Kaif, Disha Patani, Sunil Grover, Tabu, Nora Fatehi, and Jackie ShroffThe film is directed by Ali Abbas Zafar and produced by Atul Agnihotri, Alvira Khan Agnihotri, Bhushan Kumar and Krishan Kumar. Two previous films that salman Khan did with Ali Abbas Zafar had music by Vishal-Shekhar, and it isn’t a surprise that they are retained for the third collaboration as well. Both the previous albums, which were on YRF Music, were a mix of entertaining and experimental music, so here’s to hoping that Bharat too, features such a mix of entertainment and experimentation. Also, background scorer Julius Packiam, along with director Ali Abbas Zafar, has composed one theme song for the album. Let’s dive right in! 😊


        Vishal-Shekhar open the album with the quintessential Salman Khan crowd-pleaser song, and I’m glad to inform you, that this sing has pleased this reviewer as well! Slow Motion is a song that ironically took no time to grow on me, a song that I started humming right away after I first heard it. The infectious energy the song carries can be attributed to the duo’s amazing work at the composition and arrangements, Meghdeep Bose’s upbeat programming and arrangements, and the top-notch singing by the vocal powerhouses Nakash Aziz and Shreya Ghoshal. Now, it isn’t the first time Vishal-Shekhar have equipped Shreya in her vivacious and bubbly side, but it sounds so different from their previous collaborations with her! First of all, her lower register provides an amazing touch to the song, which makes you want to listen till the end. Nakash, as always, sings at the top of his lungs and aces it. Meghdeep Bose’s arrangements consist of a contagious tune played first on a plucked string instrument and then on rock guitars (Warren Mendonsa and Meghdeep Bose) that starts the song off on a very catchy note. It is followed up by amazing percussions by the usual group — Dipesh Verma, Omkar Salunkhe, Keyur Barve, Khwab Haria and Shikhar Naad Qureshi — with an amazing interlude midway through the song. The duo’s composition though, is what makes the song so catchy; without that hookline, this song would not be much despite all the booming sounds. Irshad Kamil is made to pen standard Bollywood massy lyrics — the hookline makes one smile, but the rest, especially the antara, makes one cringe. Well, lyrics can be ignored, can’t they?
Of course, after the crowd-pleaser dance number, next on the template of a ‘Salman Khan music album’, comes a romantic number made for Arijit but not sung by Arijit. Chashni happens to fit into this category, a dreamy lullaby sort of song, that harks back to ‘Dil Diyan Gallan’ (Tiger Zinda Hai), only with some of its compositional movements — it is very hard to notice. Overall, the duo’s composition is a very happy-go-lucky one, with a playful vibe; the hookline having a guitar groove to it that makes it irresistibly hummable. Said guitar (played by Aman Moroney, also one of the programmers of the song) repeats throughout the song along with a matka-like sound, making the sing sound earthy. Again, Irshad Kamil’s lyrics are the standard Hindi-Punjabi mix that has infested Bollywood of late, nothing great. What deserves special mention, though, is the singing by Abhijeet Srivastava. The man, one song old (‘Aapse Milkar Achcha Laga’ from ‘Andhadhun’) gets the essence of the song beautifully, and does a much more impressive job than he did in his debut; this will probably be his most memorable song, his big break. Vishal-Shekhar also add their standard V-S strings in the interlude (a quite short interlude, at that, but wait, there’s just the tiny guitar groove where the second interlude should be, so I guess the first interlude is long in comparison!) and those strings hark back to their own songs ‘Naina’ (Gori Tere Pyaar Mein) and again ‘Dil Diyan Gallan’ (Tiger Zinda Hai).

‘Chashni’ appears in a Reprise Version as well, as is the norm in an Ali Abbas Zafar-Vishal-Shekhar-Salman Khan album. Ironically, all three songs ‘Jag Ghoomeya’ (Sultan), ‘Dil Diyan Gallan’ (Tiger Zinda Hai) and ‘Chashni’ (Bharat) had three different singers but their female versions are all sung by Neha Bhasin. Hubby Sameer Uddin is in charge of producing this one, and his guitars and plucks add the same vibe as we heard in her songs in ‘Sultan’ and ‘Tiger Zinda Hai’ too, so I am guessing he produced them there too, but YRF doesn’t give that kind of credits, so there’s no way to know! 😐 The bass in this version is booming, it really gives a beautiful earthy feel, and I kind of wish this arrangement had been used for the male version, because Neha Bhasin disappoints with her rendition this time.

Also expected for an Ali Abbas Zafar-Salman-Vishal-Shekhar collaboration, is a Sukhwinder Singh song. Little did we know that this time we would get not one, but two songs. So, the first is Turpeya, a song which has Vishal-Shekhar give an EDM spin and makeover to their own ‘Dard-e-Disco’ (Om Shanti Om). This song, I got bored of in 2 minutes when I first heard it because of the tedious composition, but it has an interesting soundscape (courtesy Abhijit Nalani). The only song on the album devoid of any live instruments whatsoever, it has the programmer doing quite well with the sound — the Punjabi percussion going on throughout is a bit monotonous, but the sounds which start the song off are really interesting, especially the Oud-ish sound followed by the santoor in the mukhda. Sukhwinder, as expected, delivers the song with spunk, but I just wish the composition were better.
And I get what I wished for in Thap Thap, which also starts with an intriguing digital sound. The song progresses with an intriguing tempo crank-up, and by the time it comes to the hook, it brings a very catchy bass portion, followed by an amazing live percussion portion and a nice strings portion that is clearly digital but still manages to grab your attention. Sukhwinder’s energy is top-level here too, and Vishal-Shekhar do not dilute the energy in a four and a half minute-long number; they smartly end the song at under three minutes. Nicely done!

Zinda is what we would expect as the theme song, and here the listeners are given in to a little surprised, which is that the song has been composed by the background music director and the film director in collaboration! Julius Packiam and Ali Abbas Zafar present a spunky theme song, a song that carries motivation with it very effectively. Starting with a great rock guitars with a chorus to accompany it, the song finally dips into a very melodious portion led by Vishal Dadlani, in his strangely sweet but at the same time grungy voice. The lyrics, also by Zafar, are aptly inspirational and motivational. The background has a cool bass line, and that rock guitar just doesn’t fail to keep impressing you throughout!

Back to the Vishal-Shekhar part of the album, we have two situational tracks left (not like the former half of the album wasn’t situational — barring ‘Chashni’ and to an extent ‘Slow Motion’, all the songs are more or less situational) One is a dance track, in two versions, and the other, my favourite song of possibly the year.
If you know me, you know I’ll leave the favourite for the last. So let’s talk about the dance song. 😁
Starting off with a very quirky ladies’ chorus led by Neeti Mohan, Aithey Aa immediately reminds one of ‘Baby Ko Bass Pasand Hai’ (Sultan), but here it is clear from the lyrics that Salman’s character is not going to be doing monkey business in the song video as he did in that song. 😂 The catchy chorus leads to Akasa’s wonderfully commanding voice, singing more catchy lines, coupled with Vishal-Shekhar’s cool EDM music (yes, even though that part of the film is set in 1983, but sigh, Bollywood just doesn’t understand anymore). The drop after the ‘Oh Aithey Aa‘ is infectiously catchy, but I wish I could hold a grudge for it being an electronic drop in a period film. Alas, I can’t! I’m enjoying it! 😂 Kamaal Khan’s antara first sounds odd because he is clearly auto-tuned or something of that sort, but it later sounds alright. Thankfully, he gets just two lines and then hands the mic back to Akasa and Neeti. What I don’t understand is whether Neeti has also sung some lines in the main melody, or if she is only singing the ladies’ chorus in the background.

The Dance Version of the song, ridiculously named, as if the former wasn’t capable of making me break into a dance (it sure was), wins my favour, not only because it is more creatively imagined, but because it had me liking more, a song which I had already liked in its initial version. *I hope the previous sentence made sense. Please read it again and again if it didn’t.* This song has Vishal-Shekhar adding more playful arrangements like a tabla and dholak section (Raju Sardar, Sanjeev Sen and Madhav Pawar) in the antara, a booming percussion section in the “closer aa” section and the drop tune, instead of being played digitally, has been relayed to a shehnai (Yogesh More), so you can imagine my happiness at how the composers have exercised full artistic freedom in this version — which seems like a ‘music dircector’s cut’ kind of version — I’m glad it made it onto the album. The other major difference between this version and the first, is that the main melody is handed over to the male singer completely, and this time the singer is also better — Nakash Aziz. The way he sings the “kurbaan” before the hook is amazing. Meanwhile, Neeti reprises her “Hand pump” couplet here as well. I wished to hear a little more of her in this version, but I guess the tablas and desi percussions more than made up for it. Irshad Kamil’s lyrics here in both versions, at least showcase some quirk and intelligent humour and are not standard Bollywood crap like ‘Slow Motion’.

And now for my favourite song of the first half of 2019. AND THIS IS A BIG MAYBE, but I’m not embarrassed to say that I love this song infinitely. Aaya Na Tu is one of the best made songs — with a tangible completeness to it. A song which has almost nothing missing — right from the vocals, to the intricate arrangements, to the beautiful, beautiful, and beautiful composition, this one is a winner all the way. The first time I heard it, I knew it needed more time to be assessed, and was I right. The more I listened to it, the more magic it unraveled on the way. Jyoti Nooran in her lower register is an auditory pleasure, it kind of makes me think she can sing all the songs in this pitch, which Rahat Fateh Ali Khan sang a bit too high-pitched, and it would sound beautiful. (Ahem, ahem, I’m looking at you, Mr. Rashq-e-Qamar!) Vishal-Shekhar’s intricate composition, most probably based on classical music, is decorated with beautiful arrangements by Meghdeep Bose. The percussions again, are the highlight of the song. Dipesh Verma and his team have done a splendid job here, but Jai Row Kavi joins them on the drums to give it more depth, the drums hitting home right at the perfect moments in the hookline. Indian sounds like shehnai (Yogesh More) and Tablas and Dholak (Raju Sardar, Sanjeev Sen and Madhav Pawar) give the song that rustic and homely feel. I’m guessing the lyrics are somewhere in the context of patriotism, and as such it reminds one of Amaal Mallik’s ‘Tu Bhoola Jise’ (Airlift), which wasn’t so rich with its percussion, but had the brass section working wonders for it. Here too, a stray trumpet features. The backing vocals are vast, and you can’t talk about the sing without mentioning them. All the biggest names from the Bollywood backing vocalists have come together for the backing vocals — Marianne D’Cruz, Neumann Pinto, Bianca Gomes, Vivienne Pocha, Shazneen Arethna, Rajiv Sundaresan, and Francois Castellino. And of course, if you didn’t notice Vishal Dadlani’s vocal humming in the beginning of the song, please go and immediately check it out again!! That is the part that makes you want to start listening to the song again, and then obviously, you can’t just stop because it is followed up by such a good song after that intro! So yes, that was my favourite song of the album, in all its intricacy and poignancy.


Vishal-Shekhar keep up the good work in their Ali Abbas Zafar-Salman collaborations, with this album sounding a bit weaker at first listen, but unravelling a series of wonderful observations as we listen to it more! An album that grows in slow motion! 😊

 

Total Points Scored by This Album: 9 + 8 + 7.5 + 7 + 8 + 8.5 + 8.5 + 9 + 10 = 75.5

Album Percentage: 83.89%

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: Aaya Na Tu > Aithey Aa (Dance Version) = Slow Motion > Aithey Aa = Zinda > Thap Thap = Chashni > Chashni (Reprise Version) > Turpeya

 

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

MUSIC KA MAIDAAN FATEH NA HO PAAYA! (SANJU – Music Review)

Music Album Details
♪ Music by: A.R. Rahman, Rohan-Rohan & Vikram Montrose
♪ Lyrics by: Irshad Kamil, Shekhar Astitwa, Puneet Sharma & Rohan Gokhale
♪ Music Label: T-Series
♪ Music Released On: 29th June 2018
♪ Movie Released On: 29th June 2018

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Sanju Album Cover

Listen to the songs: Saavn

Buy the songs: iTunes


Sanju is a Bollywood biopic starring Ranbir Kapoor, Paresh Rawal, Manisha Koirala, Dia Mirza, Vicky Kaushal, Sonam Kapoor, Karishma Tanna, Jim Sarbh and Anushka Sharma among others. The film is directed by Rajkumar Hirani, and produced by him along with Vidhu Vinod Chopra. We all know how Sanjay Dutt features in almost all of Hirani’s films, save ‘3 Idiots’. However, Hirani says he never got to know him personally until one day he started talking about all his hardships during an emotional breakdown. That lit a lamp in Hirani’s mind, and he decided to make a biopic. Now, I can’t comment on the movie as I haven’t watched it yet, but I can sure do a music review, right? 🤣 The music of the film has been composed by three composer entities (one being a duo), Rohan-Rohan, Vikram Montrose and A.R. Rahman. It’s surprising to see Rahman first of all in a multicomposer album, because whenever he did those in the past, it was because he left midway due to other commitments. But here, he was the last addition reportedly! Rohan-Rohan have two songs, and it isn’t their Hindi debut; that happened four years ago with ‘Mumbai Delhi Mumbai’, but it is Vikram’s Hindi film debut — he has done some Hindi pop songs and a Marathi album called ‘Bhay’, which was mediocre. Also, I’ve noticed that Hirani uses music as a prop to take the story forward, but not even in the way other filmmakers do (they’ll have a song play in the background and all). No, Hirani will have a full-fledged four-minute song sequence, but it’ll make the moment fun and enjoyable. However, the music itself isn’t always up to the mark. His favourite film album of mine is ‘Pk’, because the music actually was good there. Let’s check out how the music is with ‘Sanju’, though you might already know by my review’s headline. Sorry. I’m dimwitted that way.


Rohan-Rohan are the ‘chosen ones’ who get to begin this album. And they do it in quite a quirky manner too! Main Badhiya Tu Bhi Badhiya is a song that is supposed to be an old song that the character are singing in the 80s, so the song is composed like a 50s nok-jhhok number. It starts with a wonderful opening prelude, which instantly sucks you into the 50s. Sunidhi’s voice modulation is fantastic, and is obviously one of the best vocal renditions of the year. Sonu Nigam, in comparison seems weak, but I wonder, since he can mimic so well, why didn’t he sing in a nasal tone, as well? He still has sung in one, but it could’ve been more pronounced I feel. Rohan-Rohan’s composition is fun, but takes some time getting used to. And Puneet Sharma’s lyrics are very quirky and funny, especially the part when they talk about ‘family planning’ or rather, the lack of it. The song somewhat addresses Sanjay Duty’s commitment issues, and it’s the typical Hirani way of presenting a serious topic in such a flippant and casual way.

Rohan-Rohan’s second song doesn’t fare too well. Bhopu Baj Raha Hain tries to start with a retro sound as well, trumpets blaring, bhopus belting out weird noises, but it soon transcends into a very weird zone. Nakash Aziz was the obvious choice for the song, and I must say Rohan-Rohan’s arrangements are enjoyable, but I’m sure nobody will listen to this song again. There’s not magnetism or attractiveness to it. The antaras are poorly structured, and I’d never expect this song to be in any big commercial film. The worst part is that this is a Hirani film. Though the duo has tried to create the Hirani zone in this song as well, I feel it could’ve been less effervescent. The lyrics by Rohan Gokhale and Shekhar Astitwa are just a bunch of words you never think much about.

Vikram Montrose, the debutant, also starts off his share of the album with a song that everyone would love because of the motivational touch, the powerful vocals and the inspirational lyrics. Kar Har Maidaan Fateh does carry thag irresistibly moving sound, I agree. The choice of Sukhwinder Singh wasn’t surprising, but the choice of Shreya Ghoshal was surprising, and the way she sings is even more surprising — she sings quite lower than she usually sings. She shines even then, though. Sukhwinder Singh’s parts sound almost heard-before and nothing new, but because of the freshness Shreya brings through her low pitch, the song reaches different levels of awesomeness. Vikram arranges is quite standardly, with rock guitars, percussions, and drums. However, the violin playing the hookline in the interludes, is amazing. Also, the composition took some time to grow on me, but when it did, I couldn’t get it out of my head. All in all, it was a good debut for Montrose.

His second song Baba Bolta Hain Bas Ho Gaya, is hinged on the quirky lyrics by Puneet Sharma and Rohan Gokhale. Papon brings a different, rough texture to his otherwise smooth voice, but I enjoyed Ranbir’s parts more. And Supriya Pathak (not the one you’re thinking of) sings her lines quite funnily. The groove and gun sounds throughout the song have been overused so many times in so many gangster movies in Bollywood, that it sounds boring here. The song is also unbearably long, at just under than 5 minutes. However, I’m sure this song is for the theatres.

And then enters A.R. Rahman, who gets two songs too. Ruby Ruby starts with that irresistible bass line, followed by the wonderful guitars (Keba Jeremiah) and a grungy voice keeps whispering “Rrrrrubyy”. When the actual melody starts, you are initially confused, and the song takes some listens to get used to, but since it depicts Dutt’s drug addiction phase, I think it’s deliberately composed like that — so many lines repeating so many times; there’s actually three discernible different parts in the song that keep repeating over and over. And it sends us into a trance. The percussions are amazing too, as are the strings! Shashwat Singh masters the grunge very well, and I especially loved the part when he does the descension from ‘Tu bhi, ruby, ruby…’. Poorvi Koutish is a capable backing vocalists, and her ‘la la la’ is so haunting, it sucks you in.

Speaking of haunting, Rahman’s next song Mujhe Chaand Pe Le Chalo is just that. A sensuous composition, rendered just perfectly by Nikhita Gandhi, the song immediately has you hooked. It has a number of lines ending with high notes, which Nikhita holds so wonderfully. The rhythm Rahman employs in the background is intriguing, and reminds you of ‘Muskaanein Jhoothi Hai’ from ‘Talaash’ with the shakers, the subtle percussion, and very muffled strings that give the song an even more sensuous atmosphere. Irshad Kamil writes lyrics that suit the ambience of the song, and I feel that the song itself can transport you to the moon. Also, Nikhita hums so brilliantly at the end of the song. 😍


Sanju turns out to be the weakest Hirani album for me, due to the meaningless quirks from the newer songs by the younger composers, that just brings the album down. The music field has sadly not been conquered by Hirani this time.

Total Points Scored by This Album: 8 + 5 + 8 + 6 + 8.5 + 9 = 44.5

Album Percentage: 74.17%

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: Mujhe Chaand Pe Le Chalo > Ruby Ruby > Main Badhiya Tu Bhi Badhiya = Kar Har Maidaan Fateh > Baba Bolta Hain Bas Ho Gaya > Bhopu Baj Raha Hain

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

A SUPER-BRIGHT, LED TUBELIGHT!! (TUBELIGHT – Music Review)

CONGRATULATIONS!!! 👏👏👏👏👏👏👏👏🎉🎉🎉🎉 Guys, this calls for celebrations!!! After releasing the first song ‘Radio’ on May 17th, Sony Music stretches the music promotions till the eve of the film’s release! As I’m writing this, the time is 10:35 PM on Thursday, 22nd June, the night before the film releases. So Sony Music overtook Zee Music with this one. Zee Music had released the music of ‘Raees’ on the Thursday morning before the film, so now Sony goes one step further and rekeases this one roughly twelve hours before the film! Claps! A round of applause! Hats off! And the best part, the album has TEN songs. *Slow claps*. Before the album released Sony released five singles at tortoise speed and then left us hanging till 9:30 PM or so on 22nd June 2017. Wooosh! Phew! Geez.


Music Album Details
♪  Music by: Pritam Chakraborty
♪ Lyrics by: Amitabh Bhattacharya & Kausar Munir
♪ Music Label: Sony Music
♪ Music Released On: 22nd June 2017, 9:30 PM or so
♪ Movie Releases On: 23rd June 2017, 9:00 AM or so

Tubelight Album Cover

 

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

To buy this album on iTunes CLICK HERE


Tubelight is an upcoming Bollywood war drama film, starring Salman Khan, Sohail Khan, Mohammad Zeeshan Ayyub, Zhu Zhu and Om Puri, directed by Kabir Khan, and produced by Salma Khan, Salman Khan and Amar Butala. The film is set against the backdrop of the 1962 Indo-China War, which was fought over a disputed Himalayan border. The film is the official adaptation (no, not the “copy”, SRK fans!) of 2015’s “Little Boy”, an American film directed by Alejandro Gomez Monteverde. Of course, Salman Khan is looking very innocent in the promos, and the film seems to be another feather in the cap of the Kabir Khan-Salman Khan combo. Not just that, but even the music director of the film brings with him, many hopes and expectations from the audience. Pritam has been a constant collaborator with Kabir Khan, and right from their first album together, ‘New York’, he has been giving great music for Kabir’s films, and he has done three of Kabir’s films, making this the fourth film. The maestro gave an iffy soundtrack to ‘Raabta’ earlier this year, but then chose not to be associated with it for reasons we know. So for all practical purposes, this becomes his first album of the year. So, let’s see what Pritam has to offer in this long soundtrack that released twelve hours before the film!


1. Radio / Radio (Film Version)

Singers ~ Amit Mishra / Amit Mishra, Additional Vocals ~ Akashdeep Sengupta, Backing Vocals by ~ Tushar Joshi, Lyrics by ~ Amitabh Bhattacharya

“Aankhon mein aaye, aansoon khushi ke,
Phoola samaaun na main,
Haaye marr hi jaaun na main, haaye marr hi jaaun na main, ho ho,
Harkat ajoobe, Karne se khud ko, rok paaun na main,
Haaye marr hi jaaun na main, haaye marr hi jaaun na main!
Gaaunga Sur mein oonche, gaana yeh mera goonje,
Jammu se Jhumri-Talaiya,
Sajan Radio-oh-oh-oh-ohhhh, bajaiyo, bajaiyo, bajaiyo zara,
Sajan Radio-oh-oh-oh-ohhhh, bajaike sabhi ko nachaiyo zara!”

– Amitabh Bhattacharya

{NOTE: Sony had initially released a version of this song that actually had Kamaal Khan’s vocals in it, but later on it was replaced by a solo version by Amit. The Kamaal Khan Version was the film version, but now Amit has redubbed Kamaal’s parts. Even in the Film Version. Maybe Sony has credited him so that he doesn’t sue them or anything.}

So Pritam starts the album off with the quintessential, focus-the-cameras-on-Salman-Khan-dancing, sure-to-be-popular kind of song. This time, thankfully, it focuses less on Salman’s character, and stupid gimmicks like Bass and Selfies, but it apparently plays a role in the narrative. The protagonist gets a very good news, via the radio, the only source to get news of the war in those times, and hence, the whole village celebrates by singing this quite festive song, ‘Radio’. Pritam leaves no stone unturned in trying to compose this song in a catchy way, and still keeping the superhero’s image intact. 2015’s ‘Selfie Le Le Re’ (Bajrangi Bhaijaan) was low on the composition front, and Pritam fixes those problems and adds a more rich tune, here. The mukhda is the only odd thing; it might take time to get used to, but from the hookline to the end of the song, it takes you on a fun ride, showcasing Pritam’s trademark fun and desi side. The hook is something that will surely never leave my mind and heart, it has touched me with its cuteness. The way the word ‘Radio’ has been elongated with those intricate nuances, is just mind blowing. And extra marks to Amit Mishra, who rendered them just as perfectly. The antara, which is what Kamaal had sung in the initial version, which was taken down, has been composed just as charmingly, and I actually felt a nice old-world-charm in it. And the bridge from the antara back to the hookline, the part that goes “Jammu se Jhumri-talaiyya“, for some reason appealed to me a lot! The latter part of the song is just everything we had heard earlier in the song, played again, but I assure you, it doesn’t seem tedious or boring to listen to. Pritam has employed some wonderful arrangements to make this song sound as innovative as it can, in a Salman Khan movie. The accordion (Jeff Taylor) that starts off the song itself, draws you in so strongly, it is hard to stop listening right away. And then the composer brings in his usual upbeat Indian beats, the dholaks (Rhythms by Nitin Shankar & Dipesh Verma) standing out brilliantly especially in the hookline. The trumpets (Samuel Ewens) too, have a wonderful effect on the song. There’s a wonderful accordion (Jeff Taylor) solo in the second interlude which is something that can’t be missed at any cost! Sadly, people who will just be watching the badly-edited video song on TV, will miss it! The fiddle (Eli Bishop) is just lovely, standing out most prominently in the beginning of the antara, and as the antara progresses, we can hear one odd Banjo (Matt Menefee) note, which stands out like a sore thumb, but a good one, I guess!! Amit Mishra, Pritam’s latest blue-eyed boy, renders this one with amazing vocal prowess. It wasn’t always in his previous songs, that Amit hit the notes perfectly, but somehow, he manages to do so in an upbeat song where the melody plays the main game. Kudos to him for improving his vocals! Especially the low notes in the antara, he performs magnificently. The Film Version is basically the same song, but with Amit taking up different lyrics in the antara (this is what Kamaal had sung earlier, quite terribly too, at that, and I’m glad Pritam removed his voice. But then why have Sony credited him? May I say “LOL”?!). But that one gets a little less marks as the corresponding part in the antara of this song isn’t as hooking as the “Jhumri-talaiya” portion that I had loved! The situational lyrics by Amitabh are quite easy to decode, and we can easily understand what’s going to go on in the film when this song plays. It isn’t just a roadside attraction like ‘Selfie Le Le Re’ was in ‘Bajrangi Bhaijaan’. A solid start to the album; this song might not be the favourite of Salman Khan’s or Pritam’s fans, but it left me awestruck with its innocent and charming nature! 

Rating: 4/5 for Original Version, 4/5 for the Film Version

 

2. Naach Meri Jaan

Singers ~ Nakash Aziz, Dev Negi, Kamaal Khan & Tushar Joshi, Kumaow Backing Vocals by ~ Dev Negi, Anurag Saikia, Akashdeep Sengupta & Tushar Joshi, Lyrics by ~ Amitabh Bhattacharya

“Rishta humaara, jaise ki dori, se judi ho patang, patang, patang, patang!
Tujhse bichhadke chal na sakoonga, ek bhi main, kadam kadam kadam kadam!
Palkon pe mujhko bas toone bithaya,
Jeene ka nuskha yehi, toone bataya,
Chhed ghata ko, banke pavan tu, chhodke saare, kintu parantu,
Naach meri jaan, hoke magan tu, chhodke saare, kintu parantu!”

– Amitabh Bhattacharya

The second song comes across more as the commercial, show-off-Salman’s-stardom kind of song, than the first song. But this time, along with Salman, his real-life and reel-life brother, Sohail Khan, also gets the spotlight. The song is being touted as a ‘Brotherhood Anthem’, and that, it is. It is heartwarming to hear Pritam’s composition for this one. A very innocent composition at heart, it really suits the ambience of the film, and will set the base for the two brothers’ love in the film, perfectly. The prelude is a wonderful folksy instrumental on a folk instrument of the Northeast India. After the prelude ends, I found myself very tempted to sing “Jashnbaazi Ki Shaam Hai..“, the opening lines of Pritam’s ‘Tukur Tukur’ (Dilwale), because the feel of both songs is just so similar. Even after the mukhda plays, though, that song cannot be forgotten, and yet another Pritam song, ‘Chicken Kuk-Do-Koo’ (Bajrangi Bhaijaan), comes to mind. Pritam always does those slightly Goanese flavoured songs with utmost care and fun, in the process, making us get a very fun song to listen to. The composition of the mukhda starts off the song very beautifully though, despite all the throwbacks to his previous songs. And the hookline too, is amazingly charming. The antaras, both having the same tune, witness Pritam doing his (yet again) trademark repetition of one word many times, and that effect sounds really cute and catchy here. The composition overall gives out a very beautiful old-fashioned feel, and I mean it in a good way. Pritam does the Laxmikant-Pyarelal thing again, and scores. The arrangements in this song are much more richer, than the Pritam songs that it sounds like. The entire song is based on a folksy rhythm, with a strong whiff of the Northeastern flavour. The percussion stands out very prominently, as a quirky and catchy one. The folksy instrument keeps playing throughout the song, and you can’t help but keep humming the flute portions in the second interlude. That interlude is hands-down, the best part of the song for me. Close behind comes the folksy chorus part, sung in Kumaow, the dialect spoken in the hilly areas where the film is set. Dev Negi, Tushar Joshi, Anurag Saikia & Akashdeep Sengupta, do an amazing job singing those lines. As for the lead vocals, Nakash Aziz is his usual energetic self, whose best is always brought out by Pritam. Dev Negi sings the other brother’s portions in the audio song, or so I believe, because I can hear Kamaal Khan’s soft-and-unimpactful voice in the video, and that’s not the same voice in the audio song. 😂 So again, Kamaal gets replaced for the album version of the song, just as he was in the first song. Whoever has sung those parts in the audio then (though I’m guessing it is Dev Negi) has done an impressive job compared to what Kamaal sounds like in the video. Amitabh Bhattacharya’s lyrics are a very cute take on the dynamics (in the song, very smooth and easy-going, which I don’t think it is like in real life… Right?? 😂😂😂) between two brothers. To sum it up, this song is something that touches your heart, as well as makes you tap your feet, at the same time!

Rating: 4.5/5

 

3. Tinka Tinka Dil Mera / Tinka Tinka Dil Mera (Film Version)

Singers ~ Rahat Fateh Ali Khan / Jubin Nautiyal, Chorus ~ Vivienne Pocha, Shazneen Arethna, Marienne D’Souza & V. Chandana Bala, Traditional Shepherd Calls by ~ Jubin Nautiyal, Vivienne Pocha & DJ Phukan, Lyrics by ~ Kausar Munir

“Tinka tinka dil mera, teri lau mein, jalta hai,
Jaaye tu chaahe kahin, mere dil mein dhalta hai,
Qatra qatra, dil mera, teri raah mein behta hai,
Jaaye tu chaahe kahin, mere dil mein rehta hai!”

– Kausar Munir

After two upbeat and foot tapping numbers, the pathos and poignance that eventually gets to all Pritam-Kabir Khan soundtracks, sets in. What is presented to us next, is a pensive melody that really brings tears to your eyes, and I’m not exaggerating! Pritam ropes in his long-time collaborator, Rahat Fateh Ali Khan from across the border, to sing this song, and I must say, he was the perfect choice for this song. Of course there is a “Film Version” by Jubin Nautiyal as well, but more on that later. The composition is essentially a heart touching one, complete with little nuances throughout its length. The mukhda, which is in its entirety, the hookline itself, hits you right where it should. The folksy bits in the interludes, (rendered powerfully by Jubin Nautiyal, Vivienne Pocha & DJ Phukan), are really impactful and provide a raw and earthy feel to the song. Even the basic composition by Pritam is very raw and rustic, not like Pritam’s usual alternative rock-styled sad songs a la ‘Saware’ (Phantom), ‘Daayre’ (Dilwale), etc. The antara does something inside you that not even the mukhda could do. The high notes it touches are just so heart-rending, it leaves a lasting impression, at least it left one on my heart. The slow pace really works in the song’s favour, and evokes memories of another such song by Pritam, “Ashq Na Ho” (Holiday), which was also, coincidentally, about the sentiments of family members of a soldier when he goes off to war. There is yet another “roadside attraction” as I call it, in the song, and that is the Chorus, singing like an English choir. Vivienne Pocha, Shazneen Arethna, Marienne D’Souza and V. Chandana Bala do that with a striking brilliance. It kind of resembles the similar chorus we had in ‘Bajrangi Bhaijaan’s ‘Zindagi Kuch Toh Bata’. Now, to talk about the leading man, Rahat. I think that if I say he has done extraordinarily in the song, it would be an understatement. His rustic voice produces a magic it has not produced of late, and reaches out to your heart. Jubin, on the other hand, not having the same vocal texture in other songs, tries impressively to produce it, and even succeeds to an extent. The way he has moulded himself to fit into the rustic standards of the song, is very impressive. But of course, some of the magic that Rahat could provide, is evidently missing in Jubin’s version. {Fun fact here: Even in ‘Bajrangi Bhaijaan’, Jubin had sung one version of ‘Zindagi Kuch Toh Bata’, and the other one was a duet between Rahat and Rekha Bhardwaj!} Pritam’s arrangements are some of the most beautiful arrangements I’ve heard for a sad song this year. Usually, composers while arranging the sad songs are of the (mis)conception that it would be fitting to arrange it very monotonously, with the same sounds repeating all throughout the song. They almost never try to experiment at it, but here, Pritam has experimented by adding touches of the folksy flavour (credited by Sony Music as “Traditional Shepherd Calls”) and a Western flavour through the Choir. Even in the instruments, he tries to bring variety, by gracing some parts of the song with nothing but a serene-sounding piano, making the song suitable for a lullaby, but other parts heavy with rich and lush instrumentation, especially the finale to the song, where the American choir starts to sound African (but I guess that’s how the Hill Regions’ folk music sounds). Interspersed throughout the song, is a string instrument that is very fascinating; that would be the Swedish Nyckel Harpa (played here by Emelia Amper). Regular orchestral strings too prevail in the song, and sound magnificent especially in the first interlude. The instrumentation doesn’t stop even at the percussion part of the song, where Pritam employs Dipesh Verma, Omkar Salunkhe & Backtracks to produce a very intriguing Afro kind of percussion section. The guitar, of course, is a nice and pleasant addition to everything else that sounds so heavy. Even though the song is very emotional though, it never sounds heavy to the ears, and that is definitely because the arrangements have been kept so soothing to the ears, especially the minimal piano/xylophone parts. Both version are the same in arrangements, only differing in the vocal department. Kausar Munir, guest lyricist, pens down this song as a very heart-moving depiction of one brother’s love for the other, who is obviously off at war. SPLENDID!!

Rating: 5/5 for the Rahat Version, 4.5/5 for the Jubin Version

 

4. Main Agar / Main Agar (Film Version)

Singer ~ Atif Aslam / K.K., Chorus in Atif’s Version ~ Vivienne Pocha, Shazneen Arethna, Nisha Mascarenhas & V. Chandana Bala, Lyrics by ~ Amitabh Bhattacharya

“Main agar, sitaaron se churaake laaun roshani,
Hawaaon se churake laaun raagini,
Na poori ho sakegi unse magar, teri kami,
Main agar, nazaaron se churake laaun rangatein,
Mazaaron se churake laaun barqatein,
Na poori ho sakegi unse magar, teri kami!
Yeh duniya paraayi hai, bas ek apna hai tu,
Jo sach ho mera woh savere ka sapna hai tu!
Dekhunga tera raasta, ho kuchh tujhe bas Khuda na Khaasta!” 💜

– Amitabh Bhattacharya

Finally, with the fourth song in the soundtrack, the TYPPPPPPICAL Pritam vibe enters, and by that I mean a very soft and dulcet melody, with rock arrangements that send you on a trip to dreamland. The song starts off very promisingly. Very, very promisingly. The mukhda starts off right away with the hookline, which is a haunting line, that you catch onto instantly! It takes these abrupt turns into that “Haunting Note” territory, and when a tune goes into that territory, you end up loving it right away! That part even reminded me of the same “Haunting Note” territory part in “Zindagi Kuch Toh Bata” (Bajrangi Bhaijaan). But after that nice and dulcet tune, in comes a very oddly placed high-octane rock portion that defies the era and time period in which the film is set; it sounds very much like the formulaic songs that Pritam sometimes composed for the Bhatts. But fortunately, the composition is so strong, you overlook the mismatch of the era and the musical style. The antara gets back into that Haunting territory, and in the high notes, it just sends chills along the length of your arms. But hands-down, the best part of the song is the part where the title comes into play. Again, towards the end, a wondrous chorus joins (Vivienne Pocha, Shazneen Arethna, Nisha Mascarenhas & V. Chandana Bala), giving a very goosebumps-inducing experience. The arrangements in this one, are quite different from the folksy feel that the album carried till now, as is clearly evident right when the first electric guitar riff plays. The guitars, nevertheless, are very engaging, and Pritam does that technique of his which we heard in ‘Kabira’ (Yeh Jawaani Hai Deewani) and ‘Saware’ (Phantom), where the guitar just seems to play in a never-ending circular loop. The song starts off, however, with a very serene and soothing piano-driven instrumentation, and those first sixty seconds of the song are something to savour, because then, after that, the drums (Backtracks) and guitars (Warren Mendonsa & Oscar Foreleg Storm) overshadow everything else. Once in the antara, between the lines “woh lamha hoon main“, and “Phaagun Ke Mahine“, you can hear a very Indian Qawwali-ish instrument, like the chimta, and I wonder what that is doing in this song. Whatever it’s doing, I loved that it is doing whatever it is doing. 😍 The basic rhythm of the song is very engaging. One grouse I had during the finale of the song is that the chorus + guitars + Atif yelling at the top of his voice, gets so loud at one point, that you have to decrease the volume from whatever volume you are listening it at, because it just doesn’t sound consistent with the rest of the song. That brings us to Atif. He pronounces his words quite better than he does usually, and leaves no doubt in out mind that this song was tailor-made for him and solely him. Whatever has irked me about the loudness in the original song, isn’t quite set right completely in the Film Version by K.K., but as a song, this one is a more glitzy version of the melancholic song. This one has modern club beats (reminding one of “Tum Mile” title song), which sound like even more of an oddity considering that the film is set in the 1960s. And to think that a club version is the Film Version, is well, awkward. Pritam tweaks the tune a bit, adding a part where K.K. repeats the word “bepanah“, and uses his trademark neverending guitar loop there too. K.K.’s vocals are enjoyable, and I must say, he grazes the high notes way better than Atif does, in a very effortless manner. Pritam also does away with the female choir here, and ends the song softly, instead of loudly like the original version. Amitabh Bhattacharya’s lyrics in this song, though, are what will make people to listen to it, even fifty years down the line. Such poetic lines, and so meaningful! Wow! He even writes different lyrics for two portions in the so-called “Film Version”. I still have a gut feeling that Atif’s version would be the Film Version, and Sony has just written it on the K.K. version by mistake. Both versions are slight misfits in the album, but a great song nevertheless. Despite a few grouses here and there, it is made up for by the SPECTACULAR lyrics!

Rating: 4/5 for Atif’s Version, 4/5 for K.K.’s Version

 

5. Kuch Nahi / Kuch Nahi (Reprised) / Kuch Nahi (Encore)

Singers ~ Javed Ali / Shafqat Amanat Ali / Papon, Lyrics by ~ Amitabh Bhattacharya

“Naa nabz, naa hi saansein, Kuch nahi, kuch nahi
Tere bina hai jeena, Kuch nahi, kuch nahi
Naa ashq naa hi aahein, Kuch nahi, kuch nahi
Tere bina hai marna, Kuch nahi, kuch nahi!
Tere bina main kyun, Tere bina main kya?
Har pehar darbadar, Kuch nahi, kuch nahi..
Naa aks naa hi saaya, Kuch nahi, kuch nahi
Tere bina hai mera, Kuch nahi, kuch nahi!”

– Amitabh Bhattacharya

The grand finale to this much-awaited and much-delayed album, appears in three versions. So it is as of Pritam is making up for all the time we spent waiting, by giving us a treat of two extra versions! Let’s remind ourselves that ‘Tu Jo Mila’ (Bajrangi Bhaijaan) also featured in three versions, one by K.K., one by Javed Ali and the last by Papon. Well here, Pritam follows a similar template, giving one version to Javed, one to Papon and the third to someone he has collaborated with many times, but has been absent from Bollywood for quite a long, long time, Shafqat Amanat Ali. So first version first. Javed Ali gets to sing the original version of the song, and what an apt choice that is, for, he renders it so beautifully with his voice that is the perfect blend of rustic and sweet. The composition immediately gives off fragrances of ‘Tu Jo Mila’, right from the first line, but Pritam takes detour from that similar tune quite soon in the proceedings of the song, only to make it sound like a different line of ‘Tu Jo Mila’. The bottom line was that, I couldn’t forget ‘Tu Jo Mila’ the whole time I was listening to this song. The guitar in the beginning is played very similar to that in ‘Tu Jo Mila’, and by very I mean very, very. Is that a complaint? No, not at all. The composition, despite all similarities, is very beautiful and has a soul of its own. The rest of the arrangements, too do not emulate ‘Tu Jo Mila’ either. While that song had more of an alternative rock setting, this one goes a more rooted way, with the use of traditional (by which I mean traditional Western) arrangements: the orchestra is phenomenal, you just have to keep your ears ready for phenomenal performances by the strings, especially in the antara. And can we take a moment to appreciate the impeccable beauty of the composition of the “tere bina main kyun, tere bina main kya?” line!? Even the antara is very soulful, but it is the hookline with its ‘Tu Jo Mila’-esque properties, that draws you in right away. Anyway, the arrangements are amazing, and a nice rhythm section, again, has been employed all throughout. A wonderful flute interlude plays the ‘Main Agar’ hookline, and that part reaches your heart instantly! This arrangement stays for the Reprise by Shafqat, but it is changed in the Papon version. Papon’s Version has a slightly different arrangement than the other two. A mellow piano, and a twinkly xylophone backdrop welcomes us into the song, with a cello following quite soon. And then the strings just free up so beautifully, and showcase their beauty right away. Here, Pritam does away with the percussion, and keeps it like a classical Western song, and you will get a feeling that you are in some authentic Symphony House in Prague. The interlude too, changes from the flute one to a string orchestra one, with piano leading us to the antara. The antara has hints of brass instrumentation as well, and the percussion returns, but not as pronounced at it was in the two other versions. All in all, this version has the richest arrangements of the three. As for the vocals, I’ve already mentioned how Javed’s high pitched voice helps him directly reach our hearts. Shafqat seems a bit out of form, and that vibrato that used to be the characteristic of his voice, seems to have vanished, making his singing sound duller than his former singing, but better than other singers nowadays!! How I wish the old singers that Pritam has used in this album get many more songs today. Papon in his version, uses his deep, metallic voice to awe his audience and fares way better than Shafqat, but again, I felt the composition only suited Jared’s high pitched voice. The other two have sung well, but the composition just doesn’t go with those low voices for me. But the arrangements helped to make those versions better. Amitabh Bhattacharya keeps the lyrics the same in all three versions, and that’s good too, because the lyrics are so wonderful and deep. 🙂 A perfect finale to this album, in three options! Choose your preferred option and enjoy!!

Rating: 5/5 for Javed’s Version, 4/5 for Shafqat’s Version, 4.5/5 for Papon’s Version


Tubelight turned out to be quite worth the excruciating wait. With only five original compositions, and each of them scoring in their own ways, Pritam has made this album a treat for music lovers. The typical Pritam practice of adding lots of reprises in albums has been revived, the last such album of his being probably ‘Dishoom’. But those reprises were so redundant. Here, each reprise has its own specialty. About the album on a whole, it is so full of variety, while also keeping the emotion of the film intact. Though there are three songs that are uninhibitedly sad/mellow songs, even the two upbeat songs have tinges of emotion in them hidden somewhere. Since this album took such less time to grow on me, at least, I would say that it is a superbright, LED tubelight, which of course, light much faster than the normal ones! 😉

 

Total Points Scored by This Album: 4 + 4 + 5 + 4.5 + 4.5 + 4 + 4 + 5 + 4 + 4.5 = 43.5

Album Percentage: 87% {Just 0.5% short of getting the top rating! Oh well.}

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: Kuch Nahi = Tinka Tinka Dil Mera > Tinka Tinka Dil Mera (Film Version) = Naach Meri Jaan = Kuch Nahi (Encore) > Radio = Radio (Film Version) = Main Agar = Main Agar (Film Version)

 

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

PARTIAL MUSICAL ROBBERY!! (BANK CHOR – Music Review)

Music Album Details
♪ Music by: Rochak Kohli, Kailash Kher, Shamir Tandon, Baba Sehgal & Shrikanth Sriram
♪ Lyrics by: Adheesh Verma, Gautam Govind Sharma, Kailash Kher, Ambili Menon, Varun Likhate & Baba Sehgal
♪ Music Label: YRF Music
♪ Music Released On: 24th May 2017
♪ Movie Releases On: 16th June 2017

Bank Chor Album Cover

 

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

To buy this album on iTunes CLICK HERE


Bank Chor is an upcoming Bollywood crime comedy, starring Riteish Deshmukh, Vivek Oberoi, Bhuvan Arora, Sahil Vaid, Vikram Thapa and Rhea Chakraborty in lead roles. The film is directed by ‘Luv Ka The End’ fame Bumpy, and produced by Ashish Patil. The film is apparently a comic caper about someone who chooses the wrongest day possible, to rob a bank. Along with two sidekicks who do not know how to even pick a lock. It looks like a spoof on YRF’s own ‘Dhoom’ franchise, and it would be hilarious, I’m sure. The music album is another multicomposer album, as is the norm nowadays. Kailash Kher, Rochak Kohli, Shamir Tandon, Baba Sehgal and Shrikanth Sriram are behind the music. Kailash Kher knows how to compose for comedies, as he proved to us in ‘Chandni Chowk To China’s, so expecting something just as cool as ‘Phatte Chak Lein De’ which was in that film. Rochak Kohli takes the lead, as he has three songs in the album, and after his cool music for ‘Naam Shabana’, a thriller, it will be interesting to see how he moulds himself for a comedy. It’s not that he hasn’t composed for a comedy before, though — remember ‘Welcome 2 Karachi’? Hopefully his songs here are better than those. Shamir Tandon, who has barely impressed me ever before, gets one song, while rapper Baba Sehgal is back with this album, with a single song. Shrikanth Sriram has an instrumental piece to his credit. Hopefully these five men have put together an album that is catchy as well as humorous and sticking to the theme of the movie. Let’s see!


1. Hum Hain Bank Chor

Singers ~ Kailash Kher & Ambili Menon, Music by ~ Kailash Kher, Lyrics by ~ Kailash Kher, Rap Written by ~ Ambili Menon

Kailash Kher, known for his legendary Sufi songs, kicks off the album with its title track, a song that banks on repetitive shouts of the movie’s “clever” title, to propel it forward. Sure enough, the continuous repetition of the title of the film in the way Kailash does it, manages to elicit a few guilty laughs from the audience. The tune as such is very, very artificial and generic, something that wouldn’t have got even one listener if it hadn’t been for the repetitive gag that is the repetition of the “hook”. And I must specify one thing: if you come across this song and you’re like “Oh, how nice, Kailash Kher is back at composing! Let’s give this a go, maybe it’s a Sufi fusion track!”, I’m sorry to tell you that you will be disappointed, so it’s better not to dive into this one with those outrageous expectations, because you know this is a comedy film. And anyway, he has done music for another comedy film in the past, “Chandni Chowk To China”, in which his songs were quite enjoyable too! Looking at it from that point of view, the song is quite enjoyable. The only fun part in the actual composition is the “Jab chori kar loon, chor ke ghar chori, chori karke khoob karoon munhjori!” That line in the antara is the only catchy part of the tune. The arrangements are quite cool, too, by the way. The saxophone is just amazing, and some comedic sound effects entertain the listeners throughout. Kailash’s husky, high-pitched voice is perfect for the song, and he manages to at least sing his faulty composition right. And yeah, since “Bank chor” doesn’t really sound like what he clearly intends it to sound like, he pronounces “Bank” as “Bhank” so that it does. His companion, Ambili, raps something somewhere in the middle that really doesn’t go well with the rest of the song. Kailash pens down the lyrics himself, and I must admit, some of the lyrics are just as hilarious as a song’s lyrics can be. {Which isn’t much; I mean, how loud can you laugh out because of a song!!} An apt song for the film, but not a repeat-listen song! 

Rating: 3/5

 

2. Tashreef / Tashreef Unplugged (Cups Version)

Singer ~ Rochak Kohli / Rochak Kohli, Music by ~ Rochak Kohli, Lyrics by ~ Adheesh Verma

Rochak Kohli steps in now, with his first song out of the two he has composed for the film. And this song, is one of the most innovative stuff we have got from a comedy film of late. If only the makers of ‘Housefull 3’ had roped in Rochak. Anyway, the song is a breezy, feel-good song, about the protagonist who is clearly not feeling very good. The composition is highly innovative and creative, with a country flavour that I’ve lately noticed Rochak uses a lot, like he did in most of his songs from “Hawaizaada”. The composition sounds odd at first, but later, it grows on you amazingly. The arrangements really stand out right away. The guitars are what bring in a nice Goan flavour, similar to that “Crazy Mode” of Pritam’s songs, like ‘Agal Bagal’ (Phata Poster Nikhla Hero), and ‘Chicken Kuk-Do-Koo’ (Bajrangi Bhaijaan). The very weird additions of noises like “Toing toing toing” and other hen and pigeon sounds make the song sound lovely in a very different way. And also cute! The ukulele also sounds beautiful, and makes the arrangements sound very creative. Rochak sings in various different noises, as told earlier, but even when he’s singing in the normal way, it sounds very different from how he usually sings, and it is amazing! He keeps the pitch low, and it makes the song even more effective in bringing out the stress of the protagonist. An unplugged version is actually true to its name (sounds a lot like an unrefined cover version), and the cups that were used in the original too, are more prominent here, due to it being unplugged. It has less of a repeat value though. Adheesh Verma’s lyrics are very impressive, because they’re actually funny in an intellectual way. A highly creative song from a composer who has always meddled around with this kind of arrangement, but never gone up to this level. And now I doubt whether he can outdo himself after this!!

Rating: 4/5 for the Original, 3/5 for Unplugged Version

 

3. BC Rap Knockout: Mumbai Vs Delhi

Singers ~ Naezy & Pardhaan, Music by ~ Shamir Tandon, Lyrics by ~ Varun Likhate

Next up we get something, which at least I have only seen in YouTube videos till now. And it is a Rap Battle. Yes, it is perfectly alright to add the word ‘Epic’ in there, because the song is really an epic showdown between a resident of Mumbai and one of Delhi. There’s no composition as such, as the whole song is a Rap Battle. The arrangements by Shamir Tandon are cool as the backdrop of the battle, and they’re completely digital. What is actually worth hearing the song for, though, are the two amazing rappers behind it. Naezy stands for Mumbai, and Pardhaan for Delhi, and then we get to hear a hilarious competition about which city is the best. The whole attitude which the two rappers carry about themselves is what hooks the listeners to the song, even if it is merely on audio (as of now). Some of the lines they throw at each other are so outlandish, you end up laughing out loud, or at least smiling. And all the credit for that goes to the Lyricist, Varun Likhate. He has penned down an efficient rap battle, and it really sounds very genuine. A nice rap battle.

Rating: 3.5/5

 

4. Jai Baba Bank Chor

Singer ~ Nakash Aziz, Music by ~ Rochak Kohli, Lyrics by ~ Gautam Govind Sharma

This song is the second song by Rochak Kohli on the soundtrack, and after the very creative song, ‘Tashreef’, I bet nobody would have qualms in saying that this one disappoints big-time. The composition is very mediocre, and something we have heard many times. On top of that, Rochak equips a very stale Mumbaiya rhythm to act as the arrangements. Very loud arrangements, and not programmed well enough, makes it sound even more irritating. Nakash’s singing is as usual, energetic and full-hearted. Sadly, the composition doesn’t support him. Gautam Govind Sharma’s lyrics are sad to hear too. A disappointment from Rochak Kohli.

Rating: 1.5/5

 

5. Bae, Baba Aur Bank Chor

Singer ~ Baba Sehgal, Music by ~ Baba Sehgal, Lyrics by ~ Baba Sehgal

This song starts with beats making it sound as if it is a song from an English zombie film. Baba Sehgal is back in Bollywood after quite some time, and he has made this rap song. That makes it the second complete rap song in the soundtrack. This one grips you from the beginning just because of that Zombie-ish background. The rap isn’t too impressive, but you manage to keep listening just because of that background sounds. There is a nice rap in the interlude where Baba Sehgal sings random Spanish names. There isn’t much more by way of arrangements, either, other than that Zombie-ish background, and random sounds of people shouting, lions roaring and whatnot. This time, the shouts of ‘Bank chor!’ aren’t as effective as they were in Kailash Kher’s song. Baba Sehgal raps fine, but the lyrics are very boring. Another stale track, relying on a tune in the background and Baba Sehgal’s name to make it work.

Rating: 2/5

 

6. Mela – The Bank Chor Theme

(Instrumental), Music by ~ Shrikanth Sriram

Someone called Shrikanth Sriram produces this instrumental piece which is so boring, you will be surprised. It is basically the same sounds playing over and over again for five and a half minutes. There is a weird trumpet-like sound playing the main part, and cool percussion in the background, but the same thing over and over for such a long duration, but the same thing over and over for such a long duration, but the same thing over and over for such a long duration, but the same thing over and over for such a long duration, but the same thing over and over for such a long duration, but the same thing over and over for such a long duration, but the same thing over and over for such a long duration, but the same thing over and over for such a long duration, but the same thing over and over for such a long duration, but the same thing over and over for such a long duration, but the same thing over and over for such a long duration, but the same thing over and over for such a long duration, but the same thing over and over for such a long duration, but the same thing over and over for such a long duration, but the same thing over and over for such a long duration, but the same thing over and over for such a long duration, but the same thing over and over for such a long duration, but the same thing over and over for such a long duration, but the same thing over and over for such a long duration, but the same thing over and over for such a long duration, but the same thing over and over for such a long duration, but the same thing over and over for such a long duration, but the same thing over and over for such a long duration, but the same thing over and over for such a long duration, but the same thing over and over for such a long duration, but the same thing over and over for such a long duration, but the same thing over and over for such a long duration, but the same thing over and over for such a long duration, but the same thing over and over for such a long duration, but the same thing over and over for such a long duration, but the same thing over and over for such a long duration, but the same thing over and over for such a long duration, but the same thing over and over for such a long duration, but the same thing over and over for such a long duration, but the same thing over and over for such a long duration, but the same thing over and over for such a long duration, but the same thing over and over for such a long duration, but the same thing over and over for such a long duration, … You get the point.

Rating: 1/5


Bank Chor‘s music album starts off quite promisingly, but then just diffuses into a typical, monotonous and trying-to-be-funny kind of zone. I must salute Rochak Kohli though, for his creativity in ‘Tashreef’, and Kailash Kher for his versatility in the title song. The other songs, barring the rap battle by Shamir Tandon, are easily forgettable. An album that only partially manages to steal your heart

Total Points Scored by This Album:  3 + 4 + 3 + 3.5 + 1.5 + 2 + 1

Album Percentage: 51.43%

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

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

Recommended Listening Order: Tashreef > BC Rap Knockout: Mumbai Vs Delhi > Hum Hain Bank Chor = Tashreef Unplugged (Cups Version) > Bae, Baba Aur Bank Chor > Jai Baba Bank Chor > Mela – The Bank Chor Theme

 

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

SACHIN-JIGAR’S PYAARA, AFEEMI ALBUM!! (MERI PYAARI BINDU – Music Review)

I would like to start by thanking YRF for releasing the full album early, but giving no such indication by uploading a jukebox or a complete OST on iTunes so that we don’t keep waiting for more! And thanks (this isn’t sarcasm) to Jigar Saraiya for confirming on Twitter, in reply to my question, that it is indeed the full album.

Update — 11th May 2017 — Today YRF released the “full album” on iTunes.


Music Album Details
♪ Music by: Sachin-Jigar
♪ Lyrics by: Kausar Munir, Priya Saraiya & Rana Mazumder
♪ Music Label: YRF Music
♪ Music Released On: 25th April 2017
♪ Movie Releases On: 12th May 2017

Meri Pyaari Bindu Album Cover

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

To buy this album on iTunes CLICK HERE


Meri Pyaari Bindu is an upcoming Bollywood rom-com starring Parineeti Chopra and Ayushmann Khurrana in lead roles. The film is directed by Akshay Roy and produced by Maneesh Sharma. The film is about a writer played by Ayushmann, who, after being frustrated at the lack of critical appreciation his novels get, despite him being a successful writer, moves back to his hometown Kolkata to find inspiration to write better literature. Well, he has been writing his new book for three years. It so happens that he is reminded of one of his best friends, and stumbles upon a cassette of their favourite songs’ playlist. It is from here, that he gets Inspiration for his new novel. So, the crux of the film is quite interesting — it seems sweet and simple, and a look at the many “mini-trailers” (or chapters) they’ve released for the film will reveal that it is a bit quirky and very musical too. All in all, it is something I’m waiting for, and I believe everyone is waiting for. So without ruminating any more upon the movie, let us cherish the music till then, as that is the only way to get closer to the movie before the release. The music for the film has been given by a duo whose music I appreciate and adore, and they’ve got a fair share of high ratings on this blog (not to mention a few forgiveable not-so-good ones), and that duo is the dynamic duo Sachin-Jigar. So last year, since they concentrated on Gujarati film music, they could only manage to do one Bollywood film, ‘A Flying Jatt’s, an album which was amazing musically, but lacked repeat value. Of course, this year they are the busiest music directors on the block, with five films including this one. For this music album, they’ve composed six tracks, a perfect number for a musical in Bollywood. Hoping that these men surprise us just as they always do (though it won’t be much of a surprise) I’m diving into this expected-to-be awesome album!


1. Maana Ke Hum Yaar Nahin

Singer ~ Parineeti Chopra, Lyrics by ~ Kausar Munir

“Raaste mein tum milo toh,
Haath milaane ruk jaana!
Saath mein koi, ho tumhare,
Door se hi tum muskaana,
Lekin muskaan ho aisi,
Ki jismein ikraar nahi,
Lekin muskaan ho aisi,
Ki jismein ikraar nahi,
Nazron se naa karna tum bayaan,
Woh jisse inkaar nahin!
Maana ke hum yaar nahin!”

– Kausar Munir

The album starts off with a song we have heard about a year ago, in the video where YRF announced the film. Parineeti was talking about how the makers insisted that she should sing the song. And right from that day, when I heard how beautifully she sings, I couldn’t wait for this day, when I would listen to the full song and review it. The song is essentially a ghazal, and Sachin-Jigar have composed it sooooo beautifully, that it reminds you of many 90s songs, or the 90s era in general, with its tune. The poetic words by Kausar Munir (more on them later) have been put to such a charmingly delightful tune by the duo, that it hardly seems like a sad song. The mukhda is so spectacular, it just pulls you into the song, and you won’t emerge out of it until the song is over. It is the antaras, though, that amazed me the most. Again, a spectacular tune, but this one sounds very layered, as if there are deeper meanings to it, which get revealed one by one, each time you replay the song. Also, Parineeti adds different nuances and variation in both antaras, so it almost feels as if both antaras are composed on the same tune, but still different. That brings us to her vocals. Parineeti’s voice has this rawness to it, which I haven’t heard in any of the actress-singers’ voices. (Well, maybe Priyanka Chopra and Shruti Hassan, but not beyond these). Her husky voice suits the ambience of the song so well, that it just transports you to another world. Of course, she is a trained classical singer, but her command over the tune is amazing considering that she must’ve not been in touch with singing for a long time. And an added bonus is that her voice hasn’t been autotuned! That’s brave, and I appreciate it. Not that it sounds bad anyway. Sachin-Jigar’s arrangements are out of this world. They recreate the 90s through the arrangements — that flute loop (Shreeram Sampath) is spell-binding! It has you hooked right from the first time it plays, and then it keeps on amazing you throughout the song. The folksy percussions (Arun Solanki) in the song are mystifying too. And the piano (Rinku Rajput), played so gracefully right when we don’t expect it, in small pieces all over the song, is so sweet! A special appearance by the sarangi (Dilshad Khan) in the second interlude is something you must not miss at any cost. (In other words, hear the full audio, not just the video promo!) Beside all these wonderful nostalgic instruments, the hardworking guitars (Krishna Pradhan) are sidelined, but they give a constant rhythm throughout, and if you listen carefully, they have an important contribution indeed. Now, I have saved the best for the last. And that is Kausar Munir’s lyrics. She gave us a wonderfully written album, “Begum Jaan” just last month. And she’s already at it again! Her words are so heartbreaking, it gives a whole new definition to sad songs. Both the antaras, not to mention the mukhda, have been written wonderfully! And Sachin-Jigar very cleverly knew how to put a tune to those words so that they don’t sound maudlin and melancholic. Splendid work by Sachin-Jigar and Kausar Munir. A sad song with a refreshing feel! My intuition tells me this will go on to be one of my favourite songs of the year, and probably all time.

Rating: 5/5

 

2. Haareya

Singer ~ Arijit Singh, Lyrics by ~ Priya Saraiya

“Khuli aankhon se dekha woh, haseen khwaab hai tu,
Dil mein jo utar jaaye woh, pyaari baat hai tu,
Tere naam ka nasha, nasha, hai zubaan pe chhaa gaya,
Iss bekhudi mein doobne se main khud ko na rok sakeya!”

– Priya Saraiya

While we had a wonderful old-world-charm in the first song, Sachin-Jigar bring in their favourite, a nice modern touch, to the next song. The composition is odd! And I say that in the best way possible! It has this offbeat touch to it, a tune that is mostly associated with rock songs these days. But no, Sachin-Jigar, the experimentalists that they are, use it for a romantic song! And it works, and succeeds with distinction. The mukhda starts, and you start to get interested in what will come next. When a song compels you to listen to it further because of that reason, it has to be interesting! And then the hookline starts. So low-key, so modestly, so inconspicuously and oh-so-subtly! Unlike the hooklines in which the tempo, instrumentation and vocals go higher in pitch, loudness and whatnot, this one is exactly the opposite. It gets subtle and quiet after a huge and suspenseful buildup to it. It takes a genius to pull that off successfully, and therefore Sachin-Jigar must be geniuses! They could very well have added some rock elements in that hookline, but they refrained from doing so. And it just increased the appeal of the song manifold! Yes, a composition that suits the rock genre, has nothing but a simple (but very infectious, mind you) guitar riff in the arrangements. And I must mention Indrajit Chetia here, for his AMAAAAZZZZING guitar work throughout the song! Ayushmann’s Arijit’s (you’ll see why I did that) vocals are so impressive! The man brings in such a convincing imitation of Ayushmann’s voice, like the way he pronounces each word while singing and the slight nasal twang, that one would initially be confused whether Arijit has sung the song or Ayushmann. He gives his own voice a complete makeover and modifies it just to suit Ayushmann, and how crazy is that? I’ve not seen this happen in quite a while. These days, either a singer’s voice suits an actor by default, or it doesn’t. But a singer tweak his voice for an actor? That’s so 90s! And so amazing! In the antara, he does that amazing transition between the low octave and high octave, so effortlessly, that he does perfect justice to Sachin-Jigar’s composition, which I doubt anyone else could’ve pulled off. Guest lyricist Priya Saraiya writes in a mix of Punjabi and Hindi, and presents yet another amazing piece from her side. A lovestruck man’s emotions are depicted clearly by her writing. A nice experimentation, where a composition tailor-made for rock, is given an acoustic and unplugged type of arrangement. Of course, special mention to Arijit!

Rating: 5/5

 

3. Ye Jawaani Teri

Singers ~ Nakash Aziz & Jonita Gandhi, Lyrics by ~ Kausar Munir

“Yeh jawaani teri, yeh jawaani meri,
Yeh jawaani teri, yeh jawaani meri,
Yeh jawaani teri, yeh jawaani meri,
J – j – jeene nahi deti!”

– Kausar Munir

Well, we had two romantic songs, one mature and the other slightly more youthful. Be prepared to go even further down memory lane, as we go back to the main characters’ college days and are treated to an amazing retro treat from Sachin-Jigar’s music bank. So basically this is the fun song of the album where the two protagonists are in college, having fun, without a worry. And Sachin-Jigar’s track reflects the same attitude in it. The composition sounds odd at first, but once you realize what it is, you’ll be like “Ohhhhhhh”, and then realize the cleverness of the music directors. The hookline is what the song relies on to propel it, and very aptly, it has been composed to the tune of the iconic Shammi Kapoor guitar riff. After you realize that, the padding, like the mukhda and antara, start sounding amazing thanks to you having discovered the theme of the song. Particularly the line that Jonita sings before the hookline arrives, with that nasal touch, has an amazing tune! The arrangements stick to the retro theme very well, and the guitars (Shomu Seal) steal the show, aptly supported by amazing trumpets (Kishore Sodha), saxophone (Shyamraj) and drums (Debashish Banerjee). It all gives that required retro feel that the song needed. In places, it reminded me of ‘Let’s Talk About Love’ (Baaghi), another good song of the same genre, but one which was suppressed by mediocre vocals and composition. The vocals too, suit the song well, though I thought Nakash could’ve been substituted by Vishal Dadlani and the song would’ve gone miles higher. Jonita sounds very different from what we have heard from her in the Rahman and Pritam camps. She does that aforementioned retro-nasal thing superbly, and ditches her thin and sweet voice to bring in a tinge of naughtiness and youthfulness for this one. Kausar Munir’s lyrics here are purely situational, and I can’t really praise them or the opposite. A fun youthful number, that might take some time to grow.

Rating: 4/5

 

4. Iss Tarah

Singers ~ Clinton Cerejo & Dominique Cerejo, Lyrics by ~ Kausar Munir

“Tu ret si haathon se, aisi phisal jaati hai,
Mujhe rokna nahi aata, tujhe theherna nahi aata,
Tu sarphiri hawaaon mein, phirki si kyun phiri jaaye,
Mujhe baandhna nahi aata, tujhe thaamna nahi aata!”

– Kausar Munir

Another retro-themed number joins the album, this time a disco song, composed in a trademark Michael Jackson way. Sachin-Jigar take their experimentalism further ahead with this one, and produce a crackling dance song. The composition in the beginning is so less, it almost sounds as if the singer is reciting the lines like a little child recites a poem in front of the class. However, that’s what increases the appeal of the song. And then when the line by Dominique comes in, you are dazzled by its brightness. Brightness as in, Sachin-Jigar’s smart use of the disco elements to make the composition beautiful. And then comes the hard-hitting hookline, which is one of the best I’ve heard in a while, and also something very similar to Shankar-Ehsaan-Loy’s composition style, a trio who I believe established this style of music in Bollywood. The arrangements are entrancing, especially the trumpet (Kishore Sodha) that plays in the hookline, and steals the limelight right away. The disco-themed digital beats are amazing, and set up a groovy beat even before the tune of the song starts. The guitars (Paresh Kamath) are great too, as are Sachin-Jigar’s clever additions of finger-snaps and the trademark disco sounds. The hookline’s arrangements are out of this world. The vocals too, are mind blowing. Clinton Cerejo, after his successful stint as a music director in Bollywood last year (in three movies) returns to the mic, and nails the song. But the one who steals the spotlight is his better half, Dominique, in her very short portion, that repeats just twice in the entire song, but leaves a lasting impression, and makes you love her voice so much! And that part, as mentioned above, has been composed just as well! Kausar’s lyrics are full of contrast, and it is very interesting to listen to. A successful disco-based retro number, which I can’t wait to watch in the movie! 

Rating: 5/5

 

5. Khol De Baahein

Singer ~ Monali Thakur, Hindi Lyrics by ~  Kausar Munir, Bengali Lyrics by ~ Rana Mazumder

“Barse jo saawan, toh daudke tu aana,
Khud ko tu bheegna sikha de,
Barse jo saawan, toh lautke tu aana,
Khud ko tu bheegna sikha de…”

– Kausar Munir

After a sad song, a romantic song and two dance numbers, it is romantic time again, and this time we get a rather unconventional romantic song. The composition is so beautiful and cute, and it reeks of the Bengali culture with its tune. It has this lilting, lulling tune that just doesn’t let you get bored. Yes, it does take some time to fully grow on you, but when it does, it does so very fulfillingly, and you end up loving the song unconditionally. The mukhda in Bengali, starts off the song wonderfully, while the hookline in Hindi is cute and harmonious. There’s a beautiful short stanza in Bengali after that (“kokhono kokhono…“) which just sounds so endearing. And the antara too, keeps you listening. All in all, Sachin-Jigar’s composition is a winner. The arrangements are no less. On the most part, it is a soothing guitar-led instrumentation (Guitars by Krishna Pradhan), and though the guitars aren’t hard-hitting they are just as amazing as the guitars in ‘Haareya’. The piano notes at the end of the song are beautiful as the conclusion of the song. Monali is the perfect choice as the singer; she goes back and forth between high and low notes effortlessly, and pronounces the Bengali words immaculately. She sounds very cute as always in this lulling romantic song. Kausar’s Hindi lyrics are great, but when I asked one of my friends for a translation of the Bengali lyrics, I got to know that Rana’s Bengali lyrics are just as endearing. Modest and simple, but very strong in terms of composition and arrangements and especially vocals!

Rating: 4.5/5

 

6. Afeemi

Singers ~ Sanah Moidutty & Jigar Saraiya, Lyrics by ~ Kausar Munir

“Dhaani si, dhaani si, sharbati paani si,
Dheere se dheere se, teri chaahat chadhti hai,
Thodi naadaani si, thodi shaitaani si,
Dheeme se dheeme se, teri aadat badhti hai,
Tu hai toh mere roobaroo, par kya karoon,
Yakeen hi nahi aata,
Shaam se subah karoon, dekha karoon,
Raha bhi nahi jaata!
Afeemi, afeemi, afeemi hai yeh pyaar,
Afeemi hai tera mera pyaar!”

– Kausar Munir

A very simple and humble song brings up the rear of the album. This song is a very sweet and beautiful romantic song, composed in a very trademark Sachin-Jigar way, keeping things sweet and simple. The composition starts off so effervescently, with that sprightly mukhda. And the hookline is a typical Bollywood romantic song hookline, nevertheless, it hooks you right away. The antara has been composed beautifully as well, one line strictly sounding very similar to a line from ‘Maana Ke Hum Yaar Nahin’ itself, but that’s alright. Also, the hookline sounds like the line “Pooche jo koi, toh tera naam doon“, from Sachin-Jigar’s own ‘Tera Naam Doon’ (Entertainment). Overall though, the song is addictive! Such a simple romantic song, which was also great in its composition, was long-needed in Bollywood. The arrangements follow conventional arrangements, in that it contains everything you would expect in a contemporary romantic song — guitars (Kalyan Baruah), piano (Rinku Rajput), drums (Lindsay D’mello). But the flute by Hamtu is unexpectedly amazing, as are the strings that pitch in occasionally. I personally loved the way the hookline is arranged, on that simple guitar riff, and I love those small rattle-like instrument additions that sound so lovely! Vocals are perfect, with Sanah Moidutty finally getting a song where she is allowed to sing more than or equal to her male co-singer (who in this case happens to be Jigar himself) which she couldn’t do in her previous two songs, ‘Moto Ghotalo’ (Gori Tere Pyaar Mein) and ‘Tu Hai’ (Mohenjo Daro). Her voice is a nice and sweet voice with the vocal quality of someone who has the potential to make it big in Bollywood, where such voices are lapped up by music directors. Jigar himself accompanies her fantastically, and I believe the duo has programmed his voice less than they normally do, and that adds to the natural touch in the song. Kausar’s lyrics are fascinating, and it also marks the first time (probably; I’m not a database) that someone has compared love to opium (‘afeem’ = opium), after comparing it to stuff like alcohol, and hookah bars. A very ‘Afeemi’ (addictive) song!

Rating: 4.5/5


Meri Pyaari Bindu turns out to be just as great and musically rich as I expected it to be. Sachin-Jigar, after a hiatus in which they scored for one Bollywood film ‘A Flying Jatt’, which sadly didn’t have the potential to stay with us for long, they give us yet another taste of their awesomeness, after they had given us two of my favourite albums of theirs, ‘Happy Ending’ in 2014, and ‘Badlapur’ in 2015. Another feather in their cap, ‘Meri Pyaari Bindu’ might just be one of their best performances!

 

Total Points Scored by This Album: 5 + 5 + 4 + 5 + 4.5 + 4.5 = 28

Album Percentage: 93.34% {Surpassing ‘Poorna’ at 92.5%, that makes it this year’s best album so far!!}

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 start to finish in the same order.

 

Which is your favourite song from Meri Pyaari Bindu? Please vote for it below! Thanks! 🙂

THE ‘HAUNT’ AND SOUL OF PUNJAB! (PHILLAURI – Music Review)

Music Album Details
♪ Music by: Shashwat Sachdev & Jasleen Kaur Royal
♪ Lyrics by: Anvita Dutt, Shellee, Aditya Sharma & Neeraj Rajawat
♪ Music Label: T-Series
♪ Music Released On: 6th March 2017
♪ Movie Releases On: 24th March 2017

Phillauri Album Cover

 

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

To buy this album on iTunes CLICK HERE


Phillauri is an upcoming Bollywood romantic / comedy / fantasy film starring Anushka Sharma, Suraj Sharma and Diljit Dosanjh in lead roles. The film is directed by Anshai Lal, and produced by Anushka Sharma, Karnesh Sharma and Fox Star Studios. The film is about a man named Kanan who is born under an ‘unlucky star’, and has been told he needs to marry a tree before marrying his love, so that his soul can be cleansed. To his horror/amazement/shock/whatever you might feel if you were in such a situation, he finds a spirit who used to live in the tree following him, unable to go back to her own realm. He needs to help her go back there, but before that she needs to feature in a film and all, so you better watch it, or else she will have come out of the tree for nothing. :p Enough movie promotion, let’s steer on to the music. A newcomer (I believe; and every other website I checked says the same — they also only believe, nobody knows??) Shashwat Sachdev has composed the majority of the album, and the baby-fairy-like sounding girl Jasleen Royal has composed two more. Now, if such a well-known person like Anushka Sharma decides to launch a comooser with her movie, it must mean he has something in him. Clean Slate Films (Anushka’s production company) has previously produced ‘NH10’ and boy, was its music album phenomenal, and also full of composers who has never quite made it big in the industry. This movie seems to have more of a mass appeal, and Jasleen has made it big in the industry already, so the debutant must be really good at his job! Let’s see!!


1. Dum Dum / Dum Dum (Punjabi Version) / Dum Dum (Reprise) [Diljit Dosanjh Version]

Singers ~ Romy & Vivek Hariharan / Romy & Vivek Hariharan / Diljit Dosanjh, Backing Vocals ~ Anurag Sharma, Pawni Pandey, Vibha Saraf, Varsha Tripathi, Abhiruchi Singh, Gaia, Meera Chandy / Anurag Sharma, Pawni Pandey, Vibha Saraf, Varsha Tripathi, Abhiruchi Singh, Gaia, Meera Chandy / Vivek Hariharan, Pawni Pandey & Anand Bhaskar, Music by ~ Shashwat Singh, Lyrics by ~ Anvita Dutt / Shellee / Anvita Dutt

“Aankhein kitaabi, tu khole toh padh loon,
Kaajal si likkhi chhaapi, kahaaniyaan teri mere saiyaan!
Baatein bataashon si zubaan pe rakh doon,
Halke se pighlengi, bole tu chakh loon main saiyaan!”

– Anvita Dutt

Shashwat starts off his Bollywood debut with one of the most soulful folksy numbers I’ve ever heard in recent times. ‘Dum Dum ‘ starts off like a purely soulful Punjabi / Sufi song, with amazing instrumentation giving the perfect introduction into the song. The composition is an aptly folksy one, with numerous twists and turns throughout the song. The hookline is catchy, but some might get a bit annoyed by the fact that it repeats too many times — in the true sense of a Sufi song, if you ask me. So that didn’t bother me too much. The mukhda follows a very lilting tune, and the high-pitched antara really helps to consolidate the listeners’ interest in the song. It is the conclusion of the song which is really impressive, and Shashwat slows the pace down there, only to increase it towards the end beautifully ending the song on a high tempo. The arrangements are fantabulous, as said before. The folk instruments have been put to great use — especially the tablas, dholaks, the plucked string instruments and the other folksy percussions. The first two versions have primarily the same arrangements, but it is Diljit who gsts to sing against the backdrop of an almost unplugged instrumentation in his version. That makes things lively and ‘different’ and innovative; it is a bliss to the ears to hear such a grounded composition backed by digital music. But towards the end of the Diljit version, there’s a wonderful sitar piece that is to die for!! That part is sheer brilliance on the part of the music programmer. The vocals in all three version are very impressive. Romy makes his Bollywood debut (Although I think I’ve read his name somewhere, he calls this his debut.) with this wonderful Punjabi song. His voice has been reminding everybody of Shahid Mallya’s voice, and I felt that too, with a tinge of Divya Kumar as well. He gets extremely loud at parts, but the soul of the song doesn’t diminish in any way. Vivek Hariharan effectively joins him in the latter part of the song which I earlier described as the ‘Conclusion’, and his voice texture is sooooo beautiful, it is hard to not love his portion. And of course, the “dum dum dum dum dum dum hai dua” part which everyone should love so much. The singers reprise their roles in the Punjabi version, except with different Punjabi lyrics penned by Shellee, as opposed to the Hindi ones by Anvita Dutt. It kind of reduced the appeal of the song, and I couldn’t make myself to love that version, with different lyrics, which i couldn’t understand nor sing along to. Save an extra ad-lib at the beginning by Romy, this one is a carbon copy of the first version as far as arrangements go. Diljit’s rendition of the same is a bit toned-down, and could’ve been better, but the arrangements by Shashwat make up for the little void that his voice couldn’t fill. Guitars in this version sound more of the modern acoustic guitars than folk instruments, and it gives a nice and modern touch to the song. (Which is clearly for promotional purposes). The disappointing part of this version is that it doesn’t have the “conclusion” which I loved! The lyrics of the Hindi version are amazing, and I’m sure the ones by Shellee in the Punjabi version are too, but I couldn’t understand them! Unusual, because I usually grasp most of the Punjabi in other Punjabi Bollywood songs! A soulfully folksy start to the album!

Rating: 4.5/5 for the Hindi Version, 3/5 for the Punjabi Version, 3.5/5 for the Reprise Version by Diljit Dosanjh

 

2. What’s Up

Singers ~ Mika Singh & Jasleen Royal, Music by ~ Jasleen Royal, Lyrics by ~ Aditya Sharma 

“Ajj haathan di takiyan te khil aayi kaliyaan,
Surma laan akhiyan ch vekhe teri galiyaan,
Hansdi ae jachdi ae sohneya ve sachhiya
Nazraan na laggan ke khairan ne mangeya!”

– Aditya Sharma

The second song of the album is Jasleen Royal’s first out of the two she has composed in the album. This one is an upbeat Punjabi wedding song, and going by Jasleen’s list of songs, she has only one such song to her credit, which is ‘Nachde Ne Saare’ (Baar Baar Dekho), which is one of my favourite Punjabi wedding songs of all time now. Now this song is also just as catchy and infectious. The energy just gets to you in no time. At first, the composition might seem very ordinary for a Punjabi wedding song, following the same template to the tee. But, as usually happens, later on I started loving the song just because of its immense simplicity. Jasleen’s composition is a sprightly one with nothing coming in the way of the listeners’ happiness. Especially the interludes she sings herself, are very cute and mood-uplifting. The other stanzas have been composed well too, and rendered boisterously by Mika, the go-to for such songs. Finally, he gets a song where he actually was required to sing it! The arrangements are as upbeat as can be, and Jasleen doesn’t necessarily recycle her ‘Nachde Ne Saare’ arrangements, but tries to make this sound different with more dhols. And the brass band makes an unignorable appearance in the song. It makes the song very breezy and happy-go-lucky. Of course, Jasleen also follows the traditional ‘play-the-hookline-on-brass-instruments’ method that Amaal Mallik recently followed in ‘Aashiq Surrender Hua’ (Badrinath Ki Dulhania). The vocals are amazing. As I mentioned, nobody but Mika could’ve sung this wih the same energy, and he sings like the old Mika, the Mika everybody enjoyed! So it is very enjoyable. Jasleen, in her fairy-like voice, sings her two stanzas very well, and though they are mere interludes, they get etched into your memory. They are very cute and sprightly. Aditya Sharma’s lyrics are fun and enjoyable, describing a Punjabi wedding beautifully! One of the more catchy Punjabi wedding songs of recent times!

Rating: 4/5

 

3. Naughty Billo

Singers ~ Diljit Dosanjh, Nakash Aziz, Shilpi Paul & Anushka Sharma, Backng vocals ~ Vivek Hariharan, Romy, Shilpi Paul & Surya Raghunathan, Music by ~ Shashwat Sachdev, Lyrics by ~ Anvita Dutt

“Malmal wala kurta rang firozi tha,
Uss par kaatil ik button tha Chaandi da,
Do nainon ka woh hamla, phass gaya bhola jatt yamla,
Marta kya na Karta!”

– Anvita Dutt

This song is Shashwat’s ticket to getting more and more offers from more and more producers and directors later on. Why? Because of the sheer innovativeness with which he has handled this song. Okay, so let me start from the beginning. The song is an experimental Punjabi dance song, quite similar to so many of the Punjabi pop numbers of today. However, there’s a nice catch in here. And that is the fact that Shashwat has so cleverly infused funky groove into the Punjabi song. The composition could’ve been better, but everything else covers that up, because the song excels in all other departments. I’ve not heard such a perfect Punjabi pop -ish number in quite a while. The song starts with a traditional old-fashioned Punjabi portion and we as listeners think the entire will follow suit. However, just as we are sure that will happen, Shashwat takes us by surprise and introduces a catchy (and purely modern, mind you) hookline that just makes you listen on! It is kind of a reprise to the old ‘Jhooth Boliya’ song. The arrangements are so experimental, and offbeat, that you just end up loving them. The funky beats are enough to make you dance without any inhibitions. Shashwat adds nice dhol percussion, and awesome brass instruments add the necessary funky element, not to mention the quintessential tumbi. So many backing vocalists randomly add their portions into the song as the song progresses, and it sounds like a free-for-all jam. Whatever the result is though, it is really innovative. The vocals are great too, with Diljit handling the Punjabi parts well, and Nakash the hookline. Shilpi Paul does well in her short parts, but Anushka steals the thunder with her full-of-attitude rap towards the end of the song. And it’s not even the “I-will-do-anything-just-to-make-my-movie-work” kind of stint! She actually sounds awesome in this new rapper form of hers! Anvita Dutt’s lyrics are fun and enjoyable. A fun funky song!

Rating: 4.5/5

 

4. Sahiba

Singers ~ Romy & Pawni Pandey, Backing Vocals ~ Vivek Hariharan, Anurag Singh, Vibha Saraf, Abhiruchi Singh, Pawni Pandey, Varsha Tripathi & Gaia, Music by ~ Shashwat Sachdev, Lyrics by ~ Anvita Dutt

“Tujhse aisa uljha, dil dhaaga dhaaga khincha,
Dargah pe jaise ho chadaron sa bichha,
Yun hi roz yeh udhadha buna,
Kissa ishq ka kai baar, humne phir se likha!
Sahebaan, sahebaan, chal wahaan jahaan Mirza!”

– Anvita Dutt

The way this song starts, reminds me of the starting of ‘Deewani Mastani’ (Bajirao Mastani). Anyway, the song is no doubt the best song of the album. Shashwat comes with yet another earthy folksy melody with this song. The mukhda starts quite slowly, but you will definitely start loving the song after you hear the hookline, which has a catchy and attractive old-world charm to it. Pawni Pandey’s antara has been composed very soulfully, in heart-rending low notes. Later the male part once again takes the song on a wonderful folksy route. However, it is the ‘conclusion’ of the song, that steals the spotlight. The song breaks into a Qawwali-esque mode there. Right from the “ohh sahibaaaaa…” till the end of the song, the song goes on a never-ending high, until the song itself ends. The “tere bina” verse is marvellous! Arrangements in this track are fabulous. The plucked strings (David Sinchury, Sanjoy Das, Youngmin Kim, Shashwat Sachdev) at the beginning, that oh-so-majestically reminded me of ‘Deewani Mastani’, are so gripping; they just pull you into the song. Also, Shashwat introduces a jingling sound in the beat after that, and it sounds so rustic and folksy! Lovely like never before. The percussions that break out in the hookline are wondrous as well. dholaks (Manoj Kumar) very well put the Punjabi theme of the song into action. The orchestra (Czech National Symphony Orchestra) works wonderfully throughout the song to give it a regal tinge, and they’ve accomplished it, I’m glad to say! The vocals by Romy are ravishing. The part he sings after Pawni’s, he has sung that so beautifully! And the Qawwali part too! It just gave me goosebumps! Pawni comes across as decent; she doesn’t seem to be managing the low notes too well. However Romy covers it with his magnificence in handling both high and low notes. The lyrics by Anvita Dutt are amazing here as well. Soul-stirring!

Rating: 5/5

 

5. Bajaake Tumba

Singers ~ Romy & Shehnaz Akhtar, Backing Vocals ~ Vivek Hariharan, Music by ~ Shashwat Sachdev, Lyrics by ~ Anvita Dutt

“Bajaake tumba, saare pind ki kudiyon ka, phillauri nachda!”

– Anvita Dutt

The folk doesn’t seem to get over just yet. Shashwat has yet another song left, and he makes sure the Punjabi folk influence doesn’t leave his songs until the last one. This one is a fun and enjoyable, but clearly situational song, which we listeners won’t be able to make heads or tails of as of yet, but it is fun to hear at least! It is an upbeat traditional bhangra number with an amazingly catchy tune considering its situational nature. It starts off quite odd, but gets better and better as it goes on. The hookline comes as an unexpected one with odd notes, that don’t match the fun nature of the other notes. That’s where the song gets interesting and experimental. The best part I loved in the song was the “oh yaara mere phirrrr na pooochooo aage kya hogaa…” part which was so smoothly sung by the singer!! The ‘timb lakk lakk timb’ loop is fun as well. The arrangements are just as fun as the composition. Of course dhols, dhadd, nagadas and the tumba make an integral part of the arrangements. A wonderful flutes assortment plays through the interlude. And the harmonium is splendid, too! The tempo increase towards the end is amusing as well! The two singers, Romy and Shehnaz Akhtar, do an amazing job in bringing forth the celebratory nature of the song through their singing. Though I’m not so qualified as to know who sang what, what I heard sounds good, and so I’m assuming both sang well. :p The backing vocalists play an important part in this song too, and their inputs make the song fun to listen to. About the lyrics, it seems that it is a kind of a story-telling session like we commonly see in films, where the man tells his friends about his experiences in winning the girl’s heart… Maybe? I don’t know. Enjoyable, but to an extent that can be crossed only after watching the film.

Rating: 3.5/5

 

6. Din Shagna Da

Singer ~ Jasleen Royal, Music by ~ Jasleen Royal, Lyrics by ~ Neeraj Rajawat

“Jaavan na main bin shehnaiyan
Satrangi rubaiyaan,
Sunaa ja tu harjaiyaa..
Shamiyaana sajavan
Doli leke main aavan
Aatishbazi karaake
Tenu leke main jaavan”

– Neeraj Rajawat

Jasleen re-enters the soundtrack with her second track, which is actually her pop single which she has released in 2013. The song has been incorporated as it was into the soundtrack. It is a bidaai song with its own merits. The composition lies quite close to most of her previous songs, but is also instantly likeable; you don’t get time to compare it with the others because it is so emotional and heart-moving. Also, she takes the help of wonderful instrumentation to uplift the sound of this song. Instead of her usual acoustic guitar arrangements, she also adds apt dholaks, a sarangi, and I was surprised to hear a nice piano introduction to the song, and that plucked string instrument in the interlude is amazing! The magic lies in the second stanza, where she has programmed everything with a nice sound effect to it (can’t describe, but hear from 2:30 to the end) The composition is so heart-rending, (and I’ll say that it is already a common song that plays at weddings!) that it is perfectly apt for the situation. The vocals are beautiful. Jasleen sounds sweet and nothing less. Neeraj Rajawat’s lyrics, or whatever I could make out of them, are beautiful. A great depiction of the “sad” side of a wedding!

Rating: 4/5


Phillauri is an album full of the heart and soul of Punjab. No rapper comes to degrade Punjab’s honour, and create a dismal image of Punjab in our heads. On the other hand, two talented youngsters don the captain’s hat and compose some wonderful songs with the essence of the real Punjab. It is so true to the folk music of Punjab that it gets haunting at some point! Shashwat and Jasleen present, the heart haunt and soul of Punjab! 🙂

 

Total Points Scored by This Album: 4.5 + 3 + 3.5 + 4 + 4.5 + 5 + 3.5 + 4 = 32

Album Percentage: 80%

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

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

Recommended Listening Order: Sahiba > Naughty Billo > What’s Up = Din Shagna Da = Dum Dum > Dum Dum (Reprise) = Bajaake Tumba > Dum Dum (Punjabi Version)

 

Remake Counter:
No. of Remakes: 08 (From previous albums) + 00 (from Phillauri) = 08

 

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

 

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

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

Machine Album Cover

 

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

To buy this album on iTunes CLICK HERE


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


1.Itna Tumhe

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

(Can’t find any lyrics worth this space)

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

Rating: 3/5

 

2. Chatur Naar

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

(Utterly banal lyrics!)

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

Rating: 2/5

 

3. Brake’An Fail

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

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

– Jasmine Sandlas

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

Rating: 3/5

 

4.Tu Hi Toh Mera

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

(Very staid lyrics!)

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

Rating: 2/5

 

5.Tera Junoon

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

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

– Arafat Mehmood & Mohammed Irfan

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

Rating: 4.5/5

 

6. Cheez Badi

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

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

– Late Anand Bakshi

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

Rating: 3/5


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

 

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

Album Percentage: 60%

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

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

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

 

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

 

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