A BREACH IN THE RAABTA!! (RAABTA – Music Review)

Music Album Details
♪ Music by: JAM8, Meet Bros., Sohrabuddin & J-Star
♪ Lyrics by: Irshad Kamil, Amitabh Bhattacharya, Kumaar, Jitendra Raghuvanshi, J-Star & Raftaar
♪ Music Label: T-Series
♪ Music Released On: 3rd June 2017
♪ Movie Releases On: 9th June 2017

Raabta Album Cover

 

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

To buy this album on iTunes CLICK HERE


Raabta is an upcoming Bollywood romantic reincarnation drama, starring Kriti Sanon, Sushant Singh Rajput, Jim Sarbh, Varun Sharma and Rajkummar Rao. The film is the directorial debut of already many times successful producer, Dinesh Vijan. The film is produced by him along with Homi Adajania, Bhushan Kumar and Krishan Kumar. The film’s official gist is this: “When a human being dies, they lose 21 grams from the body. This, they say, is the weight of the soul. The journey of a soul transcends over space and time… beyond the realms of this earth. This film tells the story of two seemingly ordinary individuals, going about their lives until their paths cross and they realize that they belong with one another. Unaware of a connection that was forged several hundred years ago, Shiv and Saira are inexplicably drawn to each other, and it takes them on a hysterical rollercoaster of love, intrigue, entertainment and life (twice over!). When two souls unite, they become one.” 😴 Hopefully, it is executed well. The music of the film is by JAM8, and a guest composition by Meet Bros. also features on the album. I guess we all know the controver(sies) surrounding the music of the film, due to that one guest song, so there is no point reiterating them. We all know who the actual composer of the songs credited to JAM8 is, but he wishes that his name shouldn’t be associated with ‘Raabta’ because of his policy to only compose for solo-composer albums, so there’s no point in naming him. I just hope the music company learns its lessons and reconsiders it’s actions!! On this grave (😄) note, let’s start with the music review of ‘Raabta’. 


1. Ik Vaari Aa / Ik Vaari Aa (Jubin Version)

Singers ~ Arijit Singh / Jubin Nautiyal, Music by ~ JAM8, Lyrics by ~ Amitabh Bhattacharya

“Hai pyaar toh kayi dafaa kiya,
Tujhse nahi kiya toh kya kiya,
Tera mera yeh vaasta,
Hai iss zindagi ki daastaan,
Ya phir koi hamaara pehle se raabta?
Toh ikk Vaari aa, aa bhi jaa!”

– Amitabh Bhattacharya

The album starts off with a very happy-go-lucky, romantic club number, with a lilting yet groovy sound. The composition has the stamp of Pritam all over it, and the way it flows is in the trademark way that almost all Pritam songs flow. The song’s melody starts off right with the hook, which is a wonderfully composed piece, that efficiently works in pulling you into the song. The antara following it, too, is very happy-sounding and charming, but it is the last stanza, which I call the ‘conclusion’ because it just doesn’t seem like an antara, is what steals the thunder. That part has been composed in a very entrancing manner, and is a major throwback to the corresponding ‘conclusion’ part in Pritam’s ‘Tu Chahiye’ (Bajrangi Bhaijaan). The high-pitched bridge line that leads to the hookline, is just amazing. The arrangements are quite similar to Pritam’s previous club song arrangements, with the upbeat EDM portions, and that wonderful “chipmunk” that we heard in ‘The Breakup Song’ (Ae Dil Hai Mushkil) last year. There is a Sajid-Wajid touch in the arrangements somewhere (‘Mukhtasar’ from ‘Teri Meri Kahaani’ and ‘Raat Bhar’ from ‘Heropanti’). But on a whole, the EDM has a very international touch to it, and it sounds like JAM8 is trying to recreate Pritam’s club arrangements in an international style. But because I always something out-of-this-world in a Pritam club song, and since this song is by his company, this song was quite underwhelming in that department. The pumped-up portions of the arrangements sometimes clash with Arijit’s super-high-pitch, and that sounds quite odd at times. That brings us to Arijit’s vocals. Definitely not the best he’s performed, but he still manages to carry the song in a quite charismatic way, and doesn’t drive you to sleep like he did in ‘Half Girlfriend’. But of course, the parts where he goes super-high-pitch, made me uncomfortable, and that doesn’t happen with every other singer. In the second version of the song which takes a sans EDM route, and is more reliant on guitars to propel it, everything that sounded wrong in the arrangements is set right. A slight rock guitar backdrop makes the song lighter than it was in the original version, and definitely more enjoyable. The company also replaces the fun chipmunk-like EDM with a nice vocal chorus, which gives off ‘Tum Mile’ vibes somehow,and immediatel removes all Sajid-Wajid vibes. As for the vocals, they have improved due to Jubin’s smooth treatment of the composition, taking care not to sound like he is straining his voice too much, and handling the high notes much better than Arijit did. And the small nuance he takes while singing “yaara” and all of its rhyming words, is just magnificent! In the conclusion stanza, Jubin gets to sing an entirely differently-tuned line that fits in perfectly and sounds as good as its counterpart in the original version. Oh, and it is a welcome change, considering that we have been hearing the original for over a month now. So this reprise is really one of the best reprises to have come out, ever! Amitabh Bhattacharya’s lyrics are great, and suitable for a fun romantic number. I don’t know what I missed in the first version, but something is surely missing. To cover it up though, the Reprise takes a nice romantic twist!

Rating: 3.5/5 for Arijit’s Version, 4.5/5 for Jubin’s Version

 

2. Raabta (Title Track)

Singers ~ Nikhita Gandhi & Arijit Singh, Original Composition by ~ Pritam, Music Recreated by ~ JAM8, Original Lyrics by ~ Amitabh Bhattacharya, New Lyrics by ~ Irshad Kamil

“Hadd se zyaada mohabbat hoti hai jo,
Kehte hain ke ibaadat hoti hai woh,
Kusoor hai, ya koi yeh fitoor hai,
Kyun lage sab kuch andhera hai,
Bas yehi noor hai,
Jo bhi hai manzoor hai!”

– Irshad Kamil

The recreation craze continues as ‘Raabta’ (Agent Vinod) is recreated in this movie, which takes its name from that song. But how fortunate are we, that the man who made the original song, is the one who is remaking it (through his company, that is). The track, originally a romantic number, and probably the first time Arijit Singh actually came into large notice, though he had sung other songs before that, has now been remade into a dance track for the film. But this dance track is as far from a regular Bollywoodish dance track as you can imagine. It has a very quite and soothing vibe to it, and a very unexpected twist in the form of a nice interruption wherein JAM8 introduces to Bollywood, a new genre of music called ‘Tropical House’, which sounds like some techno Caribbean music. Anyway, the new composition that the group has made for the remake, is great. The mukhda, sung by newbie (in Bollywood) Nikhita Gandhi, is charming and scintillating, with its romantic vibes really reaching you. The way they have joined it to the hookline of the original song too, is quite cool. The time the song goes downhill is when, after the nice and refreshing Tropical interlude, Arijit comes back to reprise his portion, the antara from the original song, a part I felt didn’t quite merge with this song. Yes, I know that if the hookline adapted well into this song, every other part should too, but I just didn’t feel the antara this time. When it went back to the new composition, I started grooving to the beats again. So it was like a sudden disconnection from the song. But then, JAM8 makes up for it in the fantabulous (which is a very small word to describe it!) ‘conclusion’ part of the song, which has a lilting and entrancing tune. Especially the oddly-but-fantastically placed line, “Jo bhi hai manzoor hai!”, is a wonderful bridge from the ‘Conclusion’ to the hookline. And the continuous EDM beats, really infuse life into the song. The composers also add wonderful piano notes occasionally, and the guitars that start off the song are so vibrant! So I guess I have already spoken about the arrangements as much as I could. Moving on to the vocals, Nikhita Gandhi, another singer from the Rahman camp of singers, joins Pritam’s camp for this one (quite similar a story to that of the other well known ‘Gandhi’ singer, Jonita — not sisters!) And she totally owns her debut. Yes, Arijit gets the major part in the song, but because she opens it so smashingly, the listeners get hooked and keep waiting for her voice to return. Sadly, it comes back only for the hooklines. Arijit is his usual self, trying to be charming , succeeding and also acing that aforementioned ‘conclusion’ portion. Irshad Kamil writes the new lyrics for this song, wrapping Amitabh Bhattacharya’s already awesome lyrics with an awesomeness of his own. A song that takes itself miles away from its original, neither better nor worse, but just at par, in a different genre. Barring the copy-paste antara, the song is quite good.

Rating: 4/5

 

3. Sadda Move

Singers ~ Diljit Dosanjh, Pardeep Singh Sran & Raftaar, Additional Vocals ~ Ashwin Kulkarni, Music by ~ JAM8, Lyrics by ~ Irshad Kamil & Amitabh Bhattacharya, Rap by ~ Raftaar

“Bhangra ke rhythm mein, tuney Bharatnatyam kyun milaaya?
Mere mehboob, dekho sadda move!”

– Irshad Kamil & Amitabh Bhattacharya

In the next song, JAM8 cuts out the whole international feel that was looming over the album all this time, to replace it with a street hip-hop number in Punjabi style. And I must say, how disappointed I was, hearing this song. The composer takes a very weird route with this song. There isn’t much by way of composition, but whatever is, sounds like very often recycled Punjabi lines used innumerable times. Like the antaras. And the mukhda just starts off so abruptly, it takes time to adjust to it. Actually, a rap starts the song, and it is quite obnoxious. Raftaar. That “Sadda Move Move” line by Raftaar is so irritating. The hookline of the song, too, isn’t too impressive. Arrangements are what lift the song up for me. That flute loop that plays every now and then is just insane — a glimpse of the trademark Pritam-ish insanity that JAM8 has so far, cruelly kept out of this album. The digital beats are quite groovy, but they don’t really provide anything new and innovative, which is what I would like to hear when I listen to a Punjabi street hip-hop number. The tumbi and “burrrhhhaaaa“s are the typical Punjabi people clichés, thrust into the song just to stereotype Punjabi music. But I must say, the dhols are quite engaging. The vocals are above average — Diljit sounds good but not excellent; probably the composition is barring me from liking his rendition too. On the other hand, his co-singer, Pradeep Singh Sran, who made it big in Bollywood with his song ‘Cutiepie’ (Ae Dil Hai Mushkil), brings back his Labh Janjua-ish voice and steals the listeners’ hearts. Raftaar is strictly annoying, and his rap is least enjoyable. Overall the song has a strong Meet Bros-ish vibe. Legends Amitabh Bhattacharya & Irshad Kamil come together to write something that Kumaar or Shabbir Ahmed would’ve written by themselves, if they had been approached. Quite stereotypical, and ‘enjoyable’ would be an exaggeration. A clear dip in the level of the album. 

Rating: 3/5

 

4. Lambiyaan Si Judaiyaan

Singers ~ Arijit Singh, Altamash Faridi & Shadab Faridi, Music by ~ JAM8, Lyrics by ~ Amitabh Bhattacharya

“Tere nishaan, yaadon mein hai,
Tu kyun nahin, taqdeer mein?
Naadaan dil, hai dhoondhta,
Qurbat teri tasveer mein.
Mumkin nahin hai, tujhko bhulaana,
Mumkin nahin hai, tujhko bhulaana,
Dekhe khudaya, do aashiqaan diyaan tabaahiyaan
Ve badi lambiyaan si judaiyaan!”

– Amitabh Bhattacharya

After three relatively happy-sounding songs, it was necessary, I guess, for the composers to bring in a touch of pathos in the album. So they bring a sad song sung by Arijit, which I feel is loosely modelled on Pritam’s ‘Channa Mereya’ (Ae Dil Hai Mushkil), because of the slight Sufi touch to it. The composition, I have to say, is something that disappointed me highly. I just couldn’t find anything great in it. The song is trying so hard to be emotional, but manages to ve not even one bit emotional! And that almost never happens with Pritam songs. The first two stanzas are composed on the same tune, and that is a major drawback, because it is what makes the song sound very, very monotonous. The very first line of the song made me think, “What?” because the music that starts off the song is very promising! After that it becomes a crying fest, something so overdramatic I wouldn’t have expected it to be a song from a big banner films as ‘Raabta’. The hookline is so unidimensional, it hardly managed to touch my heart as an emotional song should. The composition ends with another “conclusion” stanza, and this time, that stanza is clearly trying to emulate the “conclusion” of ‘Channa Mereya’ (Ae Dil Hai Mushkil) with its composition, arrangements and Arijit’s singing style. The arrangements of the song are also very heard-before, and stale arrangements. The Dholak rhythm has gotten so old and typical, I wish no composer uses it in sad songs anymore! The music that starts the song though, the violin one, is very good! And that is what made me believe the rest of the song too, would follow suit. Arijit sings this one with utmost lack of expression, almost like a robot. It seems he spent all his energy in ‘Ik Vaari Aa’. The Faridi brothers pitch in for a good but again, clichéd, Sufi interlude, that only makes the song sound more artificial. Amitabh Bhattacharya’s lyrics are good, but not amazing. A sad song that makes me sad that it had to be in this film.

Rating: 2/5

 

5. Main Tera Boyfriend

Singers ~ Arijit Singh, Neha Kakkar & Meet Bros., Original Composition by ~ J-Star & Sohrabuddin, Music Recreated by ~ Meet Bros., Original Lyrics by ~ J-Star & Jitendra Raghuvanshi, New Lyrics by ~ Kumaar

Na Na Na Na!

– J-Star & Jitendra Raghuvanshi

Guest composers, Meet Bros, step into the album now, for their remake of the popular track of J-Star’s, ‘Na Na Na Na’. Now there’s a huge controversy regarding who stole the song from whom and blah blah blah. But besides all that, I think the whole nation is raving about the song and how catchy it is. The original was definitely one of the catchiest pop songs of that year and even now, and Meet Bros try to keep its catchiness intact. They have built a typical Bollywoodish composition around it, which sounds least like a Meet Bros. composition, and more like a Pritam one. How coincidental because JAM8’s ‘Sadda Movie’s sounded like a Meet Bros song. The Mukhda starts the song off on a very nice tune, and expectations rise right away. It is the antara that could’ve been better, and repeating each Antara twice was not needed; it just made the song that much longer. The hook… Do I need to speak about it! 😀 The arrangements too, are very similar to Pritam’s, complete with the chipmunk noises here too. The club sounds are great as well, and make the song enjoyable at all points. The vocals are energetic, with Arijit replenishing all his drained energy, and giving a very spunky rendition of the song. Is it just me, or does anyone else also think he sounds amazing in upbeat numbers as well!? Neha cannot match up to her co-singer’s level and performs a bit disappointingly this time. Meet Bros. also come and sing an interlude that would have sounded better had it stayed out of the album. 😥 And after that, there’s a lady’s voice that says “I Wanna be your boyfriend.” 😮 Kumaar’s lyrics are the usual type of lyrics that go into such songs. A song that I didn’t expect much from, since it was a remake, turns out to be quite foot-tapping!

Rating: 3.5/5

 

6. Darasal

Singer ~ Atif Aslam, Music by ~ JAM8, Lyrics by ~ Irshad Kamil

“Inkaar mein jo chhupa hai woh ikraar ho!”

– Irshad Kamil

Finally, to finish off the album, JAM8 bring an Atif Aslam romantic melody, something that is quite quintessential in recent T-Series albums. As soon as the song started, it reminded me of ‘Jeena Jeena’ (Badlapur) because of the similar pattern of the guitar piece. The composition is actually very sweet, and it is also slow-paced like ‘Jeena Jeena’, and would suit well for a waltzy arrangement too. But JAM8 choose to keep things minimal and grace the song with nothing more than a nice and sweet guitar riff, and occasional amazing strings. The tune, though slow-paced, grows on you instantly. It is instantly likeable, unlike all the other JAM8 songs in the album, which I took some time to get accustomed to (Except the Jubin ‘Ik Vaari Aa’). I loved the way how they repeated the last line of every antara twice, and the last line of the song thrice. The antara itself is very calm and soothing, and gives a very breezy feel to the song. In the Mukhda, the line where he repeats the words twice, is just outstanding! (“Teri Ada, Ada Pe Marta…” etc.) This is actually what is expected from an ideal romantic comedy. Sadly, it comes in at the end of this album! 😪 Atif’s vocals are some of the best I’ve heard from him in quite a while; he sings the song with a totally different charm than he sung his other songs of late. It draws the picture of the typical boy-next-door image in Bollywood rom-coms. Kamil’s lyrics are just beautiful! Some of them are just salute-worthy, like the one I’ve featured up there at the beginning of this song’s review. Finally, a cute romantic song that befits the film’s romantic aspects. 

Rating: 4.5/5


Raabta is an album I wouldn’t have expected (read, I would have expected much more) from a romantic film like this. Most of the songs are prohibited to be the usual fun-and-frolic that we associate with Pritam, for no specific reason. In fact, the dance song from guests Meet Bros is better than the dance song from JAM8 itself. JAM8 sticks to a very conventional route, save the title track, and only manages to deliver well in two songs in that conventional barrier (‘Darasal’ and ‘Ik Vaari Aa’). But I can’t take away from the album that, as an entire album, it is full of variety and sounds good. It is just lacking on the innovative quotient, and likeability quotient, and hence, the repeat value. ‘Raabta’ means ‘connection’, but there is a slight breach in this Raabta!

 

Total Points Scored by This Album: 3.5 + 4.5 + 4 + 3 + 2+ 3.5 + 4.5 = 25

Album Percentage: 71.43%

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: Darasal = Ik Vaari Aa (Jubin Version) > Raabta (Title Track) > Ik Vaari Aa = Main Tera Boyfriend > Sadda Move > Lambiyaan Si Judaiyaan

 

Remake Counter
No. of Remakes: 15 (from previous albums) + 02 = 17

 

Which is your favourite song from Raabta? 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! 🙂

SURRENDER YOUR EARS TO THIS ALBUM!! (BADRINATH KI DULHANIA – Music Review)

Music Album Details
♪ Music by: Amaal Mallik, Tanishk Bagchi, Akhil Sachdeva & Bappi Lahiri
♪ Lyrics by: Shabbir Ahmed, Kumaar, Akhil Sachdeva, Indeevar, Ikka & Badshah
♪ Music Label: T-Series
♪ Music Released On: 14th February 2017
♪ Movie Releases On: 10th March 2017

Badrinath Ki Dulhania Album Cover

Badrinath Ki Dulhania Album Cover

 

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

To buy this album on iTunes CLICK HERE


Badrinath Ki Dulhania is an upcoming Bollywood rom-com starring Alia Bhatt and Varun Dhawan. The film is directed by Shashank Khaitan and produced by Karan Johar, Hiroo Yash Johar and Apoorva Mehta. So we had a film in 2014 named ‘Humpty Sharma ki Dulhania’, which was a bit of a sleeper hit, and the cast and crew behind it happens to be the same that is behind this one. But according to the makers, it has no connection to the film except that the director, the producers and even the actors, are exactly the same. This film continues the ‘Dulhania’ franchise (If we can call it a franchise with just two films) in U.P., contrary to the setting in Punjab in the first film. Anyway, over to the musical department. Karan Johar has always delivered back-to-back hit soundtracks, and this should be no exception. I still feel guilty that I misjudged the ‘Humpty Sharma Ki Dulhania’ album terribly when it released. After a month or so, it started growing amazingly. And now I love it. So I’ll be careful this time around not to make that mistake again. Here, we get a trio of composers, starting with Bollywood’s newest hit-machine, Amaal Mallik, who has composed two songs. Next up is a newcomer named Akhil Sachdeva, with one song, which hopefully is strong enough to bag him a debutant award this year, and lastly is young talent Tanishk Bagchi, who has been composing for so many multicomposer albums here and there that I’ve lost track. Both Amaal and Tanishk have delivered good songs in the past, and with Karan Johar both have a hit record, so I can’t expect anything more than catchiness (sticking to the rowdy look of the movie’s posters and all) in their tunes. As for Akhil, I hope he has something great in hand! So let’s jump right into this soundtrack!


1. Aashiq Surrender Hua

Singers ~ Amaal Mallik & Shreya Ghoshal, Music by ~ Amaal Mallik, Lyrics by ~ Shabbir Ahmed

“Arey bhagyawaan, maan bhi jaa, ladna befizool hai,
Pyaar dikhe na kya, aankhon mein padi dhool hai?
Pyaar dikhe na kya, aankhon mein padi dhool hai!!
Taj Mahal banvaana Shah Jahan ki bhool hai,
Uske paas paisa, apne haathon mein toh phool hai!
Tune gusse mein phone mera kaata toh aashiq surrender hua!”

– Shabbir Ahmed

The rowdiness starts from the very first song. And who better to get the catchiness in that rowdiness right than Amaal Mallik, who I believe is following Pritam’s footsteps in this regard? The song is an enjoyable chhed-chhad number, the type of which Bollywood’s music records of the past abound in. But very few fit the bill and actually get everything in the right place. And though this one isn’t PERFECT, it definitely gets you grooving. Amaal’s composition doesn’t rely on complicated turns and meanders for it to get famous. Instead, it takes a very heard-before but enjoyable tune, and carries it forward to make a song that impresses with its simplicity and innocence! The tune is of a type we Indians love to dance to; play it in any wedding and people will dance like crazy even if they don’t know it! And the song will propagate just like that! People will play it somewhere, it will catch on to someone else, and then to someone else, and someone else and someone else. Like a viral fever, but a good one. :p The antaras have been composed very playfully and one cannot miss that overlying South Indian flavour that the beats infuse into the song. That brings us to the arrangements. The aforementioned beats are full of heavy percussion (Dipesh Verma and team) following a kuthu rhythm, which has been laid down by Dipesh Verma, Keyur Barve and Omkar Salunkhe. As of that was not enough, the composer decides to let his assistant Krish Trivedi go all-out with the whistles. The noises with which the song starts off are just so instantly gripping! The occasional brass instruments really bring an Indian-wedding touch to the song. Other digital beats really decorate the song, which would otherwise sound like a recording from a wedding at a village. The song aptly ends with that quintessential ‘play-the-hookline-on-brass-instruments’ trick. Vocals are perfectly enjoyable and help the song to get through to the listener. The composer himself takes the mic and sings the song very efficaciously and mischievously. But of course, nobody sings such songs as well as Shreya Ghoshal, who was a great decision for it, considering that she isn’t getting too many songs like this these days! In her short one-stanza cameo, she does very well, while Amaal carries the rest of the song on his shoulders! Shabbir Ahmed’s lyrics are a clever kind of rowdy, and at least they’re decipherable and their meaning comes out clearly! Rowdy but classy!

Rating: 4/5

 

2. Roke Na Ruke Naina

Singer ~ Arijit Singh, Music by ~ Amaal Mallik, Lyrics by ~ Kumaar

“Haathon ki lakeerein do, milti jahaan hain,
Jisko pata hai bata de, jagah woh kahaan hai..
Ishq mein jaane kaisi yeh bebasi hai,
Dhadkanon se milkar bhi dil tanha hai,
Doori main mitaaoon kaise, jaane na manaaoon kaise, tu bataa?
Roke Na ruke naina, teri ore hai inhe rehna..”

– Kumaar

Next up is a pathos-filled romantic song composed by Amaal. And Amaal has composed this one in one of my favourite styles of composition for sad songs — rustic and earthy. Quite recently we heard ‘Naina’ from Pritam’s ‘Dangal’. Quite similar to that in that the song is a sad song with a traditional tune and traditional instruments. The song starts with a heart-rending sarangi piece, and gets to your heart right away. The composition by Amaal has to be one of his maturest compositions in this genre. The mukhda does a nice job in making the ambience damp and melancholic. The soothing piece is followed by an ethereal hookline, something that isn’t blurted out by the singer and forced onto the listener, but proceeds quite calmly. The antaras have yet some more beautiful notes strung together to make a heard-before but engaging stanza. Amaal treads over both high and low octaves with the antaras, and that one odd line in the antara which is made of high notes, just finds its way directly to your heart. The arrangements do half of Amaal’s work in making listeners teary-eyed. Of course the aforementioned sarangi brings in the Indian part of the pathos, as do the wonderful tablas and the oh-so-majestic flute. But Amaal cleverly tops it with acoustic guitars (Ankur Mukherjee) and drums (Debashish Banerjee), in a kind of soft rock template. When the drums interrupt out of nowhere in the till-then very traditional arrangements, I just couldn’t help but remember ‘Kabira’ (Yeh Jawaani Hai Deewani). And then Amaal also puts to use nice oriental instruments like the mandolin (Tapas Roy) which sends chills down your spine when they play. The vocals are top-notch; Arijit infuses the rustic touch to them. He splendidly covers both low and high notes impeccably, as always. Kumaar has penned one of his finest lyrics for this song. A beautiful sad song, which excels in the instrumentation department!

Rating: 5/5

 

3. Humsafar

Singers ~ Akhil Sachdeva & Mansheel Gujral, Music by ~ Akhil Sachdeva, Lyrics by ~ Akhil Sachdeva

“Jitni haseen ye mulakatein hain, unse bhi pyari teri baatein hain
Baaton mein teri jo kho jaate hain, aaun na hosh mein main kabhi
Baahon mein hai teri zindagi, haaye
Sun mere humsafar, kya tujhe itni si bhi khabar?”

– Akhil Sachdeva

The new composer Akhil Sachdeva enters the album next, with his sole song, a romantic ballad, the type of which we haven’t not heard before in Bollywood. The composition follows the familiar template of Pakistani romantic songs, but nevertheless manages to tug at your heartstrings. The song starts with a nice Punjabi couplet rendered by Mansheel Gujral in her strong voice. The mukhda itself gets you swaying to the song, and it actually makes you feel happy. The hookline here too, is quite subtle, but you still get that forced feel. The antara is soothing, with its low notes, again, making you fall in love with them. But overall, there is nothing innovative in the composition. It kills with its simplicity. The arrangements are basically acoustic guitar (Veljon) riffs and digital beats that don’t really leave any scope for anything else. However, the newcomer adds a wonderful harmonica that magically uplifts the mood whenever it plays. The vocals by the composer are fine, not excellent. At places he sounds a lot like Atif Aslam, but doesn’t get the prolonged notes as right as Atif does. Also, his pronunciation needs a lot of improvement. He needs to work on his ‘jh’ sounds, which come across as ‘zzzzh’. I say this not in a demeaning manner though. On a whole, his rendition is soulful. Mansheel has more of a backing vocalist role here, but stuns in her parts. Akhil himself has written the lyrics here, and he uses all the possible Bollywood romance clichés in one song — ‘sunn mere humsafar’, ‘baahon mein teri kho jaate hain’, ‘tujhe maan loonga khuda‘ and whatnot. Nevertheless, the song makes for a good listen.

Rating: 4/5

 

4. Badri Ki Dulhania (Title Track)

Singers ~ Dev Negi, Neha Kakkar, Monali Thakur & Ikka, Additional Vocals ~ Rajnigandha Shekhawat, Music by ~ Tanishk Bagchi, Lyrics by ~ Shabbir Ahmed, Rap By ~ Ikka

“Khelan kyun na jaaye, tu hori re rasiya,
Khelan kyun na jaaye, tu hori re rasiya,
Poochhe hain tohe saari guiyaan kahaan hai Badri Ki Dulhania?”

– Shabbir Ahmed

And Tanishk makes a grand entry with the next song, which happens to be the title song of the movie. The song is an enjoyable one with a folksy rhythm and whose upbeat tempo makes you dance and sing along. The song starts with a wonderful folksy line, composed playfully. After that and a rap, Tanishk’s mukhda to the song begins, and it has all the required spunk for a successful Bollywood dance track. And then when we come to the hookline, he cleverly incorporates the tune of the folk number ‘Chalat Musafir’ to Shabbir Ahmed’s lyrics. (Or maybe Shabbir wrote it after he composed. Any which way, both of them went about it very cleverly!) The antara is a short stanza that efficiently carries forward the naughtiness and catchiness in the composition. Tanishk has to be commended for this composition, because I’ve never heard such a good song of this genre from him after ‘Banno’ (Tanu Weds Manu Returns) and that was what he composed with his friend Vayu. So hats off to him. The arrangements are amazing. The percussion (Dipesh Verma) is topnotch with a strong U.P. flavour to it, and the harmonium (Pradip Pandit) is another star of the song. The song is a holi song, and so the quintessential dhols (Deepak Bhatt) do the needful. The vocals are the strong point of the song. If someone doesn’t like the composition, they’ll fall in love with the song anyway, because of the vocals. Dev Negi, at his exuberant best, renders the male portions spot-on, while the three female vocalists all impress with their respective portions. Neha Kakkar, who takes the major chunk of the female portions, sounds cute, naughty and funny. The way she sings ‘muniya re muniya‘ is enough to melt your heart. Monali, whose ‘Cham Cham’ (Baaghi) is still on the majority of Indians’ playlists, and whose ‘Dhanak’ (Dhanak) is still on mine, renders the antara with ease, but doesn’t sound quite the innocent girl she always sounds, here! It is surprising that Neha sounds more innocent in this song! 😀 And when Neha takes over from Monali in the antara, I couldn’t even recognize Neha the first time I heard the song, and that’s saying something! The third lady vocalist is classical singer Rajnigandha Shekhawat, who sings the introductory folksy lines so beautifully, I’m in love with them. Ikka raps here, and his rap isn’t as irritating as it could have been. Maybe he toned it down a bit. He suits the rustic environment of the song, and doesn’t really rap anything odd. Shabbir Ahmed’s lyrics here are functional, if not good. An apt title song!

Rating: 4.5/5

 

5. Tamma Tamma Again

Singers ~ Bappi Lahiri & Anuradha Paudwal, Chorus ~ Dattatray Mestry, Archana Gore, Arun Ingle, Aparna Ullal, Mandar Apte, Mayuri Patwardhan, Nitin Karandikar, Deepti Rege, Voice-over ~ Ameen Sayani, Original Composition by ~ Bappi Lahiri, Music Recreated by ~ Tanishk Bagchi, Original Lyrics by ~ Indeevar, Rap by ~ Badshah

“Been bajaati hui…. NAAGIN!”

– Ameen Sayani

And Tanishk, with his second song, also closes the album, with another remake. If the previous song was a remake, then this one is definitely a remix. The makers have decided to rehash ‘Tamma Tamma’ (Thanedaar) for the movie. And thankfully, they retain the original track and just construct other additional around the sample. The composition by Bappi Lahiri (which was also ‘inspired’ by Mory Kante’s ‘Tama Tama’) was a rage in India when it released and the portion sampled in this song is the mukhda, hookline (obviously!) and one antara. Tanishk has rehashed this so well, I almost disliked it at first. He has used the song-break technique by stopping the song multiple times before actually getting to the hookline, something else which we hardly get to hear completely twice or thrice (or maybe more. I didn’t count!) But then, I realised that I had started liking the song. It happened spontaneously. One moment I was all about ‘Remakes are bad!’ and the next moment I was a freak dancing to a remake. Because it has been done very diligently, not to mention cleverly. Club beats have been added that really enhance the disco touch of the song, and the original voices have been muffled in such a way that actually does make the old song sound ‘old’! Tanishk has added very efficient beats to the hookline, like the electronic tabla. And the interlude, besides containing another interruption by Badshah, also contains a wonderful mandolin solo by Tapas Roy. The only tampering Tanishk has done with the original track is, he has added a new chorus to sing the hook, and it sounds pretty good too. Badshah’s rap does sound agitating at first, but Tanishk has enhanced that too with his nice electronic tabla beats. Ameen Sayani, the RJ of Binaca Geetmala, has done a voiceover, and the “been bajati hui naagin” part is particularly INSANE!!! Tapas Roy’s mandolin returns to play the hookline at the end of the song, and it sounds awesome then! An efficient remake!

Rating: 4/5


Badrinath Ki Dulhania is yet another feather in the cap of so many people. First of all, the composers, two relative youngsters doing so well in the competitive industry, Amaal and Tanishk, who have made two stellar songs each, and one newcomer, Akhil, who plays it safe in his debut. Next, the singers, who have really outdone themselves with their singing in this album! Dev Negi and Amaal Mallik for instance. After that, Karan Johar, because his productions always have enjoyable music, and he gets yet another successful album. Here is an album I would happily surrender my ears to. It is a kind of antidepressant album!

 

Total Points Scored by This Album: 4 + 5 + 4 + 4.5 + 4 = 21.5

Album Percentage: 86%

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: Roke na Ruke Naina > and then any order you like

 

Remake Counter
No. Of Remakes: 04 (from previous albums) + 02 (from Badrinath Ki Dulhania) = 06

 

Which is your favourite song from Badrinath Ki Dulhania? Please vote for it below! Thanks! 🙂

WAJAH REMAKES HAIN!! (WAJAH TUM HO – Music Review)

Music Album Details
♪ Music by: Mithoon, Abhijit Vaghani, Kalyanji-Anandji, Meet Bros., R.D. Burman, Gourov-Roshin & Anand Raaj Anand
♪ Lyrics by: Manoj Muntashir, Rajendra Krishan, Kumaar, Anand Bakshi & Dev Kohli
♪ Music Label: T-Series
♪ Music Released On: 5th November 2016
♪ Movie Releases On: 16th December 2016

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Wajah Tum Ho Album Cover

 

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

To buy this album on iTunes CLICK HERE


Wajah Tum Ho is an upcoming Bollywood crime thriller, starring Sana Khan, Gurmeet Choudhary, Rajniesh Duggal and Sharman Joshi in lead roles. The film is directed by Vishal Pandya and produced by Bhushan Kumar and Krishan Kumar. Those two names are enough to tell us that it’s a T-Series production, and that we may expect some good songs, and some remakes. Sure enough, three out of the four songs on the album are remakes of old songs. Only Mithoon composes an original song, in three versions, while Abhijit Vaghani, Meet Bros, and Gourov-Roshin recreate old songs, Abhijit’s appearing in two versions. Abhijit is debuting as a composer in Bollywood, having been on the programming panel before, and going by his pop single, a remake of ‘Pyaar Manga Hai’ that released earlier this year, the sing might be good enough. The Meet Brothers are back after long as a duo, and I’m expecting a lot from their remake as well. Gourov-Roshin are just done giving me a shock with their atrocious techno music in ‘Force 2’, and they had remade a song there too, so I don’t expect much from this remake of theirs. Without further ado, let’s see how good the remakes, and Mithoon’s original song, is!


1. Wajah Tum Ho / Wajah Tum Ho (Male) / Wajah Tum Ho (Lounge)
Singers ~ Altamash Faridi & Tulsi Kumar / Altamash Faridi / Altamash Faridi, Music by ~ Mithoon, Lyrics by ~ Manoj Muntashir

“Bikhre bikhre se thhey hum pehle, abb sawarne lage
Tumhare galiyon se rozana jo hum guzarne lage!”

– Manoj Muntashir

Mithoon starts off this ambitious album, that has set out to remake many classics, but he starts off the album on an original note — just in case the remakes, are safely protected deep inside the album by a five-minute long buffer period that consists of Mithoon’s song, which happens to be the title song of the movie. The song is a new, interesting take on this title. The title is actually taken from the song ‘Wajah Tum Ho’ (Hate Story 3) from Vishal Pandya’s last film. While that song, composed by newcomer (and already-goner) Baman, was composed on typical Bhattish lines, this one has a nice old-world-charm mixed with the omnipresent Mithoon touch. The composition is more of a soft and soothing one, in contrast to the sensual and intense one of that song. Of course there’s no reason to compare, so I should just stop. Back to this song, the mukhda brings it to a nice beginning, but it is in the hookline where it receives its shocks and jerks, and starts slowing down. Repetition of the song’s title so many times in a seemingly ultra-slow pace, isn’t your everyday idea of a soothing romantic song. The antara gets better because of more high notes, which kind of lessen the laziness in the composition. The song is included in three versions in the album — One being a duet between Altamash Faridi and Tulsi Kumar, while the other two are solely sung by Altamash. The duet version works because of the male and female voices, and I must admit, Tulsi sounds good in the song, if not great. Just like Amaal Mallik does, Mithoon has used her voice nicely here. Altamash sounds a bit sleepy in places but the high notes in the antaras let us know that he is very much awake. In the male version, though, it gets tedious to hear the song in a complete male voice. The lounge version is a different case altogether. Though it has been sung by Altamash solo, the arrangements in the lounge version are BEAUTIFULLLL! While Mithoon graces the other two versions with the same arrangements consisting of soothing and breezy acoustic guitars (Kalyan Baruah), he has something more mystical and magical in store for you in the lounge version. Of course, a nice lounge touch has been added to the song, and many things happen all of a sudden, which suddenly transforms that lazy composition into one sounding utterly beautiful! The arrangements consist of some beautiful guitar work (Joell Mukherji), while the flutes (Madhu Mukherjee) are brilliant. Nice percussions with the drums make the song sound complete. The sarod (also by Madhu Mukherjee) and tablas are what give the song more of a lounge touch, though! It is this version that finally brings out the beauty of the composition and makes it succeed. Sadly, I don’t think it will be promoted much! 😦 About the lyrics, I would rather say that they are very sappy and icky, instead of praising them by saying they’re nice romantic lyrics. 😛 Manoj Muntashir writes words like “Kahan pe tu ho shuru, kahan main khatam, pata na chale“. I’m like, “Are you a blob of clay? Are you mud? Are you sand? Or are you the European and Asian parts of Russia? Please tell me so I can solve that problem for you so that you don’t have to sing it in songs!” The lyrics are rather a nice get-to-know-yourself course. A middling start to the album, but the lounge version of this track is surely a #5StarHotelSong!!

 

2. Dil Ke Paas / Dil Ke Paas (Unplugged)
Singers ~ Arijit Singh, Tulsi Kumar & Neuman Pinto / Armaan Malik, Tulsi Kumar & Shamita Bhatkar, Composition by ~ Kalyanji-Anandji, Music Recreated by ~ Abhijit Vaghani, Lyrics by ~ Rajendra Krishan

“(Male) Kal tujhko dekha tha, Maine apne aangan mein
Jaise keh rahi thi tum, Mujhe baandh lo bandhan mein

(Female) Ye kaisa rishta hain, Ye kaise sapne hain
Begaane hokar bhi, Kyon lagte apne hain
Main soch mein rehti hoon, Dar dar ke kehti hoon”

– Rajendra Krishan

Aah! Here are the “awaited” (by T-Series to release and torture us with) remakes, finally! Reading the name of the song, you won’t know that this song is a remake of “Pal Pal Dil Ke Paas” (Blackmail) because T-Series has cunningly named it in such a manner that you’ll never guess it. The music producer/arranger Abhijit Vaghani, who has earlier composed in Bollywood for ‘Chaarfutiya Chhokare’ with his partner Sameer, gets to remake this evergreen Kishore Kumar classic. Well, he hasn’t really composed anything new in the song, and Kalyanji-Anandji’s original composition has been kept intact (What a relief, that at least that has been done!) This song also comes in two versions, one that has the never-too-popular Arijit rendering it, and another tagged as “Unplugged”, which has his close successor, Armaan Malik singing it. They both are accompanied by the T-Series behnaa, Tulsi Kumar. The first version of the song really has everything going against it, in terms of the vocals, what with Arijit sounding like a terrible robot, while Tulsi gets her voice tripled and quadrupled. The original recorded voices will never reach us; we get the adulterated version of their voices, and the result is quite revolting! At least Tulsi sounds better than usual in her tripled voice, but Arijit sounds horrendous with his robotic voice, that is way too thin for it too be actually believed to be his. Neuman Pinto has a rap portion in the middle of this version, and it is just disgusting how such a rap can be shoved into a classic song like this! As if that wasn’t enough, Abhijit tries to make the song sound more sensuous (and fails too) by slowing the pace down by some kilometers per second. 😦 Armaan, in his version, gives us the pleasure of listening to a good, unadulterated rendition of the timeless classic, which we sadly couldn’t hear in Arijit’s voice. Thankfully, Armaan’s version is enough to make up for it, at least in terms of vocals. While in the first version, Arijit and Tulsi took turns singing one line each or something, this song is mostly Armaan’s, and Tulsi only sings the second antara, quite blandly, at that. Shamita Bhatkar’s backing vocals provide a good harmony to accompany Armaan, and it sounds good more so because the overdone harmonizations with the voices in Arijit’s version just failed to make a mark. The arrangements are better in the second version too, but they become quite boring after a while. At least real instruments like the guitar (Nyzel D’Lima) and violin (Manas Kumar) are brilliant here. The first version however, is overdone with techno sounds, and that kills the original old song. Rajendra Krishan’s lyrics from the original song have also been retained, thankfully. Except when Tulsi sings and they have to change the gender of the sentence, which was originally from the male point of view. (Like changing leta to leti). More of a revival, rather than a remake, but all that this so-called “revival” could do, is to make us return to the original classic!

 

3. Dil Mein Chhupa Loonga
Singers ~ Armaan Malik & Tulsi Kumar, Original Composition by ~ R.D. Burman, Music Recreated by ~ Meet Bros., Original Lyrics by ~ Anand Bakshi, New Lyrics by ~ Kumaar

“Aise na mujhe tum dekho, seene se laga lunga
Tumko main chura lunga tumse, dil mein chupa loonga”

– Anand Bakshi

The Meet Brothers step into the album, hopefully in order to save it.. I mean, I really expect a lot from them after their work after their split with Anjjan. So this song happens to be a remake of R.D. Burman’s immensely popular ‘Aise Na Mujhe Tum Dekho’ (Darling Darling), and just hearing that this song has been remade, made me excited! But I must say, what I got wasn’t exactly what I was expecting. Of course, the hookline is amazing, what with more sensuality infused into its tune by slowing down its pace, but the padding is quite disappointing. The mukhda starts the song off on a faltering note, which gets stabilised only when the hookline arrives. The antara too sounds very generic and seems like an attempt to redo the ‘Aaj Phir’ (Hate Story 2) and ‘Tumhe Apna Banane Ka’ (Hate Story 3), which just seems more accentuated because of that slow-paced guitar-and-tabla arrangement that all three of these songs have. Anyway, the arrangements are good and suitable for the theme of the song. The acoustic guitars (Pawan Rasaily) sound nice and soothing, while those very typical tablas (in these songs) give it a more earthy touch, along with certain Arabic-sounding elements. The digital beats too, sound very typical. On the vocals front, ws have Armaan and Tulsi again, and Armaan sounds awesome as always, again reminding one of his rendition of ‘Tumhe Apna’ (Hate Story 3). The way he sings the hookline, he’s sure to get even more female followers. Tulsi, on the other hand, sounds atrocious trying to sound different. Meet Bros’ experimentation to make her sound more “you-know-what” fail when she starts sounding like Manjulika. Plus, that double-voice-overlapping thing doesn’t work with even Shreya Ghoshal, (remember ‘Mashallah’ from ‘Ek Tha Tiger’?) so how did the composers think it would work Tulsi? Lastly, the lyrics. Kumaar’s new lyrics suit the theme of the song, but aren’t really innovative; all the Bollywood clichés repeat themselves yet again. A revamp that could’ve been great, but ends up being mediocre.

 

4. Maahi Ve
Singer ~ Neha Kakkar, Backing Vocals ~ Amit Gupta, Original Composition by ~ Anand Raaj Anand, Music Recreated by ~ Gourov-Roshin, Original Lyrics by ~ Dev Kohli, New Lyrics by ~ Kumaar

“Judke bhi tooti rahi ishqe di dor ve,
Kisko sunaaye jaake toote dil ka shor ve”

– Kumaar

The last song on the album is also a remake, but happens to be a remake of a relatively newer song, ‘Maahi Ve’ (Kaante). People are still coping with the craze of the old song, and T-Series decides to remake it even before the old song’s magic wears away. Anyway, that’s none of our business. The song has been recreated by composer duo Gourov-Roshin, the same duo who remade ‘Kaate Nahin Kat Te’ in ‘Force 2’ and Punjabi Folk song ‘Nachna Aaonda Nahin’ in ‘Tum Bin 2’. Both of those songs, they didn’t quite get it right, what with excessive techno sounds and loud noises overpowering he melodies. This time, not only is Anand Raaj Anand’s original tune sounding great in the hookline, but the padding hat the duo provides in the form of the mukhda and antaras, also sounds nice. It has been composed nicely, perfect for the lounge song theme and NOT excessively and unnecessarily sensual-sounding. It actually sounds like a sad song, like the old song did. I myself cannot believe that I liked the remake. Maybe it is because I didn’t really love the old song too much either.. though I did like it. The arrangements by the duo are cool, especially the minimalistic techno sounds in the hookline. There is not much more to hear in terms of arrangements, but the whole sound of the song is lounge-ish. The interludes are good, having some kind of Arabic music playing in both of them. Neha Kakkar, Gourov-Roshin’s regular Singer, renders this one perfectly. Who could be a better replacement for Richa Sharma than Neha Kakkar? (Well maybe Sonu Kakkar could, but “assi ki kariye!?”) Amit Gupta’s robotic voice might sound irritating at first, but you learn to ignore that as the song progresses. Kumaar’s new lyrics, thankfully, are not cheap, but they take forward the a!bience of he song nicely in connection with Dev Kohli’s original words. A surprisingly good remake!! #5StarHotelSong!!


Wajah Tum Ho doesn’t really cater to my likes. An album full of remakes of great classics, out of which two remakes do not live up to the standards of the original. One original song, which fails because of a certain female singer, but excels in one of its three versions. Not a very enticing summary of an album, is it? But will T-Series understand? No. They’ll always be adamant on ruining old songs to add into their films; so be it. The album reeks of stale compositions and/or boring arrangements. One song, by Gourov-Roshin, a duo that has only disappointed up till this song, stands out as a good one, though it will be forgotten in no time. All in all, it is an album depending on the remakes to propel it forward. 

 

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

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

Recommended Listening Order: Maahi Ve > Wajah Tum Ho (Lounge Version) > Wajah Tum Ho (Male) > Dil Mein Chhupa Loonga > Dil Ke Paas (Unplugged) > Wajah Tum Ho (Duet) > Dil Ke Paas

 

Which is your favourite song from Wajah Tum Ho? Please vote for it below! Thanks! 🙂

 

Next “dish”: Dangal, Chef: Pritam Chakraborty 

 

‘Dangal’ will be the last review of 2016!! 😀 I’m so excited! Stay tuned for a fun 2016 end-of-the-year wrap-up! 😉

THE LITTLE FORCE OF TECHNO MUSIC!! (FORCE 2 – Music Review)

Music Album Details
♪ Music by: Gourov-Roshin, Laxmikant-Pyarelal & Amaal Mallik
♪ Lyrics by: Kumaar, Javed Akhtar & Rashmi-Virag
♪ Music Label: T-Series
♪ Music Released On: 27th October 2016
♪ Movie Releases On: 18th November 2016

Force 2 Album Cover

Force 2 Album Cover

 

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

To buy this album on iTunes CLICK HERE


Force 2 is an upcoming Bollywood action thriller film, starring John Abraham and Sonakshi Sinha in lead roles, and Tahir Raj Bhasin in a negative role. The film has been directed by ‘Game’ and ‘Delhi Belly’ fame Abhinay Deo, and produced by Vipul Amrutlal Shah, Viacom18 Motion Pictures, and John Abraham himself. The film is a sequel to Nishikant Kamat’s directorial, ‘Force’, which released in 2011. The music of ‘Force’, by South composer Harris Jayaraj, was quite nice, with many romantic songs being the best ones, and ‘Khwaabon Khwaabon’ being the thrilling USP of the album. With only one underwhelming song in that album, ‘Dum Hai Toh Aaja’, it turned out to be one of the most underrated albums of the year. This time, though, composers Gourov-Roshin take hold of the music. Earlier this year, along with Shaan, they had composed a song for ‘Great Grand Masti’, under the name Superbia. For this movie, Gourov Dasgupta and Roshin Balu, without their partner Shaan, have been roped in. The song from ‘Great Grand Masti’, I didn’t like much, so I can’t say much about my expectations from the duo. However, a guest composer in the form of Amaal Mallik also increases the chances of the album being a success. With just four songs, three by the duo and one by guest composer Amaal, I am sure the makers of the movie are more interested in the storyline than the music, but still hoping with crossed fingers that the music lives up to the music of the first film nevertheless! So let’s get ready to measure the force in the music of ‘Force 2’!


1. Rang Laal
Singers ~ Dev Negi & Aditi Singh Sharma, Voiceover by ~ John Abraham, Music by ~ Gourov-Roshin, Lyrics by ~ Kumaar

The first song on the album shouts patriotism right in your ear. The way it gets there though, is quite mediocre and average. Let me explain. The song starts off with a voiceover by John, after which comes a rap by Dev Negi. The actual melody composed by Gourov-Roshin comes after the rap, and it is good till there. I don’t deny it. But then the hookline comes and takes away whatever goodness the son had established. The hookline sounds so outdated and worn-out, and on top of that, it arrives so abruptly. The mukhda and hook don’t really blend in well with each other. There is practically no antara, and if I were to call some part of the song as one, it would be a part that consists of only a rap portion and the same tune that comes before the hookline in the mukhda. It all gets so predictable after a certain time. The song seems to rely mostly on the rap, and the patriotic voiceovers by John Abraham. The arrangements are techno sounds, that have fortunately been kept not so loud. The rock guitar that plays occasionally is impressive though. The vocals are just fine. Dev Negi impresses with the rap, but due to the very short part that he actually has to sing, he can’t shine in those parts. In the hook, he is joined by Aditi Singh Sharma, who can hardly be heard. John Abraham’s voiceovers sound out-of-place in an audio song. They could’ve just added it in the promos if they’d wanted. I really don’t like this method of including dialogues in songs. Kumaar’s lyrics are good, full of patriotism, and might be the only thing on the song meeting the requirements and expectations from this patriotic track. A disappointing start to the album.

 

2. O Janiya
Singer ~ Neha Kakkar, Original Composition by ~ Laxmikant-Pyarelal, New Composition and Music Recreated by ~ Gourov-Roshin, Original Lyrics by ~ Javed Akhtar, New Lyrics by ~ Kumaar

The second song on the album is a remake of ‘Kaate Nahin Kat Te’ (Mr. India). The song gets a club makeover from Gourov-Roshin, and as it starts, you get to know that it isn’t going to work out well, and it isn’t going to do justice to the original. The song starts off with some weird Arabic, (??) French (??) Or Spanish (??) lyrics that seem to be aping the way ‘Lovely’ (Happy New Year) started, with some similar Arabic words. (Or maybe gibberish). It is a horrible starting, with some lady sounding like she’s saying “serret lekhh baybee“, with too much emphasis on the “baby“. After that, it is pure techno music that follows. Thankfully, the duo has only used the hook of the old song, and tried to form a new song around that. Sadly, that seems to have failed. The mukhda is a typical club song composition, which fails to really create any interest. Cleverly, T-Series have named the song after the first line of the mukhda, so that no old song aficionados judge the song by its name and thereby proclaim that they’ve ruined the original. Which they have, anyway. The hookline is the same hookline that so many of us already love, but it doesn’t even sound good in the song, much less, sound good with that mukhda. The antara is a bit better in terms of composition, but you really can’t do anything when half the song engages you and not most of it. Neha Kakkar was practically expected to sing this song. She provides the little relief in the song, singing it with the required spunk. But she spoils the hookline, adding too much of nuances into it, and trying to sound a bit too cool. The last time the hook repeats, her love basically overflows, and she sings “I looovvve you love you love you love you” (at 4:03 in the song), which is enough to spoil the hookline for one last time. The arrangement is mainly techno music, that depends on a loop, to make itself noticeable. That tune plays all throughout the song, and it is quite an annoying tune. The techno music in the hookline spoils the sound of the hook as well. It all seems like such an overdose of techno music. Kumaar’s new lyrics are quite unbelievable. “O janiya, Tu nahin tha, Teri yaadon Se kiya Maine pyaar“. 😂 A song that could very well have been remade into a good romantic song, gets a club makeover and gets spoiled forever.

 

3. Ishaara
Singer ~ Armaan Malik, Music by ~ Amaal Mallik, Lyrics by ~ Rashmi-Virag

Amaal Mallik finally enters the album, after the duo Gourov-Roshin fail to create any magic. I expected Amaal to make up for the missing magic, but I must say, the result is quite underwhelming here too. Don’t get me wrong, I really love Amaal’s music. The composition this time around, too, is very soulful and emotional. Perfect for a romantic song that will grow on you like slow poison. However, I also couldn’t help but feel it was quite similar to many of his previous songs, like ‘Kuch Toh Hai’ (Do Lafzon Ki Kahani) and ‘Kaun Tujhe’ (M.S. Dhoni). The humming, he has used many times, and that particularly, was the setback for me. The mukhda is beautiful, while the hookline is so mellifluous that it just gets stuck in your head. The antara sounds very similar to the mukhda, it is hard to differentiate between the two, but it is well composed. The arrangements are minimal, with the acoustic guitars and strings really doing a great job. In an interlude, a rock guitar with a muffled voice, sounds like a lounge treatment has been given to it, and it sounds great! The star of the song, though, is definitely the mandolin. Every time it plays, it sends a chill down your spine. The entire feel of the song is all in all, quite haunting, and I would’ve enjoyed it more, had it been a bit different-sounding from Amaal’s earlier compositions. Armaan is a star, and he proves again how merely his voice can elevate a composition to another level. He adds little nuances to the composition which really make it stand out in those parts. Rashmi-Virag, as always, write awesome lyrics, and become yet another reason to listen to the song. Their writing is always full of soul and emotion, and that’s proved here too. One of Amaal’s weaker songs, due to the overlap with his previous songs. However, his arrangements, Armaan’s voice and Rashmi-Virag’s inexplicable writing, make this worth hearing at least a couple of times!

 

4. Catch Me If U Can
Singer ~ Amaal Mallik, Music by ~ Gourov-Roshin, Lyrics by ~ Kumaar

Gourov-Roshin come back into their album, with yet another overdose of techno music. The song is suitable for the thriller genre, and with the pacy techno arrangements, it has its things right. However, it falls flat in the composition. The mukhda starts off very flatly, so much so, that the listener can even get bored right away. It actually sounds like something composed just for the fun of it, and not meant to feature in a major motion picture soundtrack. The duo’s composition is painfully non-creative, and follows the path of many previous failed techno thriller songs. The hookline is just plain bad, I can’t put it any other way. The antaras have just as much in their favour as a child who hasn’t studied for the Maths exam. The duo try to cover their mediocre composition with some techno music, but it only sounds good at the beginning, where it does some nice little disco thing that is impressive and reminiscent of the 80s disco era. All throughout the rest of the song, are stale and boring techno sounds that fail to interest the listener. Some occasional Arabic drums do the trick though, being the only catchy sounds in practically the whole album. Amaal’s vocals haven’t been tuned properly, and firs of all, he shouldn’t have sung this song. Someone with a more strong voice like Suraj Jagan or the like should have been approached. Even Amaal seems uninterested in singing the song, as I can make out from his voice. The duo could’ve done some autotuning there, because other people even use it for singers who don’t even require it. Kumaar’s lyrics are pretty mediocre. SKIP!


Force 2 seems to be one of the worst albums of the year. With not even one track being completely lovable, the album falls short of expectations from every which way. What Harris Jayaraj did in the first installment, and what Gourov-Roshin give in the second, have many miles’ difference between them. Amaal’s guest song does become the best song of the album, but could’ve been better in itself too. But with T-Series relying on what the audience wants and depending on old songs remade to do the trick, I doubt that could’ve been possible. A FORCELESS ALBUM, WITH AN OVERDOSE OF TECHNO MUSIC!

 

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

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

Recommended Listening Order: Ishaara > Rang Laal > O Janiya > Catch Me If U Can

 

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

BAAR BAAR, BAAR BAAR, BAAR BAAR SUNO!! (BAAR BAAR DEKHO – Music Review)

Music Album Details
♪ Music by: Amaal Mallik, Jasleen Royal, Arko Pravo Mukherjee, Bilal Saeed, Prem Hardeep & Badshah
♪ Lyrics by: Prateek Kuhad, Kumaar, Arko Pravo Mukherjee, Aditya Sharma, Bilal Saeed, Amrik Singh, Badshah & Indeep Bakshi
♪ Music Label: Zee Music Company
♪ Music Released On: 3rd August 2016
♪ Movie Releases On: 9th September 2016

Baar Baar Dekho Album Cover

Baar Baar Dekho Album Cover

 

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

To buy this album on iTunes CLICK HERE


Baar Baar Dekho is an upcoming Bollywood rom-com starring Sidharth Malhotra and Katrina Kaif in the lead roles, while Sarika, Ram Kapoor Sayani Gupta play supporting roles. The film has been directed by debutante director Nitya Mehra, and backed by big producers like Karan Johar, Ritesh Sidhwani and Farhan Akhtar. The film is a time-travel romance, and looks quite interesting, but here I remind myself again that I’m not a movie reviewer! What I’m concerned with is the music! And the music album of the film is another multicomposer album! Karan Johar seems to have trusted this multicomposer trend a lot (I guess after the ‘Kapoor & Sons’ music worked so well), and so, he ropes in five composers for this album. Of course, the real credit goes to Azeem Dayani who is the music supervisor of the film (also for ‘Kapoor & Sons’ too!), and he has brought in these five songs that make up the album. When the music of ‘Kapoor & Sons’ was so good, this is bound to be just as mind-blowing and expectations from Azeem are very high! First up is Jasleen Royal, who we already are acquainted with, thanks to Sneha Khanwalkar for giving her that big break in Bollywood with the song ‘Preet’ (Khoobsurat). She leads the album with two of her songs, also debuting as a composer! What a bundle of talent she has turned out to be, and hopefully, all that talent reflects in her work for this film! Next up is the top composer of this generation, Amaal Mallik, back after quite a break after his last, ‘Kuch Toh Hai’ (Do Lafzon Ki Kahani), and he gets a song on this album. After him comes the wonderful Arko Pravo Mukherjee, fresh from the success of his latest ‘Tere Sang Yaara’ (Rustom), and getting to compose one song here, his second for KJo after the beautiful, emotional and heart touching ‘Saathi Rey’ (Kapoor & Sons). Then we have Pakistani singer-composer, Bilal Saeed, with probably his biggest project of his life, and one song to prove his mettle. His first Bollywood outing, ‘Ishqedarriyan’ was quite ordinary; hopefully he does better here!! And last, but how can he ever be the least, is Badshah, who, very conveniently for him, gets to remake the old hit number ‘Kala Chashma’, which was originally composed by Prem Hardeep. Hopefully, this large ensemble of musicians have made a great music album, and when KJo is backing the music and Azeem is the music supervisor, there’s hardly anything to worry about! So let’s see, how many times we can manage to hear this album baar baar!


1. Kho Gaye Hum Kahan
Singers ~ Jasleen Royal, Prateek Kuhad, Music by ~ Jasleen Royal, Lyrics by ~ Prateek Kuhad

The album starts off to a wonderful, dulcet and calm melody composed by debutante, Jasleen Royal. Jasleen seems to have composed this song in her sleep, during her most pleasant dream ever, because the composition is a very pleasant, dreamy one too! Jasleen has kept everything minimal and simple. Without doing much, she manages to do a lot. The simplicity of it all is what is the main attraction of the song. You won’t even feel as if you’re listening to a song from a Karan Johar movie! And after this, Karan Johar albums won’t be tagged loud either! Jasleen does a wonderful job keeping everything bound together by a very simplistic, but very angelic and cute tune, that is bound to make you forget all of your stress, and let you get drowned in the paradise of her music. The arrangements have been kept just as minimal, with a constant guitar riff playing in the background, and making things sound so subtle and gentle. The whole song played on guitars makes you give so much attention to the lyrics, composition and vocals. Of course, towards the end, to make the finale grand (or grander than the subtlety of the rest of the song) Jasleen adds some new sounds like a wonderful whistle, and variations in the style of playing the guitar. Of course, both of the lead singers are perfectissimo in their rendition of the calm, free-floating melody. Jasleen herself has sung her composition, and in my opinion, nobody else could match the sweetness and innocence needed to sing this song. No wonder it is her that came up with this tune!! The sweetness and innocence reflect in both her voice and composition. Prateek Kuhad, also the lyricist, croons his own words, and he does it well, too. Of course, he doesn’t sound professionally trained, but manages to grab the listener’s attention in whatever he sings. Both of them together sound cute and sweet as sugar. The countryside touch in the sing can’t be missed at all. It’ll be bliss for people who come home stressed and just want to chill out after a hectic day at work! Prateek’s lyrics, too, show how things can be conveyed through simplicity! A very simplistic, but very innocent and innovative AND attractive romantic song!! A very blissful start to this KJo album, which usually start with glamour and pomp! #5StarHotelSong!!

 

2. Sau Aasmaan
Singers ~ Neeti Mohan & Armaan Malik, Music by ~ Amaal Mallik, Lyrics by ~ Kumaar

And the mood lightens up (even more than what it had gotten lightened up by the first song) with the arrival of the next song on the album. The zestful guitar starts off the song with a very lofty spunk, only to be joined later on by a rather jumpy banjo, whose sole purpose is for you to have the time of your life while listening to him — err, it. (And there I go overboard with my anthropomorphic one-liners!) Okay, more important than the gender of the banjo, is the song at this moment. So, as I was saying, the opening music to the song is so energetic, you can’t help but start grooving to it. And then Amaal makes sure you get no less of amusement while the actual melody starts to play. As soon as Neeti, with her silky-soft and feathery voice starts with Amaal’s tune, you feel as if you have been transported to some new part of the world, which Amaal has made for his listeners. The song itself has been composed in such a manner that it will make you forget all your woes, NO MATTER WHAT THEY ARE! A happy-go-lucky tune mixed with beautiful background music, what could go wrong? The arrangements are beautiful, with of course, the banjo (Pramod Timilsina) and guitars (Pramod Timilsina & Armaan Malik) take center stage, while Amaal adds in some very irresistible EDM that just doesn’t leave your head (Again, why should it!) The man’s arranged everything so properly and perfectly, that everything just gels together and the result is a beautiful love song. Coming to the vocals, each line by Neeti is a delight. Her thin voice is what is just perfect for the song. Coupled with Armaan, she sounds awesome. Armaan himself is at his best, having the antara and second mukhda (repeated at the end of the song) to himself and rendering them both with the confidence that only he can have. The way the hookline mellifluously flows out of Neeti’s mouth, just made me speechless. She sings it with such ease that it is unbelievable! Even the mukhda, she sings so effortlessly, it made me fall in love with her voice once again after ‘Bombay Velvet’! Kumaar’s lyrics explain the happy feel of the song very well, and make sure the listeners are included in the happiness of the protagonists. And that is one spectacular romantic song, one that I personally will never forget! Cuteness at its best, presenting Amaal’s next superhit tune!! #5StarHotelSong!!

 

3. Dariya
Singer ~ Arko Pravo Mukherjee, Music by ~ Arko Pravo Mukherjee, Lyrics by ~ Arko Pravo Mukherjee

It feels as if the mood that Jasleen had lightened up for us right at the start of the album, and the same mood which Amaal lightened up a bit more, doesn’t ever want to go back down, just as we don’t want it to go back down! And I say this because, to continue the freshness that this album has been carrying till this point, Arko very opportunely presents his song in the album, another love song composed in a very innovative way. The composition is soulful in a very different way. When I say it is fresh, I mean fresher than the fish you get along the coasts of Kerala, and fresher than the smell of a new book. The tune that Arko has woven is nothing like the usual romance that Bollywood has been frolicking around with for so many years. The mukhda, which is also the hookline, is a beautiful opening to the song, and the line “Aaya ranjha mera..” is sweet as honey. (I realized the phrase ‘sweet as sugar’ is too common so… Why not substitute it with honey?) The antara is a perfect example of how to continue freshness of a beautiful tune, without losing listeners halfway. Arko’s specialty is that he can attract listeners with simple melodies, and we see that here too. The “ohhoo ho ho ho ho ohho” vocals by him in the interludes are so charming! The arrangements are nothing but energetic guitar riffs that make the song sound fresh and modern, without too much instrumentation spoiling it. Strings in the second interlude are something you mustn’t miss though! Arko’s vocals, though not cut out for perfect singing, with that faltery and shaky texture, does magic in this song, just as it had done in ‘Saathi Rey’ (Kapoor & Sons). He sings the song with such unmatchable charm and ease, that I can’t imagine anyone else singing it! Arko’s lyrics are also at the height of cuteness, with every word touching your soul somehow. Arko shows again how much magic he can make with light and ear-friendly music! A soulful romantic song that will leave you in awe you for sure. #5StarHotelSong!!

 

4. Nachde Ne Saare
Singers ~ Jasleen Royal, Harshdeep Kaur & Siddharth Mahadevan, Music by ~ Jasleen Royal, Lyrics by ~ Aditya Sharma

Jasleen returns into the soundtrack with her second song, which turns out to be an upbeat, but definitely offbeat Punjabi wedding song. The composer seems to have had good fun while composing this one, because the tune that has come out as the final result is something that nobody would imagine in a Punjabi wedding song. The composition is so sweet and cute, that you could hear it on loop and very well get diabetes in just a few listens! The composition reminds you a bit of Amit Trivedi’s composition style, with its attractive cuteness. Jasleen leaves no stone unturned in making sure that the end product is a song that will make families all around the world dance together at reunions. The mukhda very nicely starts things off with a cute tune, while the hookline is infectiously energetic. You can’t help but start dancing to it! 😀 And then there are the two antaras, the first being a very quirky and sweet one, while the other is more loud and dynamic in its treatment; at the end of the day, both of them entertain equally. And then we come to Jasleen’s very magnificent arrangements! The usual dhadd and dhols do steal hearts here, but less because of their loudness and more because of their sweet placement. The guitar wonderfully does the job of background music, while the tumbi is what makes you shake your head while the song plays. And Jasleen uses that tumbi very well, like in the interludes and antara. And then there is some wonderful, futuristic techno music that plays oh-so-beautifully in the background while the singers are singing the hookline! That music is just unbelievably goooodd!! The vocals are just as energetic as the rest of the song, but the cuteness remains intact. Jasleen’s voice, as usual, charms you, and then there’s the wonderful, cute and sweeeeeet voice of Harshdeep Kaur, which was definitely needed in this song (both because it suits Katrina so well, and because she’s so good at singing songs this sweet!) The male singer, Siddharth Mahadevan, gets a smaller scope than the two leading ladies, but manages to catch up to them with that “fool vool karne mein cool..” line of his, which is so cool! 😀 And his line in the second antara is great as well! Although I can’t help but say that the two female singers ooze confidence and sweetness, while he adds the spunk and craziness to the song. Aditya Sharma, a debutant lyricist, has great reason to debut with this song, as he has written just as great lyrics as anyone else would’ve for this song. A great mixture of cuteness and fun and frolic, his words really make you smile! Jasleen strikes gold with this one, a Punjabi wedding song that is far better than the usual, typical ones that Bollywood has been making these days!! #5StarHotelSong!!

 

5. Teri Khair Mangdi
Singer ~ Bilal Saeed, Music by ~ Bilal Saeed, Lyrics by ~ Kumaar, Additional Lyrics by ~ Bilal Saeed

A loop of melancholic piano notes takes over from the very light mood of the previous four songs. And then we understand that finally, the darkness has set into the album. Of course, that doesn’t always have to be bad! Bilal Saeed steps into the album for this next song, and because his future in Bollywood clearly depends on this song (which is his biggest venture in Bollywood as of now) he steps into the album with quite a lovely sad song. The song is actually an adaptation of his very own pop song, a collaboration between him and Dr. Zeus, which had released in 2012 in his album ‘Twelve’, and Azeem must’ve decided to include that in this film. The composition has that very distinct and clichéd pop sound to it, and still manages to grab your attention. Bilal’s composition is quite good, and all that he has done different from the original is, crank down the tempo a bit so that it sounds sad, whereas it sounded like a remix in the original pop song. The hookline is of the type that you hear once and it gets stuck in your head. Whether you want it or not! Fortunately, in this case, it is good. The antara seems kind of weak in its tune, but after a couple of listens it sets in well. Compared to the well composed mukhda though, it is not half as good. Bilal’s arrangements are quite simple, yet heavy in that there is a lot happening at once. The piano that starts the song keeps on repeating through the song, while wonderful violin strokes accentuate the pain in the song, after the mukhda. There are beats that are typical of pop songs, but entertain over here nevertheless. The violin is definitely the star of the arrangements, though it keeps playing the same tune over and over again, just like the piano. I wish there was some variation over there. Bilal’s voice suits the song, and I really can’t imagine anyone else singing this song as he has sung it; I don’t know whether that was a negative comment or positive! 😛 Along with Bilal, who has written additional lyrics, Kumaar has written a good song, and though it is nothing to marvel at, it isn’t something to keep cringing at either. However, the original song was written by Bilal, and I wonder how he has written additional lyrics, if the lyrics are more or less the same!! 😦 Shouldn’t it be the other way round? Anyway, this is a song that will definitely work in favour of the film for a few weeks. And though it isn’t as good as the others, it is a good break for Bilal in Bollywood! #5StarHotelSong!!

 

6. Kala Chashma
Singers ~ Amar Arshi, Neha Kakkar & Badshah, Original Composition by ~ Prem Hardeep, Music Recreated by ~ Badshah, Lyrics by ~ Amrik Singh & Kumaar, Rap Lyrics by ~ Badshah & Indeep Bakshi

Here comes the song I was waiting for all this while. Like a principal awaits the troublesome student, and a lion awaits a deer in his den, I was awaiting this song. 🙈 So, Karan Johar has taken up this fad of remaking old pop hits in his movies, and though they worked quite a number of times before this, this one is a compete loser! The person who gets to remake this Prem Hardeep hit from the 2000s happens to be none other than Punjabi rapper Badshah. And his own song ‘Chull’ had been remade in KJo’s last ‘Kapoor & Sons’. Is this revenge?? OK, so the composition is nothing but timepass, with just one tune repeating the whole time, either played on tumbi or sung by the singers. Of course, there’s a brief portion where Neha Kakkar sings in some other tune, and the mandatory Badshah rap, but besides that, everything is the same, irritating, stuck-in-your-head-but-never-getting-out tune that is spoiling the whole song! I know it was a rage back then, but every tune has its time! 😬😬 Basically, Badshah was the last person the makers should’ve approached to remake this one. Or maybe they just wanted an instant hit for their movie. Of course they did. The arrangements are not even attention-worthy. The irritating tumbi plays tat irritating tune throughout the song, while Badshah intermixes it with some more irritating techno sounds that barely make you pop and lock. 😂 I even thought I heard Dr. Zeus’ famous trademark, the screaming lady and the shattering glass, somewhere!! Or was it just me? :O Have I gone mad? I hope not. Please tell me you heard it too! The vocals are just as irritating. Amar Arshi’s vocals must’ve been taken from the original track itself, or re-recorded, what does it matter? It still sounds bad! Neha Kakkar uses her usual sharp and shrill voice to sing, while Badshah keeps interrupting with the same rap every single time! And the rap is about how the boys’ hearts are on fire when they see the girl walking on the street. Of course, what can you expect from a song which is about how good black sunglasses look on a girl who’s really fair? bad end to the otherwise great soundtrack!! the only song on the soundtrack that screams ‘R.I.P. Bollywood music’!!


Baar Baar Dekho turns out to be an exceptionally good multicomposer album! If you want a multicomposer album to sound great, leave it to Karan Johar and Azeem Dayani to bring together a nice ensemble of musicians to do it for you! With tons of variety, this album surely is one of the best multicomposer albums of the year! Also, Azeem Dayani and Karan Johar have given the industry a new find in Jasleen Royal, the young lady composer whose both songs in this album are hands-down beautiful! Amaal and Arko impress as usual, and Badshah disappoints as usual, while Bilal makes a good entry into mainstream Bollywood with a big-banner film. The album stays true to its name, and it is something to hear not just baar baar, but baar baar baar baar baar baar!!

 

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: Nachde Ne Saare > Sau Aasmaan = Dariya = Kho Gaye Hum Kahan > Teri Khair Mangdi > Kala Chashma

 

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

FEVER HO TOH AISA!! (FEVER – Music Review)

Music Album Details
♪ Music by: Ranjit Barot, Tanishk Bagchi, Tony Kakkar, Onesia Rithner, Rahul Bhatt, Faizan-Agnel, Shamir Tandon & Rahul Jain
♪ Lyrics by: Rahul Bhatt, A.M. Turaz, Tony Kakkar, Rahul Jain, Subrat Sinha, Rajeev Jhaveri, Panchi Jalonvi, Arun Kumar & Onesia Rithner
♪ Music Label: Zee Music Company
♪ Music Released On: 24th June 2016
♪ Movie Releases On: 5th August 2016

Fever

Fever

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

To buy this album on iTunes CLICK HERE


Fever is an upcoming Bollywood thriller film starring Rajeev Khandelwal, Gauahar Khan, Gemma Atkinson, Caterina Murino & Ankit Makwana. The film is directed by Rajeev Jhaveri, and produced by Ravi Agrawal, Ajay Chhabria, Rajath Manjunath and Mahesh Balekundri. The film revolves around a contract killer who takes on the identity of a writer to escape the police. He has two mysterious women following him, and according to the makers of the movie, “suspense builds as they uncover the lie”. The plot seems to be going to the Bahamas for vacation, but I’m concerned with the music!! So here we go. A few weeks ago, I reviewed ‘Sarbjit’ that had five music-making entities behind it. I thought that was a lot. Little did I know that two months later, a movie called ‘Fever’ would be releasing with as many as 8 musical entities behind it! And fifteen tracks (two versions, so thirteen songs)!! The number of sings makes me curious as to why so many needed to be crammed into the album, what they are about, whether there is any variety or not, and other things that music reviewers look at. 😛 The first composer for this album is Tony Kakkar, who we last heard from in ‘Cabaret’, where he composed the best song of the album, ‘Phir Teri Baahon Mein’. He is in charge of as many as four songs, and five tracks. Hoping he doesn’t get into a very clichéd mode, I am expecting good songs from him. The second composer is Rahul Bhatt, who we had heard three years ago co-composing the song ‘Eggjactly’ in the ‘Jackpot’ album, with Javed Jaffrey. Here he is back with a mere one song, too. Next is Tanishk Bagchi, whose success in composing comes forward with every other song he does. His last song was unbearably bad, in ‘Housefull 3’, so I’m guessing this is going to be better! Then we have Ranjit Barot, who we know more as a BGM composer, than one who composes songs, but he has composed for some films. He too, gets one song in the album. Rahul Jain is next with three songs, making his debut in Bollywood. The stellar duo, who left us with ‘Jigariyaa’, a soundtrack to cherish, Faizan Hussain-Agnel Roman, are back with a single song in this album, which I’m expecting to be good, like their last complete album. They had composed lackluster songs for other albums in between. Then there’s Shamir Tandon, who we know very well, and I don’t know what to expect from him, solely because he never is consistently good or bad. Lastly, there is Onesia Rithner, with two songs, a debutante and a French musician. Looking forward to what she offers! So let’s start off the album!


1. Bas Ek Baar
Singer ~ Arijit Singh, Music by ~ Rahul Bhatt, Lyrics by ~ Rahul Bhatt

Rahul Bhatt starts off the album with an Arijit Singh track. The song is a soothing, calming and feel-good, sad song that has been arranged very minimally. The composer has come up with a simple, heard-before, but heart-touching composition, that is bound to make you fall in love with it. He starts off right away with the mukhda, something that hooks you onto it because of the wonderful piano chords in the background. The hookline is interspersed throughout the song, but quite camouflaged with the other parts, and since the song is so slow-paced, you wouldn’t notice that it is the hookline playing. The first interlude has wonderful strings that will pave the way to the hookline, which stands alone as a stanza in itself. It sounds as if the antara is what starts with the hookline, instead of the mukhda ending with it. Rahul Bhatt has used good acoustic guitars and violins in the first half of the song. The second interlude has the same strings solo as the first, before it breaks out into the rock template that many Bollywood romantic songs have these days. The rock guitars and drums really sound good, especially as a special surprise in an unplugged style song! Again, the hookline stanza plays, this time, with a rock background.  After a while, the song goes back to its soft and mellow nature, and this transition is as seamless as the first. Arijit sounds like never before, and seems to be at comfort with such a soft composition. He sounds great singing in this voice texture. Rahul Bhatt has also written the lyrics of the song, and I must say he has done a decent job, as such songs can’t actually go beyond the clichés of Bollywood. A heart-winning start to the album! A soft, mellow composition that sounds very sweet! And Arijit is extraordinary! #5StarHotelSong!!

 

2. Besambhle
Singer ~ Arijit Singh, Music by ~ Tanishk Bagchi, Lyrics by ~ A.M. Turaz

Arijit features on the second track as well, this time, for another composer. New on the block, but quite some films old in just a year, Tanishk is back with an upbeat MJ-styled number whose beats would remind one of the ‘Bang Bang’ title track. The song starts off with those hip-hop beats, followed by cool strings and drums, that would make you groove to them. Tanishk has come up with an addictive concoction in the form of this song which appeals right away. The hookline actually has the title of the movie in it, so this song can be termed as the title song, too. That portion is catchy as well. The antara gets pretty calm, and the was it has been composed will win over your heart. Arijit sounds really good in this kind of song, younger than ever, as lively as ever, and the infectious tune seems to have brought out the best from him, too. I wish he sings like this in many more songs. He has deliberately left many of his words unfinished but it sounds awesome! Tanishk’s arrangements, though, are what make the song sound genuine in all aspects. Without the infectious beats, the song wouldn’t have been the same. The strings that oh-so-wonderfully carry forward the proceedings, bring the actual retro hip-hop era back. The MJ fans will rejoice on hearing this. The drums and the occasional brass instruments that are humble enough to stay in the background sound great, too, as does the piano. A.M. Turaz stuns with excellent lyrics in this genre as well, after writing many great Sufi/Qawwali songs. Of course, the Urdu is still predominant here! Without the hip-hop, this song would have been zero, Nada, zilch! Tanishk’s strings are the highlight, while Arijit brings out a hidden personality of his! Tanishk’s on-off spree continues with this song; this time, he’s in the ON mode. #5StarHotelSong!!

 

3. Mile Ho Tum / Mile Ho Tum (Reprise)
Singers ~ Tony Kakkar / Neha Kakkar & Tony Kakkar, Music by ~ Tony Kakkar, Lyrics by ~ Tony Kakkar

Tony Kakkar steps into the album next, with his first song, a sad, melancholic and drowsy romantic song. I use the word drowsy because.. Well, you’ll get to know when you hear the song. Tony has composed the song on very typical Himesh/Mithoon lines, with the beats particularly reminding me of the dark era when such songs were the only thing prevalent in any album. Tony has tried to evoke a feeling of sadness, an emotion of melancholia and romance (whatever that is supposed to mean for Bollywood) but it all turns out as a desperate attempt to ape songs that themselves, do not evoke any of the sympathy of the listener. Tony has got stuck on his song ‘Khuda Bhi’ (Ek Paheli Leela), and there are many times in the song when it sounds too similar to that song! Especially one of the lines in the antara. The beats sound miserably like what Mithoon and Himesh use, but the strings help the arrangements somewhat. Tony’s voice doesn’t actually suit the song, either. Either Mohit Chauhan or Arijit Singh would’ve sounded way better. It is the reprise version that scores above the original. Tony has arranged it beautifully, with a blend of flute, shakers, Spanish guitars, mandolin and a plethora of beautiful sounds. Neha sounds wonderful in this new avatar of hers, in a romantic and calm setting, which we’ve heard her singing in, only in her cover videos on YouTube. It is a pleasant surprise to hear her sing that way. Tony has set up a wonderful Indian classical interlude with the flute stealing the show. Tony sings a line in the reprise, and how I wish he had sung so nicely in his solo version too! The lyrics by Tony Kakkar aren’t anything to praise, but they seem to go well with the song. The original is a clichéd attempt, but the reprise fares better, and garners our love for it. The reprise is a #5StarHotelSong!!

 

4. Kharaa Kharaa
Singer ~ Sonu Kakkar, Music by ~ Tony Kakkar, Lyrics by ~ Tony Kakkar

Tony comes back with his second song, this time, a sweet romantic song sung by his other sister, Sonu. The composition is something that will instantly appeal to you, something that would infect your mind with its sheer sweetness. Tony has made a very cute, contemporary and simple romantic song, from the point of view of a girl in love. The composition is not at all difficult to understand, and you can easily catch hold of it. It is the simplicity that appeals. Sonu’s husky voice suits the mood and theme of the song, and she sounds very much like Neha here! I’ve never heard Sonu singing like this! It sounds great how she sings everything in a whispery and feathery voice. It really helps in making the song light to the ears. Tony obviously gets the credits for this. He had disappointed with a melancholic song before this, and he makes up for it with a happy-go-lucky song now. His arrangements too sound great. The acoustic guitar arrangements are predominant, while the harmonica entertains occasionally. Tony aptly introduces a jazzy brass instrument in the second interlude, which lifts up the mood even more. It is the antara which is the cherry on top. The very cute way Sonu sings the sentences rapidly, makes it so intriguing. Tony’s lyrics are definitely better than what he wrote for ‘Mile Ho Tum’, and are believable and realistic. They’re not over the top like those. A dose of sugar!! #5StarHotelSong!!

 

5. Teri Yaad / Teri Yaad (Unplugged)
Singers ~ Rahul Jain / Rahul Jain, Music by ~ Rahul Jain, Lyrics by ~ Rahul Jain

Debutant Rahul Jain marks his entry into the album and Bollywood too, for that matter, with the next song, a calm and dulcet romantic song, written by himself, composed by himself and even sung by himself. Going by the maturity of the song he gives us in his very first Bollywood outing, I can tell he is going to go a very long way! The man has composed a song that is so sweet, and pure in its romance, that it will captivate you for as long as it plays, an astounding six minutes (the original version). The composition has shades of Pritam’s ‘Barfi’ album in it, while also resembling Mithoon’s ‘Humdard’ (Ek Villain), in its treatment. The mukhda, which starts so softly, grabs you as soon as it takes off, something that is unusual with soft romantic songs, which usually take time to grow on you. The hookline is unique, with the small monosyllabic word “yaad”, broken up into many syllables, making it sound unusually great! The antara takes on the form of a simple romantic song, typical of Pritam’s style, and wonderfully presented by Rahul. Rahul’s arrangements are out-of-this-world. In the original version, he uses the quintessential acoustic guitars, and the occasional but very prominent flute. And then there is an interlude with an enchanting traditional matka instrumentation. Throughout the song, the composer uses striking strings. However, it is the second interlude where they stand out the most. The second antara has a different tune, and it is kind of like a climax; it changes the dulcet mood of the song into a kind of painful mood. However, the instrumentation is at its zenith here! And the song ends on a high with those resounding arrangements followed by the smooth and calm mukhda which repeats and concludes the song. The unplugged version, on the other hand, is more of an angst-filled version, and the composition except that of the hook, is completely different. The composition doesn’t appeal at once here, being the melancholia I normally despise. However, the composer does make great use of acoustic guitars to make the song sound grand, as well as a wonderful zitar interlude. However, this version fails to create as much impact as the original one, maybe due to the slower pace and less likable composition. Rahul croons with a soft and smooth voice, the original version of the song, resembling a mix of Arijit and Ash King, while he sounds like a mix of Gajendra Verma and Nikhil D’Souza, apparently shouting, in the unplugged version. The lyrics he pens down though, are good enough for the song, and work in favour of it. The calming, enchanting original version of the song is a must-hear, while the unplugged version is skippable. Rahul makes an impressive debut, though! So, the first version is a #5StarHotelSong!!

 

6. Nahi Nahi
Singers ~ Alisha Pais & Alisha Batth, Music by ~ Shamir Tandon, Lyrics by ~ Subrat Sinha

The jazz genre creeps into the album, in the form of a song composed by Shamir Tandon, and sung by two Alishas, whom I’ve never heard about! Shamir makes a cabaret/jazz number, similar to the one he had composed in ‘Pizza 3D’, and he aces it once again. The song follows the usual jazz template, but with a funky, groovy loop on the rock guitars, this one has everything to make you dance away to it. Shamir’s composition is not extraordinary, but he males sure that it is catchy at the end of the day. Especially that “doo, doo di dooba” loop, is sure to make you nod your head. The hookline is again, something concerned with the movie’s title, and it really grips you onto the song. The leech inside you really wakes up at that moment. Arrangements are entertaining as well — rock guitars, drums played in the regular groovy jazzy manner. The piano played in those fast staccato notes, is sooooo cute! The absence of brass instruments however, is notable! Both the Alishas do a great job in transferring the energy of the composition to the listener, and their voices are half the reason the song turns out so good. The lyrics seem to be complaints of a girl about her lover. Basically, she complains about him not showcasing his love in any way, but then describes how she herself has fallen for him. 😂 Ah, the irony! A groovy, upbeat jazz number by Shamir! #5StarHotelSong!!

 

7. Kuch Is Tarah
Singer ~ Divyam, Music by ~ Rahul Bhatt, Lyrics by ~ Rajeev Jhaveri

Rahul Bhatt, who started the album off with a subtle Arijit song, comes back with a female song, another melancholic song that tries to be goody-goody. The composition is pretty good, I have got to admit, but the execution is not. The song as a whole does not appeal after hearing it, and doesn’t compel you to hear it over and over. Moreover, it seems very basic and simple, and not actually attractive. The blandness of it, naturally acts against it. Rahul tries to make a European-styled composition, but it turns out pretty boring. Arrangements are good, though, with strings, guitars and harmonicas gracing the song and making themselves stand out in the stale composition. The singer goes off-note more than numerous times, and it makes you cringe when she touches — or tries to touch — the high notes. It is the lyricist therefore, who shines in the song, with decent lyrics saving the song. The first boring song of the album, which sinks due to its simplicity and vocals!

 

8. Kya Kasak
Singer ~ Sonu Kakkar, Music by ~ Tony Kakkar, Lyrics by ~ Tony Kakkar

The Kakkar siblings come back, with another melancholic romantic song. Again, Tony weaves magic with the instruments and composition, while Sonu infuses her magical vocals into the song. The song starts with a couplet sung slowly by Sonu in a beautiful tone, but it is when the hookline “Dil ashqon mein yun… ” starts, when the actual magic takes place. Tony’s composition, though melancholic and emotional, does not revolve around the same one or two lines to convey its melancholia, but traverses a wide range of notes that appeal to the ear when put together. He has crafted a very artistic hookline, that catches hold of your attention right away, while the mukhda silently builds up to the peak. The antara is just as marvellous, after which the mukhda and hookline play again. The whole thing just seems so blissful. Tony has used a wide variety of instruments that appeal like never before. I think it is one of his most diversely arranged songs, with acoustic guitars, drums, rock guitars and the like. The rock elements mainly, are what create the most magic in the hookline. The rock guitar riff, so Pritam-ish in form, appeals to the ears like always. The composition has that certain Indian-ness and mixed with rock, it sounds very innovative and appeals highly. Sonu Kakkar sings the song with the same ease with which she churned the ghazal-like ‘Phir Teri Baahon Mein’ (Cabaret), which was a gem of a rendition by her. Her voice has that edge which makes you cherish it, especially in a sad romantic song as this. Tony’s lyrics are mind-blowing as well! I can’t believe he’s the one who wrote ‘Do Peg Maar’ (One Night Stand) earlier this year. Something of a purely different class by Tony Kakkar! Both the siblings have given us a cherishable #5StarHotelSong!!

 

9. Mujhme Kabhi
Singer ~ Shalmali Kholgade, Music by ~ Ranjit Barot, Lyrics by ~ Panchi Jalonvi

The seniormost composer on the seemingly neverending composers list for the album, Ranjit Barot, dives in for the next song, an entrancing number very distinctly composed by him. The song has a composition that is pretty tough to follow, with its ups and downs making it pretty complex. The slow pace of the composition makes it even difficult to pay attention to it. Ranjit has no doubt made a melody that is meant to infuse grandeur into the soundtrack, but it ends up being so situational, that it is kind of difficult to understand it and like it. The composer has tried a bit too much to make it sound westernized. The arrangements are cool, complete with techno sounds and wonderful strings to lead it. A harp loop starts off the song, and keeps backing it throughout. Towards the end, the strings get to their climax and brisk strokes help them in accentuating themselves and in standing out. Drums and brass instruments are great additions as well. However, the song seems to end abruptly with some weird techno sounds. Shalmali sings the song gracefully, but the deliberate low voice doesn’t exactly sound good. She isn’t quite able to showcase her singing prowess with the confined low range of notes. Of course, her usual nasal and husky voice texture helps a bit. Panchi Jalonvi writes good lyrics, but without the support of the composition, they seem lost. Quite boring.

 

10. Look Look
Singer ~ Ash King, Music by ~ Faizan-Agnel, Lyrics by ~ Arun Kumar

The duo Faizan & Agnel, who had left us with an awesome album ‘Jigariyaa’ in 2014, are back with a single song in this album. Of course, I expected the song to be as impressive as their previous works, but it fails miserably. It is probably the duo’s worst song ever! The composition is not at all substantial, just a bit of lines repeating over and over. The composition goes all over the place and it is hard to track where it is going or what it is supposed to convey. The duo has given the song a heavy rock arrangement, which is probably the only interesting aspect of the song. Rock guitars and drums are the only instruments that can be heard here. Ash King, however, is in full form with his rendition, something I’ve heard from him for the first time. He sings in a grungy (or the grungiest his smooth voice can get) voice, and seems to be enjoying himself. If there’s a reason to hear the song a second time, it has to be Ash King and his vocals. Besides that, the lyrics by A run Kumar are just plain banal. It seems like there is a stalker singing, who is behind a girl. And it also seems like a mishmash of stuff that sounds “kewl”. SKIP!

 

11. D’accord
Singer ~ Onesia Rithner, Music by ~ Onesia Rithner, Lyrics by ~ Onesia Rithner

The last composer of the album, French composer Onesia Rithner, steps in with this song. This song is actually from her album “D’Accords”. The composition is pretty cool though. It has a noticeable French touch to it, and it is very light on the ears. It has a soothing touch to it, and the distinct European touch makes it sound even more addictive. The line “Where do you think it comes from” instantly grabs your attention and makes your ears glued to the song. The arrangements are blissful, with acoustic guitars being riffed wondrously throughout the song. The guitars infuse life into the song, and make it sound all the more great. With simply guitars as the arrangements, I must say, Onesia has done a great job to make the arrangements captivating! The riffs are beautiful and soothing. Occasional twinkling sounds make the song seem more lulling. Onesia’s voice, as well, is cute, and her accent will make you want to hear the song on loop! The way she says the title of the song “d’accord”, is something that will amaze you. The lyrics are perfect as well, and cute as ever. A cute English song, by a French composer, in a Hindi film! The guitars are the highlight of this one! #5StarHotelSong!!

 

12. Carried Away
Singer ~ Onesia Rithner, Music by ~ Onesia Rithner, Lyrics by ~ Onesia Rithner

Onesia continues her Bollywood stint with her second song in the same album, another lulling and gentle song that is purely in English. This one is as lulling as the previous one; in fact, I would say it is more so. The subtle and mellow composition is something that will soothe and calm you down. I have no idea whether this song, too, is an inclusion of her previous works, but all I can say is, Onesia has worked really hard to make this one a gem as well! This one has no distinct European touch as such, but it nevertheless appeals with its simple nature. The composition is enchanting and graceful, and enough to drive you to sleep. The arrangements in this song are beautiful as well, but ranges beyond guitars; here, it is the piano that assumes center-stage. The wonderful chords on the piano are what makes it stand out. Later on, the song rises due to a wonderful addition of a slow drum rhythm, that is surely electronic, and wonderful arrangements clouding the pacifying piano sound. Guitars join in too, this time electric guitars, and they make a great appearance in the interlude. Yet again, Onesia croons the lullaby-like composition with a hushed voice, oozing of sweetness and charm. And yet again, her lyrics are perfect!! I guess it’s easy to write good stuff in English, more specifically, calm English songs!! BLISS! #5StarHotelSong!!

 

13. Dil Ashkon Mein
Singers ~ Sonu Kakkar & Tony Kakkar, Music by ~ Tony Kakkar, Lyrics by ~ Tony Kakkar

If you remember the name of this song, it was the hookline in ‘Kya Kasak’, and therefore, no prizes for guessing that this is its reprise! This time, instead of Sonu singing solo, Tony joins her in the beautiful song. The lyrics have been tweaked a bit for the male parts by Tony, and the arrangements change and become even better than they were before, in the bargain. Here, strings lead the arrangements charmingly. The composition, as we already know, is a beautiful heartbreaking and heart-touching one, which reaches out to you and screams to you to keep hearing it on loop! Tony sings this song beautifully, with all notes in place and with a better voice texture, unlike that with which he sang ‘Mile Ho Tum’. Here he sounds a bit like Jubin Nautiyal! Sonu as always excels in the vocals! Tony, lyricist as well as singer and composer, writes just as good lyrics for this version, as he did for the first. The duet version of my favourite song from the album, which was really a must-make, and now it is a must-hear!!! With that, the loooooonnnnnggg album ends with a #5StarHotelSong!!


Fever really surprised me! From an album that just came out of the blue, even though there are some pretty big names associated with it, I never expected such a wonderful album! First of all, I never expected those astounding fifteen tracks. Almost every song is impressive, and I really appreciate how the composers actually worked very dedicatedly to make this album (which will probably be washed out by the soon-to-release ‘Rustom’ and ‘Mohenjo Daro’ albums and the already released ‘Sultan’ album) a successful affair. With this album, newcomers like Rahul Jain and Onesia Rithner prove themselves, with great debuts, while composers that debuted just a few years (or even months) ago, like Tanishk, Faizan-Agnel & Rahul Bhatt, try to continue their successful stints, out of which the duo failed, while the other two succeeded quite well! And then some composers that have been around for quite some time, like Shamir Tandon & Ranjit Barot, too, try their best to impress. Lastly, the composer to whom the major part of the album belongs, Tony Kakkar, who has made five tracks out of fifteen, and has really established his position with this album. Only using his sisters as the singers and himself, he impresses quite a lot! Therefore, I must say, a ‘Fever’ must be exactly like this!

 

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: Dil Ashkon Mein > Kya Kasak > Teri Yaad > Besambhle > Kharaa Kharaa > Mile Ho Tum (Reprise) > Carried Away > Bas Ek Baar > D’accord > Nahi Nahi > Mujhme Kabhi > Mile Ho Tum > Kuch Is Tarah > Teri Yaad (Unplugged) > Look Look

 

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