Phir Se… Is a Bollywood film starring Kunal Kohli and Jennifer Winget, directed by Kunal Kohli and Ajay Bhuyan, and produced by The Bombay Film Company. The film, originally slated for theatrical release in 2015, got postponed indefinitely due to legal issues, so the makes finally decided to release it this year directly in Netflix. The music is by Jeet Gannguli, who was quite active back in 2015, and so let’s see if the songs fall into his “superhit” category of songs or just sound dated!
The last time Jeet Gannguli composed in a Hindi film was so long ago, I can only guess and not tell with certainty (of course, without a quick search through my blog). So I guess it was ‘Raaz Reboot’ in September 2016. And I believe he composed only one song last year, in ‘Ranchi Diaries’. Now, this movie was slated to release in 2015, and ended up releasing on Netflix in 2018. So technically, he still hasn’t composed for a new film since ‘Raaz Reboot’, barring the single song he composed for ‘Ranchi Diaries’. It still makes me glad to hear his music again, for some reason, because it is always the same formula, but almost always works. So here goes!
The title track of Phir Se was released as a T-Series single sung by Amruta Fadnavis and Amitabh Bachchan. I immediately recognised the tune, But couldn’t place it and my friend (he knows who he is) immediately linked it to that song. Of course, this version is better, with Nikhil D’Souza and Shreya Ghoshal on vocals. The sultry tune, coupled with a saxophone arrangement makes it feel calming. A Remix by Sandeep Shirodkar, is passable, because I doubt it will be noticeable enough to be played in clubs and whatnot. The Sad Version too, wouldn’t have mattered even if it hadn’t been in the album.
The mukhda of the title track is used as the antara of Maine Socha Ke Chura Loon, a song whose delay probably led Jeet Gannguli to recycle it and use it as ‘Lo Maan Liya’ (Raaz Reboot). The composition is similar to that song at many places. Arijit does a great job, as he always does in a Gannguli composition, while Shreya barely gets time to make a difference. Arrangements are once again soothing.
The next half of the album consists of upbeat tracks, relatively. Mohit Chauhan leads both of them as the male vocalist, joined by Tulsi Kumar in one, and Monali Thakur and Shreya Ghoshal in the other. The Mohit-Tulsi combo works surprisingly well in Rozana, a song with a distinct early 2000s Kunal Kohli film sound. It would be be a surprise if Jatin-Lalit had composed this one. Jeet also uses the ‘Ladki Kyon’ guitar riff from ‘Hum Tum’ to hark back to the filmmaker’s film. The trio of Mohit, Monali and Shreya end up giving my favourite song of the soundtrack, Yeh Dil Jo Hai Badmaash Hai, an upbeat track with an amazingly catchy tune. Surprisingly enough, Monali is not overshadowed by Shreya as one would expect, but both get their part in the song. Mohit is wonderful as always in these types of songs.
Jeet’s three-year-old album still wouldn’t have changed if he would have tried to tweak it in 2017. I would expect the same thing from Jeet whether it is 2015 or 2020.
Total Points Scored by This Album: 7 + 5 + 6 + 7.5 + 7.5 + 8 = 41
Album Percentage: 68.33%
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: Yeh Dil Jo Hai Badmaash Hai > Maine Socha Ke Chura Loon = Rozana > Phir Se > Phir Se (Sad) > Phir Se (Remix)
Which is your favourite song from Phir Se? Please vote for it below! Thanks! 🙂
Due to the scarcity of time, from now on, I will sum up the entire month’s reviews in a set of two articles each month, one usually around the 15th of the month and the other towards the end. Of course, certain albums that I feel need a separate post (either because they might have many songs, or be spectacular albums, or even if the movies are highly awaited ones) I will do so for those albums. I will reveal the chosen album for this month — it’ll be “Secret Superstar” — I don’t guarantee it’ll be rated very high, but because of the buzz surrounding it, it requires a separate post, I feel! Meanwhile, the usual monthly awards posts will sum everything up once again at the end of every month in the form of awards. I really hope this format helps me balance my schedule! And I can’t wait to return to my normal long posts — till then enjoy your luck of getting to read short reviews from my side!!
October 2017 Round-Up
So this post will cover the reviews for the all but two of October releases that have already released — ‘Chef’ by Raghu Dixit & Amaal Mallik, ‘Tu Hai Mera Sunday’ by Amartya Rahut (Bobo), ‘Ranchi Diaries’ by Nickk, Jeet Gannguli, Tony Kakkar & Bobby-Imran, ‘Golmaal Again’ by Amaal Mallik, Thaman S., Lijo George-DJ Chetas & Abhishek Arora, and ‘Jia Aur Jia’ by Sachin Gupta, Nisschal Zaveri & Sameer Nichani. There will be separate reviews for ‘Secret Superstar’ and ‘Rukh’, both by Amit Trivedi.
♦ A Delectable Treat For The Ears: CHEF Music Review
♪ Music by: Raghu Dixit & Amaal Mallik ♪ Lyrics by: Ankur Tewari & Rashmi-Virag ♪ Music Label: T-Series ♪ Music Released On: 26th September 2017 ♪ Movie Released On: 6th October 2017
Raghu Dixit starts off the album with Shugal Laga Le, a song having a heavy folk influence from Kerala. The backing vocalists provide that freshness associated with Kerala, and Raghu’s characteristic voice makes it all the more intriguing to listen to. In his arrangements too, he adds a dash of everything, and especially those percussions are mind blowing, along with the banjo. Ankur’s lyrics made me acquainted with a new phrase “Shugal Laga Le” meaning “find a hobby, or find something to do”. The next song by him is also reliant on folk music, this time Celtic/Irish. Banjaara is steeped heavily on the beautiful flutes that characterise Irish music, with amazing percussion and backing vocals yet again. Vishal Dadlani does great justice to the sing with those power-packed vocals. The song is one of those many motivational songs that Vishal gets to sing in Bollywood, except that this time, it has a whole new style to it. The mellow Darmiyaan, exudes a positivity in spite of the fact that it is a sad song — mostly because of Raghu’s ebullience. A splendid guitar backdrop makes it simple and sweet, and Raghu’s diction has to be lauded. Raghu takes forth the melancholia in a more Bollywood-ish way in Khoya Khoya, which I rank as the best of the album — underrated Shahid Mallya taking charge of the vocals in a very beautiful way, and Dixit’s composition has that old-world-charm to it. The sarangi is quite impressive here! The alternative rock set up will make this one loveable to many! Raghu’s last song on the album is the effervescent Tan Tan, rendered with spunk by Nikhita Gandhi, the only female vocalist on the album. In her texture, she gives off vibes of Shalmali and Shefali. Guest composer Amaal Mallik, whose song Tere Mere was also removed from the album later, produces a song you can immediately tell is by him. That doesn’t make its richness diluted, though — it’s still wonderful, with the nice dholak rhythm accompanying Armaan Malik’s beautiful voice. Also, Rashmi-Virag’s lyrics are amazing!
All in all, Chef is one of the best albums of the year in that it is a clever mix of melancholia, inspiration and romance. Raghu Dixit must sign more and more Bollywood films — I firmly believe that this is his best Bollywood album yet!
Total Points Scored by This Album (in the order mentioned in the review): 4 + 5 + 4 + 5 + 4.5 + 4 = 26.5
Album Percentage: 88.3%
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: Banjaara = Khoya Khoya > Tan Tan > Tere Mere = Shugal Laga Le = Darmiyaan
♦ A Perfect Sunday Album: TU HAI MERA SUNDAY Music Review
♪ Music by: Amartya Rahut ♪ Lyrics by: Milind Dhaimade ♪ Music Label: Zee Music Company ♪ Music Released On: 29th September 2017 ♪ Movie Released On: 6th October 2017
Out of Arijit’s two songs, the classically-steeped sad song Dhundlo Tum fares better, with an addictive strings orchestra accompanying it, and it quickly steers away from the Bhatt-ish genre that it starts off with. Had that continued, it wouldn’t have been half as good. The digital Sitar is beautiful. His other song, Thodi Si Jagah, is also classical-based for some initial parts, before it turns into an upbeat number that loses itself halfway through the song. The rock backdrop ofthe hook line couldn’t have been more clichéd. Arijit’s vocal prowess is clearly showcased in the song though. It is Amartya’s violin solo that impresses though, with its distinct classical tune. The title song, Tu Hai Mera Sunday, takes a pleasant Christmassy turn, with soft jazz making your ears happy. Shalmali renders it with a familiarity that makes you feel amazing. The brass portions have been done really well here, as are the drums. The clarinet and piano is wonderful too. It is nothing more than the lyrics that make it sound even more personal though. Ash King’s Yeh Mera Manis a pleasant departure from his previous song ‘Bandook Meri Laila’ (A Gentleman) and brings him back to his comfort zone. Again, a jazzy tune gives the song a kind of spring, and that whistle portion is so pleasantly surprising and charming, it is hard to dislike. The guitars are impressive here. Yeh Jo Pyaar Hai, a clubbish number sung by Nandini Srikar, is probably the weakest of the album, where the tune and the arrangement are just mismatched; the hookline sounds like this song was pitched for the situation of ‘Aaj Ki Raat’ (Don) before ‘Aaj Ki Raat’ was finalised. Amartya’s best album to date provides us with a nice mix of classical music, jazz music and a banal club number! This album will go highly underrated and unnoticed though!
Total Points Scored by This Album (in order mentioned in the review): 4.5 + 4 + 4 + 3.5 + 3 = 19
Album Percentage: 76%
Final Rating for This Album: सा< रे < ग < म < प < ध <नी< सां
Note: The letter which is underlined is the final rating.
Recommended Listening Order: Dhundhlo Tum > Thodi Si Jagah = Tu Hai Mera Sunday > Yeh Mera Man > Yeh Jo Pyaar Hai
♦ Uninteresting Diaries: RANCHI DIARIES Music Review
♪ Music by: Nickk, Jeet Gannguli, Tony Kakkar & Bobby-Imran ♪ Lyrics by: Nickk, Manoj Muntashir, Tony Kakkar & Sattwik Mohanty ♪ Music Label: T-Series ♪ Music Released On: 7th October 2017 ♪ Movie Released On: 13th October 2017
Some newcomer Nickk is — he has just been made to make another ‘Baby Doll’, now that Meet Bros. just be refusing to do it. However, Fashion Queen has something in addition to the usual ‘Baby Doll’ sequels — an Arabic strings backdrop that just helps it as much as a car can help you fly. The new singer Raahi seems disillusioned with the ideals that it is okay to sing like Kanika Kapoor if you aren’t her. The composer’s rap is dumb. Helicopter‘s lyricist and composer Tony Kakkar uses the word ‘helicopter’ as a metaphor for ‘getting high’. 😶 Siblings Tony and Neha render it with as much mediocrity as they can muster. I can’t believe Tony is the same guy behind ‘Saawan Aaya Hai’ (Creature 3D) and ‘Khuda Bhi’ (Ek Paheli Leela), but then he has made ‘Ek Do Teen Chaar’ (Ek Paheli Leela) and ‘Do Peg Maar’ (One Night Stand). Jeet Gannguli’s Thoda Aur is the composer’s usual pathos-filled romantic number — you would think that after a year-long break, he would return with something pleasant. But it is the same old Arijit-Palak love story. And the irony is that this song sounds like ‘Saawan Aaya Hai’ (Creature 3D). So did Tony help him here instead of making his own song better? 😏 The last song is a banal Mika solo Godfather, composed by Pritam’s former assistants Bobby-Imran, which I couldn’t even finish once when I started to listen to it. This is a Hodge-podge of the worst songs from the weirdest mix of composers ever.
Total Points Scored by This Album: 2 + 1.5 + 3 + 0.5 = 7
Album Percentage: 35%
Final Rating for This Album: सा < रे < ग< म < प < ध < नी < सां
Note: The letter which is underlined is the final rating.
♦ Amaal Ka Kamaal (Again): GOLMAAL AGAIN Music Review
♪ Music by: Amaal Mallik, Thaman S., Lijo George, DJ Chetas, Abhishek Arora, Anu Malik & Raamlaxman ♪ Lyrics by: Kumaar & Rahat Indori ♪ Music Label: T-Series [“Aate Jaate Hanste Gaate” on Saregama] ♪ Music Released On: 6th October 2017 ♪ Movie Released On: 20th October 2017
The album to the much-awaited fourth instalment to the ‘Golmaal’ series starts with the Title Track, where South film composer Thaman S. is called in just to do that clichéd Kuthu rhythm we are all bored of. Brijesh Shandilya does well as the lead male singer, but Aditi Singh Sharma sounds utterly replaceable. She gets another song, Itna Sannata Kyun Hai, composed by Lijo George and DJ Chetas, where her part towers over her male co-singer Amit Mishra’s parts. The hookline is like a desperate scream in our ears, to make noise. The EDM after the hookline is so bad, I can’t describe it. Amaal Mallik, lead composer, gets two songs, where one is obviously a 90s remake. ‘Neend Churayi Meri’ (Ishq) is the privileged song, named by the company as Maine Tujhko Dekha. The song’s best part is that Neeraj Sridhar returns after a long time to sing a song that is tailor-made for his song. Sukriti Kakar complements him well, but the song is better as an individual song than it is as a remake. Had the hookline been original, it would have been amazing! Amaal’s second song happens to be the album’s best — Hum Nahi Sudhrenge gives those rays of positivity like ‘Apna Har Din’ did in ‘Golmaal 3’. Though the song is similar to Amaal’s other EDM numbers like “Sooraj Dooba Hai”, “Buddhu Sa Mann” and “Zindagi Aa Raha Hoon Main”, it works well because of its positivity and Armaan yet again sings charmingly! What Saregama holds of the album is an unplugged, slow-paced version of ‘Maine Pyaar Kiya’s Aate Jaate Hanste Gaate, sung very simply by Nikhil D’Souza and Anushka Manchanda, and arranged soothingly by Abhishek Arora (of Abhishek-Akshay) and Samyuktha Narendran. It doesn’t work too much though, in spite of not changing much from the old song. The worst Golmaal album is held up solely by Amaal’s songs (or song).
Total Points Scored by This Album: 2.5 + 2.5 + 3.5 + 4 + 3.5 = 16
Album Percentage: 64%
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: Hum Nahi Sudhrenge > Maine Tujhko Dekha = Aate Jaate Hanste Gaate > Itna Sannata Kyun Hai = Golmaal Again (Title Track)
♦ Nisschal O Nisschal, Aur Compose Karo! : JIA AUR JIA Music Review
♪ Music by: Nisschal Zaveri, Sachin Gupta, Sameer Nichani & Shankar-Jaikishan ♪ Lyrics by: Mudassar Aziz, Raqueeb Alam, Vachaspati Mishra & Hasrat Jaipuri ♪ Music Label: Zee Music Company [“Jia O Jia Reprise” on Saregama] ♪ Music Released On: 17th October 2017 ♪ Movie Releases On: 27th October 2017
The songs by Sachin Gupta start off the album, and though they do not impress you immediately, you do get attuned to them on hearing them for a couple of times. Na Shukre is a wild rock song about carefree girls, and Smita Malhotra makes a rocking debut with her vocals in this, the rock guitars played wonderfully. Shivani Bhayana’s Naach Basanti, on the other hand, is a bit too rowdy to go with its amazing club arrangements, but apparently by the lyrics, it is supposed to be some sort of an ode to “Sholay”. Many of the small additions by Gupta in this song happen to catch your attention, like the techno sounds at the beginning, and the folksy portion at the end.
The newcomer composer, Nisschal Zaveri, steps in for the rest of the songs (with lyrics) and I must say, he does quite an amazing job in his first album itself. His lullaby-ish, classical-based Na Jaa appears in two versions, one in Asees Kaur’s voice, with a stark resemblance to her singing in ‘Kaari Kaari’ (Dobaara), while the other is in Nandini Srikar’s voice. Obviously, Nandini’s version wins my heart because of her seasoned voice and more classically inclined singing. The Tabla in this song has to be mentioned, as do the strings, guitars and mandolin. The arrangements overpower the voice of Asees in her version, another drawback of that version. Nandini’s version has everything that the music buff longs for in a good song.
Zaveri’s other song, released by Saregama, is a reprise of Shankar-Jaikishan-Mohd. Rafi classic Jia O Jia, and is an apt remake of the song, with an upbeat clubbish sound, one of the freshest remakes I’ve heard this year. The song feels like a splash of water on your face — despite being a remake, Zaveri uses his creativity to make it a bit unconventional, without being bogged down by the thought of what’s popular these days. The synth has been used amazingly, and the backing chorus singing “Jia O” after every hook is just sweet! Jyotica sounds amazing in this song, the least she has sounded like Neha Kakkar ever! But Rashid Ali, being heard after a long time, falls flat due to the excessive programming done to his voice. The Latino turn of sound midway into the song takes time to get used to, but is awesome!
The background score composer for the film, Sameer Nichani, gets one of his instrumental pieces added to the album, and it is called Jia Aur Jia Theme, and is heavy on Spanish guitars, played in a very sensuous way. It is extremely short at one and a half minute, but soothes your senses for all its worth. A hidden gem of an album, wherein we find a new composer who must get many, many more songs in Bollywood!! Zaveri scores higher than Gupta here.
Total Points Scored by This Album: 3.5 + 3 + 4 + 5 + 4 + 4 = 23.5
Album Percentage: 78.33%
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: Na Jaa By Nandini > Jia O Jia Reprise = Na Jaa = Jia Aur Jia Theme > Na Shukre > Naach Basanti
I hope that wasn’t too long (though I know it was) but this is what I’m going to have to do until I am a bit more free. I personally liked this method of reviewing and don’t mind continuing it forever too! So maybe, just maybe, you might get the “Secret Superstar” and “Rukh” reviews in this format too, but in separate posts and not clubbed together! Lets see! Till then, enjoy music! 😉
Music Album Details ♪ Music by: Pritam Chakraborty, Diplo (Thomas Wesley Pentz) & Rocky Wellstack ♪ Lyrics by: Irshad Kamil ♪ Music Label: Sony Music ♪ Music Released On: 3rd August 2017, 10:30 pm ♪ Movie Released On: 4th August 2017
Jab Harry Met Sejal Album Cover
To hear the full songs of this album on Saavn CLICK HERE
Jab Harry Met Sejal is a Bollywood rom-com film, starring Anushka Sharma and Shah Rukh Khan, directed by Imtiaz Ali, and produced by Gauri Khan. The film is about two strangers who meet in Europe, and try to find the engagement ring of Sejal (Sharma’s character). Obviously, as is the main theme in an Imtiaz film, they discover themselves through the journey. I think even more exciting than the movie itself, is the music. Imtiaz has said in many interviews that he enjoyed doing the music of this film, and that’s showing in the final outcome. The film is a musical (not full-fledged like ‘Jagga Jasoos’) and has 13 songs, by Pritam, who was Imtiaz’s go-to music composer before Rahman. With this film, they reunite, and after ‘Jab We Met’ and ‘Love Aaj Kal’, two super-hit soundtracks by both of them, this is their third collaboration! Expecting just as much variety in this album, and also expecting the elements of whatever Imtiaz has picked up from Rahman while doing the music of those films (namely ‘Rockstar’, ‘Tamasha’ and ‘Highway’)! So I hope this album will be like a blend of Pritamish Imtiaz and Rahmanish Imtiaz! Plunging into the album very positively, hoping it will astound me!!
P.S. Thanks to my friend Chiranjeev Gorur for acquiring and sharing the full musician credits to the album! 🙂
Singers ~ Sunidhi Chauhan & Shahid Mallya
“Main bani teri Radha, maine sakhiyon se, ankhiyon mein rakhna hai tujhko piya, thoda zyaada zyaada! Main bani teri Radha, tuney sapnon tadapnon mein rakhna hai mujhko piya thoda zyaada zyaada! Main bani teri Radha!”
Pritam starts off the album with an amazingly energetic song that makes you want to dance right along to its tune, right away. Now I know everyone has heard this song many times by now, and it’s a huge hit across the nation. It is essentially a Punjabi folk-plus-EDM fusion track, and the way Pritam employs these genres, is spellbinding. The composition itself follows a very desi compositional format, in that it appeals to us Bollywood music listeners right away with its inherent catchiness and energetic vibe. The hook, especially, leads the song, as it should. But it is the mesmerizing antara that was the best part for me. Pritam gives it this rapid tune that you are only able to sing after repeated listening, and that’s how it grows on you eventually. A very amazing Punjabi flavour has been given to the Punjabi portions sung by the male singer. The high pitch might bother some, but it is way more comfortable than listening to a high pitch song by Arijit Singh like the recent ‘Ik Vaari Aa’ (Raabta). And if the first antara takes you by surprise, the second antara, which just released with the album version of the song, is pure bliss. The harmony between the two singers is blissful! The arrangements follow suit and Pritam fuses folk and EDM, like I mentioned above. The flute and khartal (which is a Rajasthan folk instrument, but apparently being used in a Punjabi song) open the song in a very light-hearted and feel-good way. Throughout the mukhda, it’s the flute and khartals that play. Until Pritam introduces the mandatory dhol (Sukanto Singha & Sunny M.R.) in the hookline, you won’t be able to even tell that the song is a Punjab-based song. (Because even the lyrics aren’t proper Punjabi; they’re kind of like a mix between Punjabi and Hindi). Another awesome folksy instance in the song is the second interlude where the sarangi is played, and muffled by the programming! The EDM programming by Sunny MR, and Rohan Chatham’s vocal cuts during the “Raa-aa-aa-aaa” portion, serves for a wonderful catchy hook, which would definitely make people hit the repeat button! The coexistence of the dhols and EDM sounds so good. The vocals are a class apart. Pritam reverts to a singer that used to sing many songs for him back in the day, Sunidhi. This is her first song for Pritam after ‘Dhoom 3’, and we know how much Pritam’s music has boosted after that! She sings it so mellifluously, you don’t even realise the rapidity of the tune. Especially the antara, for which she should get standing ovations from all of us listeners! Shahid is top-notch too, his heavy Punjabi accent reflecting through his singing and making the folksy portions of the song what they are. Irshad Kamil’s lyrics are cute too, but there’s a certain Panipat line that had me surprised and worried and disappointed at the same time! 😂 It doesn’t even fit with the rest of the song! Anyway, overall he has written a cute little romantic song. Pritam’s experimentations almost never fail, do they? Rating: 5/5
“Hai safar mein zameen, chal raha aasmaan, Dono ki jo kahaani, ho ki na ho bayaan, Begaani jagah mein nadaani, karein na, karein toh kahaan? Jal dheeme, yeh pal dheeme, kyun hai jalte hua?”
The next song on the album falls under a genre that I feel Pritam always aces. A club song. However, this time it is different. The club song isn’t the normal Pritam club you would expect, with heavy EDM and Benny Dayal. Instead, it has a completely retro feel to it, and has been composed as a retro funk song! I can’t remember the last time Pritam composed a retro funk number, because it’s always EDM when he does club songs. So this seems like a very new thing from him. The composition is instantly catchy, and the unconventionality of it all makes it even more appealing! It starts with a very insanely catchy vocal loop repeating the name of the song over and over again, and it is from there that your interest increases. The mukhda (which is the hookline too), is cool, and so is the ‘Shola Shola..’ line! The hook repeats many times throughout the song, but it doesn’t sound repetitive. The crux of the song’s composition lies in the antara, though, where Pritam makes a disco song, melodious! And the cross line which it takes to get back to the refrain, is extra cool!! That’s that about the composition. But it is the arrangements, as always, that really suck you into the song. A groovy guitar (Warren Mendonsa & Ernest Tibbs) riff starts the song off, behind the “beech beech mein” repetitions. The fun arrives, however, only when the drums enter, because they’re so amazing! The drums in this song are really some of the best drums I’ve heard (in non-rock songs) this year! The brass instruments (Trombone by Andrew Lippman, Trumpet & Flugelhorn by Ludo Louis) do their thing by fascinating us in the interludes, and in the antara, they have a really special role to play, when things get a bit melodious. Their harmony is just so enchanting. So now you get why the song can be called retro! 😀 For the vocals, Pritam uses his go-to female singers for club songs, Shalmali and Shefali, both. Of course the male portions are by Arijit. All three sing well; Arijit leads the way while each of the female singers are relegated to the background except for one or two lines. Irshad Kamil’s lyrics are fun. A song that should change the way we think about club songs in Bollywood! Rating: 4.5/5
Singer ~ Arijit Singh
“Iss yaqeen se main yahaan hoon, Ki zamaana ye bhala hai, Aur jo raah mein mila hai, Thodi door jo chala hai, Woh bhi aadmi bhala hai, Pata tha, zara bas khafa tha! Woh bhatka sa rahi, mere gaanv ka hi, Woh rasta puraana jise yaad aana, Zaroori tha lekin, jo roya mere bin, Woh ek mera ghar tha, Puraana sa darr tha, Magar ab main na apne ghar ka raha… Safar ka hi tha main, Safar ka raha!!!”
Imtiaz’s favourite theme, travel, makes itself prominent right from the title of the next song, and all throughout it as well. The song is titled ‘Safar’ (meaning Journey), and it is a journey in itself for music lovers. Pritam’s composition is a slow and lilting composition that grows on you slowly surely. The mukhda is very beautiful and soulful, and sets off the song on a very jazzy and slow rhythm that is magically appealing. The hook is simple but sweet, and effective in the song. The antara is an amazing high-pitched portion where Pritam’s lines flow into each other so seamlessly, you can’t tell where one ends and the other starts! Towards the end, there’s almost a half-minute musical portion, where I feel Pritam could have added a small conclusion stanza, like he usually does in songs. The arrangements are very beautiful and impressive, with a very urban touch — acoustic and electric guitars (Arijit Singh & Aditya Benia), being the main instrumentation! The guitar riffs are wonderful throughout the song. Arijit’s vocals are very raw and rustic, with the gritty texture standing out very prominently; it actually gives the song a wonderful travel-esque feel. The places where his voice cracks, are actually some of the most brilliant parts of the song! Irshad Kamil’s lyrics are high on food for thought, and each and every line makes you think, connect and relate! The whole song is like a story that is being told about the character’s change of lifestyle. An unconventional song, which won’t be loved by one and all, but should be loved by the music lovers! Rating: 5/5
“Mujhmein ishq ya ishq mein hoon main, Hua mujhe ehsaas re, Khel raha hoon saath yaar ke, Main khwaabon ki taash re, Tu hi usko khoj raha hai, ae dil mere, yeh na soch, Woh bhi tujhko dhoondh raha hai jiski tujhe talaash re!!”
This song starts right off with the boisterous Punjabi-ness that an Imtiaz Ali-Pritam combo always consists of. The song is a happy-go-lucky and cute Bhangra tune that really has you dancing to it right away. Pritam’s composition is very earthy and raw, and not superficial and hollow like most other Punjabi songs that release these days. The mukhda especially, starts the song off very beautifully, and you can imagine a village romance getting conjured before your eyes. The hook is the cutest part of the song, but catchy too. In the antara, things go haywire though, and you take time to understand the tune of those lines soon. The tune fluctuates so much, that it is quite difficult to grasp. However, both the parts of the Nooran Sisters, have been composed wonderfully, the one at the beginning, and the one that concludes the song on a very nice note. Both parts are heavy on the earthiness quotient and transport you to the fields of Punjab, with its melodious composition. The arrangements are the run-of-the-mill 2006-2009 era Pritam Punjabi arrangements, with loud dhols (Naseeb Singh), effervescent tumbi (Jelly Manjitpuri), a folksy alghoza (Gurpreet Singh) and of course, a nice technical production. The vocals are energetic, and Dev Negi as the forerunner makes things easier for the audience by not singing too loud, and keeping a gentle yet steady voice constant. Sunidhi disappoints, singing in such a high pitch that I can’t fathom. Nooran Sisters are the stars of the song, starting and ending it with a bang. Irshad Kamil’s lyrics are quite staid for the majority of the song, but again, the Nooran portions have been written very well, with the “Woh Bhi Tujhko Dhoondh RahaHai Jiski Tujhe Talaash Re” line translating the film’s tagline ‘What you seek is seeking you’, very efficiently. A fun and cute Punjabi song, but falls flat in places where it tries to do too much. Rating: 4/5
5. Hawayein / Hawayein (Film Version)
Singer ~ Arijit Singh
“Banaati hai jo tu, woh yaadein jaane sang mere kab tak chale, Inhi mein toh meri, subah bhi dhale, shaamein dhalein, mausam dhale! Khayalon ka safar, tu jaane tere hone se hi aabaad hai, Hawayein haq mein, wohi hai aate jaate jo tera naam le, Deti hai jo sadaayein, hawayein, hawayein, Na jaane kya bataaye, hawayein, hawayein, Le jaaye tujhe kahaan, hawayein, hawayein, Le jaaye mujhe kahaan, hawayein, hawayein, Le jaaye jaane kahaan, na mujhko khabar, na tujhko pata!”
The next song took my breath away, the first time I listened to it. It is just so marvellous and so ideal and so dreamy. It is the ideal romantic song. A trademark Pritam tune, with the trademark Pritam guitars and Sufi template, and the legendary Arijit Singh singing it. What more can you ask for, to obtain a wholesome and pleasant romantic song? Well, I know, I can’t ask for anything more! The composition by Pritam is utterly fascinating, and hooks you right from the first listen. The mukhda starts off quite slowly, but as soon as the hookline plays, you know that the song is one of the best songs of the year! The hookline is something that conforms to every Bollywood music lover’s music sensibilities! There are two antaras; one with a new tune, which is beautiful too, and one with the same tune as the mukhda. The first antara has a wonderful line that goes on and on, and merges with the hookline so seamlessly. The part where the backing vocalists go “Hawayein, Hawayein” has been structured and placed so beautifully. It reminded me of ‘Daayre’ (Dilwale). Overall, Pritam’s composition here is so much close to his usual style of composition, but still so lilting and dreamy! The vocals by Arijit are top-notch, and he repeats the magic of many previous Pritam-Arijit collabs, in one song. The vocals have shades of ‘Gerua’, ‘Channa Mereya’, ‘Daayre’ and ‘Saware’, and it just helps you love the song even more. Irshad Kamil’s lyrics are soothing too, and so poetic! Read out as a poem too, they will be just as impactful. In fact here, Pritam’s strong tune is overbearing. The song appears in two versions — an original, and a film version. Both have splendid arrangements. The first version sticks to Pritam’s trademark arrangement style, with the guitars strongly dominating the arrangements. The Acoustic guitars (Roland Fernandes) are relegated to the background as the electric guitars (also by Fernandes), do that wonderful neverending loop thing that they love to do in Pritam songs! 😄 The ethnic strings (Tapas Roy) provide an amazing first interlude that brings in the earthiness into the beautiful composition. Increasing the Indian-ness of the song, is the nice Sufi template employed in the hook portions, with the Duff and tablas sounding very appealing. The film version has a slightly more haunting arrangement, and sounds straight out of Coke Studio, with a beautiful Hang drum (Sunny MR), and ethnic strings (Tapas Roy) setting up a wonderfully haunting sound that sounds least like it is by Pritam. The Pritamish tune and the haunting Rahmanish arrangements really complement each other, though I never thought they could! A nice and charming wind instrument keeps playing throughout the song, and the guitars (Roland Fernandes) are amazing. All in all, both versions of this song are just as beautiful!! Rating: 5/5 for Original, 5/5 for Film Version
“Ikk pardesi, oh yaar banaya, Main usnu dil de takht bithaya, O seene de naal usnu laaya, O apne dil da haal sunaaya, O maar udaari kithe nikal gaya, Maar udaari kithe nikal gaya, Kade bigad gaya, kade machal gaya, Kade nikal gaya ni hun taan, Dhoondhan nain bichaare, ni aaj parinda maahi!”
Pritam ups the ante with the next song, a pulsating rock song that is really foot tapping. The composition is a nice, folksy, Punjabi-flavoured composition, that immediately grows on you. The hookline in particular is just beautiful, what with the amazing high notes. The mukhda and antara both have the same tune, and I love the fluctuations in the tune. The arrangements are high-octane rock arrangements, and it is probably the first time in a long time that I’ve enjoyed rock so much, in the first go! The drums by Alan Hertz are very, very exciting, and of course the guitars (Electric and Acoustic by Josh Smith & Nyzel D’Lima; Bass Guitars by Ernest Tibbs) complement the drums very well, as they always do! The lyrics by Kamil are completely in Punjabi, but very interesting, and I loved them. The two versions of the song only differ much in their vocals. Pardeep Sran in the first version oozes the Punjabi energy that should accompany such a high-energy song, and does an electrifying job! Tochi Raina, however, in the second version, brings a more toned-down version of the same, but still, it isn’t low in energy at all! Nikhil D’Souza has an English portion in this version, which sounds AMAZING! It also has an extra stanza at the end, which has a very energetic composition. Both these singers have worked with Pritam many times in the past, but this song marks them working with him after a long, long time, so I’m very happy!! The backing chorus in both versions is spot-on! Kamil’s lyrics actually contradict the upbeat nature of the song, and give a hint of emotion — the song is actually much more meaningful than it seems! A rock song that shows how fusion between Punjabi folk and Rock should be done! Rating: 4.5/5 for the Original, 5/5 for the Second Version
Singers ~ Nikhita Gandhi & Mohit Chauhan
“Khaali hai jo tere bina, main woh ghar hoon tera, Ghoome phire, tu chaahe sab shehar, tu hai mera!”
The next song is what Pritam is all about. This is why people love his music so much. These kind of songs is why he has become so popular. It is a very soothing and calm, semi-classical kind of song, that depends solely on acoustics to propel it. The composition kind of resembles that of Pritam’s own ‘Tu Jaane Na’ (Ajab Prem Ki Ghazab Kahani) and ‘Daayre’ (Dilwale) and even the recent ‘Main Agar’ (Tubelight). The hook is what makes you get sucked into the song right away; it sounds so pleasing, that you just get lost in it. The first antara is the peak of the song, and the second one by Mohit is no less. The arrangements are very soothing too, with a lounge-ish treatment, complete with amazing electric and acoustic guitars (Warren Mendonsa) which give off the trademark Pritam touch, and a wonderful tabla (Jeetu Shankar) to complement that. The vocals are just too impressive. I think this is Nikhita’s career best, and after two hit songs from Pritam albums, she finally gets a huge portion in a mind blowing song! The way she introduces variations in the same line each time, shows her versatility, and hints at her classical training, if she has had any! Mohit, again, with Pritam after a long time (maybe because of the Imtiaz connection), does spectacularly in his high-pitched portions. Irshad’s lyrics are amazing, romantic lyrics with a thought-provoking concept. A soothing lounge-ish song that manages to touch your soul! The best of the album till now! Rating: 5/5
8. Yaadon Mein
Singers ~ Jonita Gandhi, Mohammed Irfan & Cuca Roseta, Portuguese Lyrics by ~ Mario Pacheco
“Yaadon mein, jalte rehna, hai tera mera, Yaadon mein, jalte rehne ko, miley hain kya? Yaadon mein jeena toh sabse badi sazaa lagey, Yaadon se, jaana ki faasley hain kya!”
A strong Latino vibe hits you right from the beginning of this next song, which happens to be a kind of Portuguese folk song kind of musical genre called “Fado”, and you get sucked in right away. The composition starts with a melancholic portion that sounds very similar to many Spanish/Portuguese folk songs we have come across in pop culture and other sources. And what a wonderful feeling it gives, to actually see a song like this being made for a Bollywood movie. Usually, whenever European or Portuguese styled music is used in Bollywood, it is for those dance numbers a la ‘Senorita’ (Zindagi Na Milegi Dobara), ‘Hawaa Hawaa’ (Rockstar), ‘Udi’ (Guzaarish), and though these were beautiful, too, the unexplored and soothing side of that compositional style really comes across beautifully here, and it sounds oh-so-operatic and chilling! The composition is beautiful, though it is mostly the hook repeating most of the time, but those variations in the hook just kill you then and there. The antaras are nice, especially the female one, and the Portuguese portion by Roseta is wonderful as well. That’s that for the composition. The arrangements by Pritam go beyond what Bollywood has tried in Portuguese music thus far, and goes to a more spine-chilling mixture of the traditional Portuguese guitars (by local guitarist Mario Pacheco) and Pritam’s wonderful strings. The beats get very Pritam-ish in Mohd. Irfan’s antara, but it is a refreshing turn of events. The Portuguese guitar obviously keeps us entertained throughout the songs, and instances of harmonicas are heard as well. The vocals are spot-on. Jonita starts off with a booming introduction, which I would never have believed was sung by her, if it weren’t for the credits! She has changed her voice so beautifully, to make it actually sound like a Portuguese singer. Sure enough, the actual Portuguese singer, Cuca Roseta, sounds very similar to Jonita, but gets a way smaller portion than her. Irfan does well in his parts, in what is also his first song for Pritam too! However, somehow, I felt a lack of connect during his part. The ladies bring that connect back. Irshad Kamil’s lyrics are heart-wrenching. Mario Pacheco, the guitarist, has written the Portuguese lyrics. All in all, a wonderful song that mixes up the pathos of a typical Bollywood song, and the richness of Portuguese folk. Rating: 4.5/5
Singers ~ Diljit Dosanjh & Neeti Mohan
“Aankhon ne khwaabon pe aise hai aitbaar kiya, Jaise do anjaanon ne khulke ho pyaar kiya, Hota tha pehle jo door kabhi, Abb woh mujhe paas lage, Jaane kyun achha sa lagey, Dil ne jo iss baar kiya!”
A very trademark Pritam feel-good vibe sets in as the next song rolls in, after that poignant melody. This is another song to go with Shah Rukh’s Punjabi character in the movie — a fun and upbeat Punjabi wedding song. The composition is one of the cutest I’ve heard this year, and instantly has you hooked. The hookline itself is so cute, that everything starts sounding beautiful due to it. The first antara, is something straight out of a 90s Bollywood album, with a noticeable Jatin-Lalit vibe. The bridge from the first antara to the hook is kind of bumpy, but things are great from there. Neeti has the second antara all to herself, and it is pure bliss. Pritam composed that one in trademark 90s Rahman style, and I can’t believe it is by Pritam; the variations in tune sound like the Rahman of the 90s has composed it! It was a pleasant surprise to see Pritam in that form. The vocalists have fun themselves and transmit the energy and boisterous nature of the song to us through the earphones. Diljit is clearly having the time of his life, and his additions like “chak de phatte naap de killi“, are so fun to listen to. Neeti sounds amazing, especially in her solo portion. The arrangements are fun as well, and in a traditional Imtiaz Ali pattern, they are high on dhols, and very interestingly, also have beautiful brass instruments interjecting, with a trademark Laxmikant-Pyarelal vibe. Flamenco Guitars (Josete Ordoñez) are audible in the second interlude. The dhadd and Plucked instruments (Tapas Roy) in Neeti’s solo portion, are so cute! The repetition of the hookline’s tune on those plucked instruments is too cute as well! Irshad Kamil’s lyrics are again, high on the fun quotient, and quirky as well, Especially with those “sangya” (noun), “visheshan” (adjective) and “sarvanaam” (pronoun) additions in Neeti’s parts. One of the most catchy Punjabi songs I’ve heard after ‘Nachde Ne Saare’ (Baar Baar Dekho). Rating: 4.5/5
10. Jee Ve Sohaneya
Singers ~ Jyoti Nooran & Sultana Nooran, Music and A Portion of the Lyrics Traditional
“Kabhi kabhaar sandesa de de, Kya hai tera haal, Rut pardesi rakhti hogi, shaayad tera khayaal, Yahaan tere bin patjhad sa hai, har ek mausam hi.. Jee ve sohneya jee, chaahe kisi ka hokar ji! Maana ke tu ab nahi mera, kabhi tha mera bhi!!”
The singers who enhanced ‘Butterfly’ manifold, Nooran Sisters, get a song all to themselves now, and coincidentally, the song is a built-up on their portion in that song. They sang “Jee Ve Sohneya Jee..”, in that song; here, the rest of the lines follow to make an entire song. The composition is traditional, but Pritam enhances it with his trademark Electric guitars (Roland Fernandes) and digital beats. That’s pretty much all for the arrangements. The stars of the song are actually its lyrics. Irshad Kamil takes the traditional lyrics as a basis to weave a poetic song that is about the relatives of a person who has gone and settled in a foreign land, pleading for him to come back. The lyrics just tug at your heartstrings and remind you of the iconic ‘Ghar Aaja Pardesi’ (Dilwale Dulhania Le Jayenge), which was also sung in an earthy manner. This song has increased the earthiness and rustic nature a lot, by having Nooran Sisters sing it. Their amazing voices really bring out the song’s essence even better! A song whose lyrics and vocals are what will help it to make its way into the hearts of everyone who listens to it! Rating: 5/5
11. Phurrr (Film Version)
Singers ~ Mohit Chauhan & Tushar Joshi, All Hindi Melodic Compositions by ~ Pritam, Music Programming by ~ Diplo & Rocky Wellstack
NOTE: There was another version of this song which Sony Music released a day before the album. That one was a mix by Diplo, which was terrible compared to the ‘Film Version’. You can listen to it HERE. The one included in the album is actually Pritam’s mix, with Diplo’s drop used from the remix of ‘Agony’ by Pinchers.
“Teri hasrat ho, ya ibaadat ho, Tujhko paana hai, jo bhi soorat ho, Har taraf sach mein, sach ki chaahat ho, Lafz na ho pyaar, balki aadat ho!”
The album finally sheds itself of all the folksiness it had built up for itself (almost every song had some Indian-ness to it) and goes outright Western for this finale. The only thing in this song that is remotely and typically ‘Indian’ is how they say “Phurrrrrrr” to signify a bird’s flying. The song is actually very cool and it is an effort that should be appreciated! The composition is by Pritam, and half of the production by Pritam’s team, and the rest by Diplo. The composition itself is very paltry, but still sounds amazing with the whole Western treatment. It is trippy, no doubt. I mean, if people can withstand trash like “Swalla”, they can go through this without flinching! The drop by Diplo suits here very well, and sounds like it was always meant to be for this song. The entire digital treatment is something Pritam rarely does; he usually takes the help of guitars and live instruments, but it actually turned out pretty good. I loved those electronic tablas sounds. And the programming between 2:02 to 2:24 in the song, is just rad! I would like to appreciate the idea of a collaboration too, however good or bad it has turned out. You like the drop of some song, you contact that person and get him on board — that’s the professional way of doing things! A round of applause for Pritam and Imtiaz here! The vocals are good too. Mohit Chauhan is back for the second time in one album, and he renders the fun song with a swag that is unmatched. Tushar Joshi, Pritam’s new blue-eyed boy, does well too! Irshad Kamil’s lyrics are very conveniently sidelined in the song, thanks to all that’s going on. If one were to still make a conscious effort to listen to them though, he wouldn’t find any hidden gem. A song that isn’t really enough to start a new collaboration wave in Bollywood, but will be remembered for its braveness. Rating: 4/5
Jab Harry Met Sejal, no matter how late the album released, no matter how badly the film tanked, no matter how much Imtiaz disappointed everyone with the film, no matter how many people actually liked it, and no matter how late this review is going up, is really an album that should be applauded first of all, solely for the makers’ interest in creating an album that’ll cater to music lovers and music listeners. The amazing mix of world music and Punjabi music in this album, is spellbinding. It is such an excitement to listen to the album again and again, because every time, something new that we didn’t get before, pops up. The album also marks Pritam and Imtiaz’s reunion after eight years, and evidently, both Imtiaz and Pritam have evolved over the years. The knowledge Imtiaz got from Rahman’s style of work, has reflected in the album, and the sound that Pritam has developed for himself over the 2013-2017 phase of his career, also shows in the album. It is probably only “Butterfly” that smells of old Pritam and old Imtiaz. But in conclusion, I’m happy that Imtiaz met Pritam (Again)!!
Befikre is an upcoming Bollywood rom-com film starring Vaani Kapoor and Ranveer Singh. The film is written, directed and produced by Aditya Chopra, who returns to the director’s chair after 8 years, after his last film, ‘Rab Ne Bana Di Jodi’. This new film of his celebrates being carefree in love, and looks like a light-hearted and fun romantic comedy. The film is scheduled to release on 9th December 2016, and prior to a film’s release, as always, it is solely the music and the occasional dialogue promos that provide it that extra boost in the pre-release week, that will take the public to the theatres. The duo behind the music is none other than Vishal-Shekhar, who have had a fantastic year, what with the single from ‘Fan’, the ‘Sultan’ album, the ‘Akira’ album and the ‘Banjo’ album. Though the last album was a bit disappointing as compared to the others, this one is bound to have great music, with the film having been set in Europe, and more particularly, in Paris, and we know how good the duo are with Western-styled music. The film’s music has had a long promotional period, starting on September 9th 2016, and spanning to December 1st, when the whole album released. Till then, the makers released five singles and just when I started to think that they will follow the strategy that Sony Music followed for ‘Ae Dil Hai Mushkil’, the full album released, but just a week before the film does. That’s better than two days before the film though! During the long span of time for which the makers have been promoting the songs, many songs have already struck a chord with the public. So without further ado, lest the movie should release before I finish writing (as you know by now how I tend to overflow with words), let’s jump into this album!
By the way, I’m starting something new from this album onwards.. I noticed that lyrics haven’t been getting their due in my reviews unless they’re very bad (😂) so before the review of every song begins, I will add some of my favourite lines from the song as a kind of showcase! 😀 They might be lines I love, or lines I want to ridicule or lines that are simply humorous! Or they can be lines that sum up the whole song for me! So look out for those! Hope you like them! 😀
“Oh, udti patang jaise, mast Malang jaise, Masti si Chadh gayi humko turant aise, Lagti current jaise nikla warrant jaise, Abhi abhi utra ho net se torrent jaise!”
The first song of the album is the one that has been making the most buzz lately, and it certainly deserves to be on the tip of everyone’s tongues! The song is a nice mélange of Punjabi and European musical elements, and the result is fascinating and quite intoxicating. The composition by Vishal-Shekhar is just the most basic thing you can hear these days, yet it surprises me how beautiful it ends up sounding for some reason! At first listen, it sounds like a very typical, run-of-the-mill Punjabi tune, but later grows on you so much, that the name of the song just suits the song! Vishal-Shekhar have overdone themselves, and also made an awesome and trippy song by using just three choruses that keep on repeating throughout the song, with a conclusion that concludes it on a very good note. Before this, I’ve never seen any other composer (of course, other than Himesh Reshammiya) do the whole repeating-the-tune-all-throughout-the-song thing so well! Vishal-Shekhar take three main tunes, the first being the hookline, “Nashe Si Chadh Gayi oyeee..” the second being the French counterpart of the hookline with those cute and funny “Kaale-oh, Kaale-oh” chipmunk voices, and the last being the wonderful fast-paced portions. The concluding stanza is just an awesome revamp of what traditional Punjabi songs usually comprise. It takes the song from the trippy and upbeat portions to a lilting, but still trippy, romanticised portion, which yet again makes way for the upbeat part before the song ends. Of course, we must compliment the arrangements too, for making a tune that might otherwise be seen as repetitive, into something so intoxicating. The Spanish/Arabic trap music, complete with that Arabic percussion, is just too irresistible. Also, the way the song starts off, with a drop of whatever-you-want-to-assume, is suchhhhhh an apt beginning to the song, which is clearly about intoxication. :p The techno sounds that the duo has added in between the lines of the hookline, are amazing, especially the “Kaale-oh” which I mentioned earlier. The club beats that might be a commonplace thing in the West, do sound quite innovative as per Bollywood’s standards, and yet bring some kind of old-world charm to the song due to the very earthy Punjabi composition. Also, it is interesting how the duo has kept the song sounding quote pleasant to the ears and not too loud, in spite of the beats! Now, on to the vocals! First of all, Arijit sheds his goody-two-shoes image, and renders this with all the spunk and gusto he can muster, which, not surprisingly, is a lot!! Whatever he has done seems to have worked so well, that people I know have actually asked me whether the singer of the song is Adnan Sami or Benny Dayal! Also, the way Arijit says “oyeee”! Too good! Caralisa on the other hand, gets the best portions of the song, and though they are in French, I find myself singing the hookline in French rather than the one in Hindi! Jaideep Sahni’s Lyrics are fun and very intelligently pleasant. Take this for example: “Khulti basant jaise, Dhulta kalank jaise, Dil ki daraar mein ho Pyaar ka cement jaise, Akhiyon hi akhiyon mein Jung ki front jaise, Mil jaye sadiyon se atka refund jaise”! Jaideep’s lyrics acually reminded me of ‘Ek Ladki Ko Dekha Toh Aisa Laga’ (1942- A Love Story) because of the descriptions of the girl followed by the word “jaise”!A song that will actually get you grooving on it for many days to come! Nashe sa chadh gaya oyeee.. gaana nashe sa chadh gaya!#5StarHotelSong!!
2. Ude Dil Befikre Singers ~ Benny Dayal & Sophie Choudry
“Dard mein yeh nikhre, haath mein jo pakde, Banke rooi bikhre, armaan hain roohon ke nakhre!”
The next song is the much-awaited title song of the film, which we all heard in the trailer, and which increased everybody’s expectations from the album! So, the composition could otherwise be a very common Bollywood tune, but since the setting of the movie is Paris, the tune sounds all the more European, and we actually start to think of it as a folksy European tune! Anyway, those earlier Bollywood songs of Raj Kapoor’s era were inspired by European music! Back to the song, it takes on a much louder feel than the first song. The composition, as I said, is a nice and folksy European one if you look at it that way. The mukhda is basically the hook of the song, and it is marvellous! The youthful feel to it makes it gain this youth appeal that will really work in its favour. The antara is even better, with its European folksy nuances added perfectly by the duo to a very old-fashioned-sounding composition and delivered impeccably by Benny Dayal. The part where they count in French and end on a blasting Un! (meaning ‘one’) is so good! The opening tune, too, is good — the one played on those folk instruments. Speaking of instruments, let’s go on to the arrangements! The song starts off with awesome Balkan sounds, one sounding a lot like a bazooka. Also, a wonderful oud/rabaab can occasionally be heard there, while the rest is probably synth sounds. However, that amaziiiiinnng percussion just takes away your breath! Not that I doubt Vishal-Shekhar have the ability to do it, but Mikey McCleary is the music producer for the album, and maybe that’s where that distinct European feel has come into all the Bollywoodish tunes! Later in the song we can hear nice claps that go along with the beats, and that bazooka tune keeps repeating, only to please the listeners! 😀 The second interlude has a wonderful rabaab solo which is definitely not to be missed! What’s more, the second antara that follows is completely arranged on that rabaab! Towards the end, Benny evokes a very nomadic folksy voice that tops the whole European setting! Benny is absolutely marvellous throughout the song. His husky voice proves just right for the nuances in Balkan folk music (which of course, does meet the Turkish/Arabic music in some way — Europe and Asia being close as they are). Sophie Choudry is supposed to have sung the French vocals, but the only French vocals I hear are a whisper at the beginning of the song, before the mukhda begins, and that’s kind of minimal. But I guess she also joins Benny in the French counting. Jaideep’s lyrics here aren’t something extraordinary, but good for a situational title track. It definitely does describe the carefree nature of the main characters! A spunky title track, with an old-world tune but livening arrangements and vocals, which make this one a winner!#5StarHotelSong!!
3. Je T’aime Singers ~ Vishal Dadlani & Sunidhi Chauhan
“Na dis jamais je T’aime, je T’aime, Na dis jamais je T’aime, Kehna na yaar pyaar hai, na dis jamais je T’aime! Phir dil niklega haathon se, Kar le khud pe reham, Neendein phislengi raaton se, Kar le khud pe reham!”
The next song takes the form of a dreamy, lilting melody that befits the city of Paris in all ways! The song starts with a dialogue from the movie, and I hate when movie dialogues are incorporated into the audio tracks even in today’s world of editing and autotune. So I will have to ignore those dialogues, which are thankfully backed by a nice guitar, and get on to the actual song. A nice and soothing whistle starts off the song, and it abruptly stops to make way for the hook line of the song, which is started off very nicely by Vishal Dadlani. The duo’s composition is the first and foremost reason for the song instantly appealing to your ears. It is impossible to not love this song! 😀 The lilting melody that the duo has crafted in a very European style, sounds both catchy and sensual at the same time. The part after the mukhda which goes “Dard mein royega tu, yaar bhi khoyega tu..” sounds as dreamy as dreamy can get! Also, the line before the hookline is beautifulllll! Towards the end, a wonderful concluding stanza shows how the duo can keep up a certain kind of romance in the air throughout the song. The hookline itself overflows with romance and passion. The arrangements help just as much in making the song worth hearing again and again. A wonderful burst of classical French-styled music, complete with the orchestra, finger snaps, acoustic guitars and whatnot, brings a smile to your face. The saxophone wonderfully bridges stanzas to each other, while the violins excel in the interlude. Again, the duo (and McCleary) do a wonderful job at the instrumentation. The xylophone-thing in the antara, is just tooooooo adorable! The vocals are amazing and couldn’t have been any better! Vishal sounds very sensual, while Sunidhi sounds unusually young, to a great effect. The romance between the two characters can be feel even though the song, and that’s kind of rare in a song! Jaideep’s lyrics are wonderful here too, and the “Never say I love you” theme is very beautifully conveyed. A wonderful piece of art, possibly Vishal-Shekhar’s best romantic song of this year! And Sunidhi is just 😍😍😍😍!#5StarHotelSong!!
4. You And Me Singers ~ Nikhil D’Souza & Rachel Varghese
“Raste, tedhe medhe raste, jab bhi ho jaaye kabhi yahaan, dal-dal lage jahaan, Hass le, baahon ko phaila ke, thodi pi jaaye khuli Hawa, free mein mili hawa!”
As soon as this next song starts with its funky beats, you can’t help but get up and groove! A wonderful Mikey McCleary-ish guitar piece warmly welcomes you into the song, and then the crazy elements start appearing one by one. First of all, a weird-sounding bazooka-like sound, which gives way to an awesome and zany vocal rhythm that goes “wave it up up pom wayyy owww” and really gets you into the feel of the song. The composition turns out to be quite a simple one, in that it has not much going on, but it is really fun to hear. The mukhda is really nice, and though it has the same tune repeating eight times, it doesn’t seem monotonous at all. The antara might lose some of your attention, but as soon as it gets to the part where it is about to join the hookline, it gets its act together, and gets saved by a narrow margin! Also, since its short, it doesn’t really matter! The duo’s arrangements are really fun and enjoyable. That foot-tapping beat is just something you can’t forget easily, and see Ranveer and Vaani dancing to it in the video and the step won’t leave your head either. 😛 The drums have been put a really good use, while that aforementioned bazooka-thing (maybe a mouth organ) really excels throughout the song. Even in the interlude, it takes centre stage. The ukulele is awesome throughout the song. Vocals are topnotch yet again. Nikhil D’Souza gets a song he deserves after a long time, and seizes the opportunity, shining throughout. Rachel Varghese, a singer who has been singing for Mikey McCleary quite often, gets her big break after songs in small albums, that went unnoticed, though good. She sings her lines with the required amount of spunk. Jaideep writes fun lyrics that scream “friendship”. It is fun to listen to those situational lyrics. A teddy-bear song i.e, one that you can cuddle with as if it’s a teddy bear, because it’s so cute!#5StarHotelSong!!
5. Labon Ka Karobaar Singer ~ Papon
“Dhoop mein ishq chaaon, dard mein aaraam, Makhmali har raat, sharbati har shaam Ishq ka leke naam, dil se nikle salaam Na chhupa na dabaa, hoja tu belagaam”
After the zany and funky beats, yet another dreamy song comes our way, and just as the former romantic song on the album, this one too, is high on European music conventions! However, no complaints, because in this one, everything falls into place right away. The composers start the song right away, and as Papon takes over right from the first second of the second, you cant help but remember his wonderful rendition of ‘Bulleya’ from Vishal-Shekhar’s other album with YRF this year, ‘Sultan’. Anyway, back to this song. The tune is entrancing. From the first note to the last, the duo makes sure the listener’s attention is on nothing but the song, and they go to great lengths to do so. The song starts off with a nice and cute piece that verges on opera. The same tune repeats in a more quick tempo, and it sounds just as beautiful there too. And at the end of the verse, we get the title of the song. 😀 The “Rooh gaaye, jhoom jaaye…” line is just pure blisssssss! NOTHING could have taken its place on the song, and I’m so glad the duo has asse!bled the song the way they did. And then we go on to the antara, which just leaves no doubt that the song has turned out as fascinating as could ever be! The lines of the antara are just so captivating and sensual, that you just can’t not like them! Not to mention that they’ve been penned down wonderfully by Jaideep as well! The arrangements are something else that stun you from the first second of the song. The mandolin and harmonica just don’t know their limits! They keep on playing, yet make you crave for more. The violins are just opulent. The güiro, which is what’s making that croaking sound at 1:14 and 1:19, and at many, many other places in the song, is just an unsung hero! The violins in the antara actually make it sound silky! The way the antara has been abruptly glued to the hookline, in all its abruptness, seems such a seamless transition and I can’t praise Vishal-Shekhar enough for that! Towards the end, the various degrees of “Jebon mein bikhre hain taare” are a delight to hear! Papon’s voice is heaven! This man sings hardly three to four songs every year, but makes sure all of them are spectacular gems. Sadly, they’re some of the least promoted songs in their respective movies. 😦 In this song, he has taken on a wonderfully pleasant, sultry voice that suits the theme oh-so-well! Jaideep Sahni’s lyrics are something that can’t be spoken enough about! The way each line glides into the other, thanks to the duo Vishal-Shekhar’s expertise, makes them even more pleasant to listen to. The way he has described “kissing” as “Labon ka Karobaar” (the affairs of the lips) is innovative as well as super-genius. A gem!! Nothing less, nothing more! Please YRF, use this in the movie so that everyone can hear it!!#5StarHotelSong!!
“Ik jindadi na Kar haanji-hunji, Maar de chhalanga with a bungee, bungee”
Everything about this album was European till now. There were some glimpses of Punjabi in ‘Nashe Si Chadh Gayi’, but that too was overshowed by internationally-appealing club beats. But now, we get a full-too, completely Punjabi song. The song does appear as an incongruity in the otherwise European-themed album, but if I were to judge it as a fun song, it stands proudly in its place. The composers try their best to give it a tune that will attract listeners even after the Western-ness of the previous tracks. And, Indians since we are, the song surely does appeal! The Punjabi-flavoured composition really gives the song a very fun theme and something that can be easily danced on. The song has this sinister sound, unlike the light sound of most Punjabi dance songs. The line “Ishq Di bungee baandh le yaaaaar…” is just so catchy, that you will find yourself singing it all day if you hear the song enough. The hookline too, is fun and enjoyable. The antara is nice and relieving from the loudness of the mukhda. The backing vocalists singing the “Ik jindadi na Kar haanji-hunji” line really surprised me and I found that part really funny, in a good way! The overall tune of the song smelled strongly of Vishal-Shekhar’s own ‘Dil Dance Maare’ (Tashan), but I didn’t find this as irritating as that one. 😛 The arrangements are just as required — loud and quirky. The brass band really squeezes its own life out by overworking itself. The tumbi tune at the beginning is so catchy, as are the horns. The dhols really sound great on earphones. The arrangements might seem like a mishmash at first listen, but in earphones they sound very clear, so do try that experience. Vocals are where the song falters a bit, with Gippy singing in a painfully high-pitched voice. However, you get accustomed to that too, thanks to the other wonderful elements of the song. Also, Harshdeep Kaur is there as the female vocalist, so what can go wrong! She sings her parts very efficiently, and for some reason, reminded me of Shreya Ghoshal’s voice! I don’t know why! 😛 Vishal Dadlani, Kunal Ganjawala and Ankur Tewari in the backing vocalists do an awesome job and provide nice entertainment just when the song seems to be dipping downwards. Jaideep’s lyrics here are quite situational, but that use of the ‘Bungee’ as a metaphor for love is hilarious!!! 😀 Enjoyable! Seems like a black sheep, but is actually a fun respite from the heavy romance in the previous song! I enjoyed it!#5StarHotelSong!!
7. Love Is A Dare
(Instrumental), Vocals ~ Rachel Varghese & Sophie Choudry
The album ends on a pact note, with an instrumental track, which is essentially a mélange of all the upbeat tracks we heard in the album. The track starts on a hard-hitting note, with rock guitars starting it off and the “kaale-oh” chipmunk sound from ‘Nashe Si Chadh Gayi’ accompanying it. Later on, it turns into a very thrilling instrumental rock version of the song, which sounds just as infectious as the original song itself. The techno sounds having been used quite generously, the instrumental version really does sound great. After that, not so seamlessly, the song switches to the title song, and this time, Sophie’s French vocals are audible clearly. Against the backdrop of wonderful Spanish guitars, Sophie’s French part from the title track makes for a good variation from the hard rock sound of the initial song. A nice tap-dance music follows, with the tune of the title track played on Spanish guitars, violins gracefully accompanying. And then we switch to the next track, with Rachel Varghese reprising the “wave it up up pom” from ‘You and Me’ for a very short time period, before the song switches yet again to ‘Je T’aime’, the only lilting and lulling piece in the whole instrumental track. Wonderful violins play the main melody of the song, while trumpets wonderfully complement it. Before you know it, the instrumental, which was almost as long as a complete song in itself, is over! Though the medley as such wasn’t very fluid, it was a pleasure to hear all the great songs from the album again. A good finale to the album!#5StarHotelSong!!
Befikre is easily Vishal-Shekhar’s best album this year. Seven tracks full of variety make for a nice repeat-listen album. The last time we had such a good, wholesome commercial album was not too long ago, in ‘Ae Dil Hai Mushkil’. With two dreamy romantic ballads, four fun and enjoyable songs and one instrumental, the album has a lot to offer, and succeeds in its intention. The carefree attitude of the main characters is reflected well in the album, and it is nice to see an album that both sticks to the film’s requirements as well as caters to the audiences. Vishal-Shekhar close their account for 2016 with a winner — a carefree mix of experimental tracks that offers songs according to Bollywood’s music sensibilities, but with an European twist!
Final Rating for this Album: सा < रे < ग < म < प < ध < नी < सां
Note: The letter which is underlines is the final rating.
Recommended Listening Order: Labon Ka Karobaar > Je T’aime > Whatever order suits you! 😀
Which is your favourite song from Befikre? Please vote for it below! Thanks! 🙂
Saansein is an upcoming Bollywood horror film, starring Rajneesh Duggal, Sonarika Bhadoria and Hiten Tejwani. The film has been directed by Rajiv S. Ruia, and produced by Goutam Jain and Vivek Agarwal. The story is about a club singer, who, every night after her performance, disappears without talking to anyone or meeting anyone. She’s probably possessed.. Come on, Bollywood, we know you better than you do yourself! Anyway, the movie is a horror/romance film, and in such movies, I expect wither a chilling and spine-tingling score, or a sappy, romantic, typical Bhattish score. The music of the film has been entirely composed by Vivek Kar, which makes this his first solo album ever. He is fresh from the success of his song ‘Cycle Se Chalaang’ (Saat Uchakkey), and now he is here with a complete album of a horror film. Going by the songs he composed in his previous albums (‘Zindagi 50-50’, ‘Meeruthiya Gangsters’, ‘Direct Ishq’, ‘One Night Stand’ etc) I think he’s going to give the second category of music I expect for such films (the typical romantic songs), but I do expect a lot more as it is his first solo album. So, without further ado, let’s go through the music of ‘Saansein’, and see how horrific it is!
1. Mera Ishq Singers ~ Ash King, Arijit Singh & Swati Sharma, Backing Vocals ~ Dev Negi & Joi Barua
Vivek Karta presents, as the first song on the album, a fresh and pleasant romantic number, that does impress, but fails to bring that climax point throughout its whole length. I’ll explain. So, the song starts off, with a soothing English verse, that has the backing vocalists Dev Negi and Joi Barua pronouncing words in a quite hilarious way. However, as soon as the main melody kicks in, you starts finding the song to be not as bad as you thought it would be. The mukhda starts with Swati singing some lines in a very soothing but heard-before-ish tune, which sounds a lot better than the songs she sang after her launchpad ‘Banno’ (Tanu Weds Manu Returns). Then Arijit enters with a nice, goosebumps-giving tune, that I think would have sounded quite ordinary had he not sung it. And then, the whole song is passed over to Ash King. It is like Arijit & Swati are backing vocalists like Dev and Joi. Anyway, the hookline sounds brilliant, until you remember the antara of that old song, ‘Yunhi Kat Jaayega Safar’ (Hum Hain Raahi Pyaar Ke), after which the hook sounds like a direct lift-off from the old song. The antaras of this song are soothing, and probably the best part of the song, but what I don’t understand is, why Arijit keeps singing only the same line. He sings it so beautifully that I don’t know why Ash has been given the other parts, which seem tailor-made for Arijit! We saw Ash overshadow Arijit earlier this month in ‘Alizeh’ (Ae Dil Hai Mushkil), but here, Arijit overshadows Ash with just his one line against Ash’s almost-entire song. The English verses just sound bad and quite laid-back. Arrangements are soothing too, until you delve deeper and understand how normal they are. The rhythm is nice, with the digital sounds sounding great occasionally, but the programming is horrendous. The sound isn’t clear, resulting in the instruments seeming to be mixed into each other. The flute though, is beautiful! 🙂 Kumaar’s lyrics are more ordinary stuff in an already ordinary song. Seems harmless at first, but the faults start popping up as you delve deeper. A good way to spoil a nice composition.
2. Tum Jo Mile / Tum Jo Mile (Unplugged)Singers ~ Armaan Malik / Amit Gupta & Pratap Dodla
The next song on the album fares a lot better than the first one, in that it gets the composition just as right as the first song, but that composition is also carried forward well, and embellished with good recording. The composition, though it might sound very heard-before, just like the previous song, does interest the listener, if not fascinate. The mukhda starts the song off well on a mellow note, while the hookline works well. Though it is one of those self-proclaiming hooklines, I really can’t imagine how else the hookline could’ve been incorporated into the song. The initial notes of the hookline somehow reminded me of the line “Abb toh humein…” from ‘Kandhon Se Milte Hain Kandhe’ (Lakshya) but then rather quickly dissipates and changes course. The hookline also consists of a small line with the mandatory word, “Rabba” in it. That part is quite good too. The antara is pleasant too, and again, heard-before, but functional. There is a nice little conclusion stanza at the end, which I quite liked. The main reason the song seems to work, is the vocals, which have been done amazingly by Armaan Malik, who infuses his charm into everything he sings. His voice perfectly suits the composition, and I’m glad Vivek chose him as the singer. The unplugged version on the other hand (which, by the way, is not even unplugged — it has the same arrangements as the original version for the most part of it, just starts off a bit unplugged) doesn’t fare as well, because the lead singer Amit Gupta seems misplaced there. He doesn’t sing the very formulaic song with as much charm as Armaan, thereby exposing the genericness of it. Pratap Dodla joins Amit in this version for backing vocals, I suppose, as I can’t really make out who’s voice is which. The arrangements in the first version are quite typical digital beats, with a nice piano intro to it, while strings shine throughout. However, in the ‘unplugged’ version, the violin gracefully forms the prelude, and interludes, and how I wish that this arrangement had been given to Armaan’s version of the song! Lyrics by Kumaar are quite formulaic as well, with him making note to include ‘humsafar’, ‘Dil’, ‘pal do pal’, ‘Dil’, ‘rabba’, ‘Dil’, and maybe more ‘Dil’, a good many times. After all, they’re the mandatory, quintessential words! Generic-sounding, but the first version is nevertheless a #5StarHotelSong!!
3. Tum Ho Mere Singer ~ Najam Bajwa
The next song doesn’t start off too promisingly, with many melancholic ‘Woahh’s making up your grand welcome into it. And after that, the song barely fails to interested you even a bit more. The whole composition is lazy, and terribly slow-paced, with nothing interesting ever happening. The hookline is painfully complicated, with the singer just repeating the line “Tum Ho mere yaa ho nahi?” a gazillion times. By that time, the girl must already have even given her answer! The arrangements don’t help at all, to make the listener like the song. The beats are outdated, and there is no instrument that stands out amidst the dusty and laidback feel of the song. I could hear the piano and strings, but it is too plain and also buried too deep inside the arrangements. The guitars are audible mostly, but they are played so slowly, that you question whether they are guitars or sloths. The vocals are another reason to not listen to the song. Debutant Najam Bajwa doesn’t seem like he was fit for a solo song, but he nevertheless drawls his way through this. Kumaar’s lyrics have already been talked enough about, I guess. Easily skippable!
4. Dil Yeh Khamakha / Dil Yeh Khamakha (Reprise) Singers ~ Dev Negi / Nikhil D’Souza
The next song too, starts off in such a way that you get frightened whether it isn’t the same melancholia of the previous song repeating itself all over again in this one. But to be honest, this song gets lots and lots better as it progresses. The composition does start off on a faltering note, but then steadies itself, and by the time it reaches the hookline, you happily keep listening to it. It is the first time I have witnessed such an improvement from the initial notes to the hookline of a song! The hookline is beautifullyand hauntingly amazing. The composition sounds even a bit of something Rahman would compose. The antara continues what the hookline started off, making the song actually sound complete and wholesome in itself. The song appears in two versions and I must say, both singers have done a great job at it. Dev Negi, with a more newbie approach to it, sounds innocent in his rendition of the pleasing composition, whereas Nikhil D’Souza brings more of a professional approach to it, singing in his trademark style, which he used to sing in for Pritam and the Bhatts. Both singers provide a fulfilling touch to the song, though. The arrangements remain the same in both versions. The unexpectedly brilliant electronic tabla beats amazed me, while the nice digital sounds in the hookline reminded me of Viju Shah’s excellent arrangements, which were quite similar, and way ahead of their times in the 90s. (‘Mushkil Bada Yeh Pyaar Hai’ from ‘Gupt’ being one of my most favourites!) The whistle is nice, and the chimes bring in a fresh factor to the song. Piano was expected, and it does a nice job here. Kumaar’s lyrics again, are very typical. One of the better song of the album, maybe the best too! Both versions are a #5StarHotelSong!!
5. Royi Singer ~ Shibani Sur
The last song on the album is what actually blew me away. Rightly kept as the album’s last song, this song has everything that a song should, in order to impress my musical sensibilities. The composition again, starts off very slowly, but this one hooked me from the start — perhaps the introduction of a female solo singer provided the necessary change in the album. Whatever it is, the composition is great. The mukhda, the hookline and the antaras are inexplicably finely crafted. The slow composition did the trick here, which didn’t quite work in the other songs. Also, the nice little semi-classical touch was enough to blow me away. The arrangements, with nothing much happening, gave a nice lounge-ish feel to the song. Whatever does happen though, is attractive enough for the listeners to enjoy. The digital beats, for one, are really cool! The vocals by débutante Shibani Sur, a trained classical singer, are awesome, and her husky voice is a perfect match to the quite drowsy feel of the song. The little nuances she performs in the antara lines, is to fall for! She handles her high notes, as well as the low ones, very well. Hoping to hear more of her in Bollywood in the future, and kudos to Vivek for presenting her beautiful voice in front of us all. Kumaar’s lyrics are quite better here, and have some meaning, other than the usual melancholia he wrote in the album. The best took long enough to arrive. A perfect grand finale to a not-so-perfect album!#5StarHotelSong!!
Saansein kind of meets my expectations. It certainly met my expectation that it would consist of typical Bhatt-style romantic songs under the name of spooky songs, but it didn’t quite meet the expectation I kept towards it being Vivek’s first solo album and chance to score a nice soundtrack. The tracks are nice, no doubt, but the compositions in most of them seem very laidback, and that’s the turn off. Two of the tracks are fantastic, while the other three try to fiddle with the rapidly-disappearing genre of typical Bhatt romance, which even the Bhatts will move on from soon, as far as I presume! This album lacks fresh air…!
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: Royi > Dil Yeh Khamakha = Dil Yeh Khamakha (Reprise) > Tum Jo Mile > Mera Ishq > Tum Jo Mile (Unplugged) > Tum Ho Mere
Which is your favourite song from Saansein? Please vote for it below! Thanks! 🙂
Music Album Details ♪ Music by: Sugat-Shubham & Hanif Shaikh ♪ Lyrics by: Shraddha Bhilave, Sugat Dhanvijay, Hanif Shaikh & Manoj Yadav ♪ Music Label: Zee Music Company ♪ Music Released On: 13th June 2016 ♪ Movie Releases On: 24th June 2016
7 Hours To Go Album Cover
To hear the full songs of this album on Saavn CLICK HERE
7 Hours To Go is an upcoming Bollywood investigative thriller, starring Shiv Pandit, Sandeepa Dhar and Natasa Stankovic is lead roles. The movie has been directed by Saurabh Varma and produced by Nitika Thakur. The movie revolves around a man who has kidnapped seven people as hostages, and asks the police to solve a crime within 7 hours. The music of the movie has been given by debutant duo Sugat-Shubham, and a man who we know as the mastermind behind songs like ‘Aye Khuda’ (Paathshaala) and ‘Tose Naina’ (Mickey Virus), Hanif Shaikh. The latter has composed one song out of four, while the remaining three are by the duo. Out of those three, one is in two versions, making it a total of only three original songs. Hanif’s song has been remixed by Sumit Sethi. Let’s see what this short album for a thriller has to offer! 🙂
1. Tere Naina Singers ~ Mohammed Irfan & Sarodee Borah, Music by ~ Sugat-Shubham, Lyrics by ~ Shraddha Bhilave & Sugat Dhanvijay
It’s melancholia that starts off the album, with this song, a romantic sad song. The newcomer duo don’t seem to bother whether they’ve made the song catchy or good enough, and they seem to be so careless that the notes in the song don’t even complement each other, and it seems like they change tracks unnecessarily, and so many times, too! At one time, the composition is very pleasant, while the next moment, it turns very sinister and melancholic. For example the mukhda seems like the starting of a proper romantic song, while the hookline and antara is so heavily melancholic, that it just seems out of place. The arrangements are typical Bollywood sad song arrangements, with durns and rock guitars and acoustic guitars. The piano too, fails to gain your attention. The singers seem uncomfortable as well. Sarodee Borah’s voice isn’t as sweet as required for the composition, and I feel someone like Palak Muchhal or Akriti Kakar would’ve been way better. Mohammed Irfan fails to impress, and that’s very rare! His usually soft-as-silk voice doesn’t sound completely mellifluous here, but wherever it does, it sounds good. He does better out of the two. Shraddha and Sugat come together to write a very ordinary song, which contains all the Bollywood clichés right from “Tu Hi hai Saanson mein” to “Mere Dil Ki gustaakhiyaan maaf Karna”, which will just make you roll your eyes. A below average debut by the duo. Even the presence of a strong male singer cannot save this mediocre composition!
2. Zinda Hota Mein / Zinda Hota Mein (Reprise) Singers ~ Nikhil D’Souza / Jubin Nautiyal, Music by ~ Sugat-Shubham, Lyrics by ~ Shraddha Bhilave
The next song has two versions. One by Nikhil D’Souza and one by Jubin Nautiyal. Thanks to the makers of the movie, now we can actually hear the difference between their voices. 😛 Anyway, Nikhil has been given charge of the original version, while Jubin takes up the reprise. The composition by the duo is very slow-paced and melancholic, but this time, the melancholia actually appeals to the listener. The notes have been placed together well and sound perfectly emotional as a whole. The mukhda starts right off, without any prelude or anything, and hooks you from the beginning. The first antara too has the same tune as the mukhda, while the second has a different tune to it, which is all-the-more appealing. What’s most important is that the song doesn’t even try to be good. It’s just innately good. 😛 The mukhda repeats after the second antara, and the hookline wraps up the song. All in all, the song composition and structure is very good. The arrangements in the original version are more sober, with barely audible beats that must be to highlight the lyrics and vocals. There are highly intriguing strings throughout the song, and good percussion in the hookline, though. Rock has been used, but very softly. However, the reprise takes the rock into full swing, with blaring guitars and drums which have shed all their inhibitions that they had in the original version. Personally, I found the reprise’s arrangements better. The strings are way more ravishing here, and make an almost climactic ambience, before the hookline. The guitars have been used wonderfully in the prelude and interludes. This version has more instrumental pieces than the first one, and that makes it more enjoyable. I can see that both versions will play an important role in the progression of the story, and both have different themes. Coming to vocals, Jubin impressed way more than Nikhil. Texture, dedication, pronunciation — they’re all better in Jubin’s version. Nikhil’s voice texture sounds weird, and it seems like he has not sung wholeheartedly, but Jubin has sung confidently and dedicatedly. As for pronunciation, why does Nikhil say “saajishon” instead of “saazishon”!? And why didn’t the duo rectify that? 😛 Anyway, Jubin’s is better. Shraddha’s lyrics are way better than those which she wrote in the previous song, along with Sugat. All in all, the song is a ravishing experience, which will bring one to tears if heard with a proper sound system! Nikhil’s version misses it, but Jubin’s version gets to be a#5StarHotelSong!!
3. Dalinder Dance Singer ~ Hanif Shaikh, Music by ~ Hanif Shaikh, Lyrics by ~ Hanif Shaikh & Manoj Yadav
Hanif Shaikh, the composer of superhit calm songs like ‘Aye Khuda’ and other songs from “Paathshaala” and ‘Tose Naina’ (Mickey Virus), steps in for the last song of the short album, a dance song as is evident from its name. Although it is a dance song, it isn’t enjoyable at all. It is a sheer disappointment from the composer. The composition is something that seems to be Bollywood’s try at making a ‘Zingaat’ (Sairat), but they seem to not have understood that only Ajay-Atul can make that kind of stuff. 😂 Random notes put together to result in an utterly annoying tune, rendered in a sickly annoying voice of the composer himself, is not your ideal dance song. I doubt it’ll be a rage among the masses either! The lyrics (Manoj Yadav — ‘Pyaar Ki Maa Ki’, ‘Veer Veer Veerappan’ — shall I say anything more? You get my point) are disgraceful. By the way, ‘Mercedes’ is pronounced as “Merkadis”, which not even someone who is illiterate does, nowadays. Hanif & Manoj come together and write something that makes as much sense as a bird chirping. Even birds chirping, make more sense than this. SKIP!
7 Hours To Go has one out of four tracks worthwhile of listening. The others are a random blend of melancholia and randomness. The duo has performed better than Hanif, but still not so good. The album could have been many times better! It was overall a weak attempt, undedicated and incomplete!
Final Rating for This Album: सा < रे < ग< म < प < ध < नी < सां
Note: The letter which is underlined is the final rating.
Music Album Details ♪ Music by: Ajay Singha, Subhash Pradhan & Pervez Quadir ♪ Lyrics by: Mohit Pathak, Pinky Poonawala, Bulleh Shah & Kumaar ♪ Music Label: Zee Music Company ♪ Music Released On: 7th June 2016 ♪ Movie Releases On: 24th June 2016
Hai Apna Dil Toh Awara Album Cover
To hear the full songs of this album on Saavn CLICK HERE
Hai Apna Dil Toh Awara is an upcoming Bollywood rom-com, starring Sahil Anand (‘Student of The Year’, ‘Babloo Happy Hai’) and Niyati Joshi. The film has been directed by Monjoy Joy Mukerji, and produced by Deepakk R. Gupta, Neha D. Gupta and Monjoy Joy Mukerji. The music of the film has been given by Ajay Singha, Subhash Pradhan & Pervez Quadir. Ajay Singha impresses me with remakes of old Bollywood songs that play on ‘Sony Mix’ channel, and it is his first Bollywood album, so expecting a lot from him as his pop album ‘In Raahon Mein’ was something worth hearing too. Meanwhile, Subhash Pradhan has composed for Bollywood movies like ‘Mere Dost Picture Abhi Baaki Hai’ (2012) and ‘Doctor I Love You’ (2015), which I’ve never heard of before. Therefore, there are not many expectations from him, but more than zero for sure. The third composer, Pervez Quadir, is a famous pop singer/composer, but I’ve never heard any of his works, so again, I can’t have any expectations as such. All I can hope for, is that all three composers do something great to make this small album big with their music! Ajay leads the album with four songs, while Subhash and Pervez each compose one song each. Let’s see how the music of ‘Hai Apna Dil Toh Awara’ turns out!!
1. Chu Liya Singers ~ Papon & Neha Rajpal, Music by ~ Ajay Singha, Lyrics by ~ Mohit Pathak
Ajay Singha opens the album with a serene love duet with a predominant calm and dulcet sound to it. The composer has managed to create a very sweet love song that would instantly grab the listener’s attention. A very pleasant Assamese rhythm manages to keep you listening for more and more magic, and gives a very pleasant North-Eastern touch to the song. Ajay’s composition is not the usual Bollywood romantic song, but oozes with positivity. It makes you feel so good, and that is why it just wins your heart. Ajay has wonderfully used the Northeast flavour to make the song lovable, and it turns out to be beautiful. Acoustic guitars complement the usual Northeast folksy arrangements like flute and the percussion (dafli). The flute is the star of the song, and leaves a very happy impression on you. The very raw sound effects liek that of water and shakers make you feel so close to nature and if you close your eyes and hear it, you can just imagine a beautiful scenery in front of you. The singers use their talent to take the song to another level. Papon in a romantic duet is a very rare thing to hear (I think the last romantic duet he sang was ‘Tu’ (Bobby Jasoos) with Shreya Ghoshal) and he sounds perfect in the song, more so because he is from the Northeast. 😀 On the other hand, Neha, a regular in Marathi albums, sounds weaker and more amateurish, but pleases you nevertheless. She sounds like Version 2 of Sadhana Sargam. Mohit Pathak, Ajay’s lyricist for ‘In Raahon Mein’, his pop album, writes pleasant lyrics as well, with Bollywood written all over them, yet sounding good with the composition and arrangements. A very soft and pleasant love song, that is a refreshing break from typical overdramatic love songs.#5StarHotelSong!!
2. Meheram Mere Singer ~ Mohit Chauhan, Music by ~ Ajay Singha, Lyrics by ~ Mohit Pathak
Ajay continues with the pleasant breeze of music with his second song, this time crooned by Mohit Chauhan, perfect for this kind of song. The composition has shades of Pritam in its every note and line. Ajay has presented another pleasant romantic song, this time with a very soothing Sufi touch to it. The hookline is a very trademark Pritam-esque composition, and one wonders whether Pritam himself has helped with it. The mukhda is totally composed in a style that Pritam has become famous for mastering. Ajay has done a good job composing something that is light to the ears, and at the same time, makes you tap your feet and nod your head to the beats. Ajay’s arrangements are also very typical, yet strike a chord with the listener. Guitars and tablas stand out like the heroes of the song. Mohit’s professionality really helps the song, which otherwise, might never have sounded so beautiful and catchy. His beautiful and smooth voice is what makes the listener get so enchanted by the song, which is nothing new or special. Mohit Pathak has written yet another typical Bollywood song, but yet again, it appeals to the ears solely because of the pleasant composition and arrangements. Yet again, simple and sweet arrangements and a strong, but heard-before composition fails to BORE! 😀 Something that appeals to the ears even though it is so plain and heard-before!#5StarHotelSong!!
3. Hai Apna Dil Toh Awara Singer ~ Nikhil D’Souza, Music by ~ Subhash Pradhan, Lyrics by ~ Pinky Pooniwala
The title song has been composed by Subhash Pradhan, and comes very unexpectedly after two beautiful romantic songs. This one, too, follows the same pattern as the previous two. It follows a template that has been done before, heard before, loved before, and yet, it impresses you with all its simplicity. Subhash has tried to make a very sweet-sounding, happy-go-lucky song, and succeeded. He makes sure that the listener will have a smile on his or her face after the song is over and also while it is playing. The best thing is that (and I’ve loved this thing in many recent songs) the hookline is so laid-back and humble, and that is what makes the song so special. You don’t even feel like the hookline just played, but it leaves an impact on you just as well. Arrangements are as breezy as the composition, with a strong countryside touch to them, with guitar riffs being the most prominent throughout the song. The harmonica has also been used very well, and so has the flute. Drums at certain places do accentuate the moment better. Nikhil with his husky voice, brings in the perfect feel of someone bored with his routine life and longing for a change, and Pinky Pooniwala beautifully explains that with the lyrics. The “hoo hoo hoo” by Nikhil is really commendable, and is very nicely and seamlessly done. A perfect song for a long drive, oozing of freshness and a pleasant breeze! An unexpected surprise from Subhash!#5StarHotelSong!!
4. Tere Ishq Ne Nachaaya Singer ~ Pervez Quadir, Music by ~ Pervez Quadir, Lyrics by ~ Bulleh Shah
Pervez jumps into the album with the next song, which is the first song on the album that is actually upbeat and not calm. Pervez has taken Bulleh Shah’s poem and made a clubby number out of it. It still has that essence that it should have, but it sounds quite odd at places. Pervez has composed it well, keeping the essence of the poem in mind. It has been given a soft and soothing tune, something like a chant. It isn’t exactly what you would call catchy. The arrangements though, are a good mix of techno sounds, guitars and drums, which keeps you from getting bored. However, if the purpose was to keep you entertained, it doesn’t quite get fulfilled, as the lyrics and composition do not go well with those arrangements. Pervez’s voice too has been programmed weirdly, and it comes across as a mad mix of voices reciting a poem in a hodgepodge manner. Not an impressive fusion!!
5. Bhool Saari Baat Singer ~ Ajay Singha, Music by ~ Ajay Singha, Lyrics by ~ Kumaar
Ajay re-enters into the album with this song, a quiet and soothing sad song. It has been composed on very minimal arrangements, and doesn’t fail to grab you into its web of enchanting music. The composition has been very carefully done, so as to make you love it to the fullest. Recently, ‘Kapoor & Sons’ had a similar sad song ‘Saathi Rey’, which had a just as pleasant and sweet and positive touch to it. Ajay has surprised me a lot with the composition, which is so simple, yet so complex. The way the composition travels from low notes to high, so very effortlessly, is just praiseworthy. The arrangements are nothing but some acoustic guitars, soft strings and fingersnaps as the rhythm. Shakers have been used well, too. Ajay has rendered the song with a calm presence, and a very controlled voice, though we can hear the autotune at places. And he sounds like Atif Aslam at places, when he goes on the loud high notes. Nevertheless, it is a great attempt from his side. And the highlight of this sweet little song are the very poetic lyrics by Kumaar. It is just so haunting to hear the lyrics along with the dulcet composition. They are very heart-touching, and Kumaar is an expert at such lyrics, as well as silly and insane ones! 😀 A masterpiece, that doesn’t try at all to be a masterpiece. Soft, soothing, and haunting without any haunting notes at all!#5StarHotelSong!!
6. Dil Ke Rahi Singer ~ Raman Mahadevan, Music by ~ Ajay Singha, Lyrics by ~ Pinky Pooniwala
The last song on the album is quite similar to the title song, with a countryside flavor, something that sounds a lot like a travel song. The acoustic guitars make the song feel breezier than it should. The base composition is quite bland and not as appealing as the other songs. Ajay has tried to make a breezy and catchy composition, but nothing works out as planned. The hookline doesn’t grab your attention, nor does any other part of the composition. The arrangements are the saving grace, with a catchy guitar-drums combo that always works for such songs. Rock guitars, a wonderful sitar, and piano notes attract your attention on the way towards the end of the song, but there’s not much else to hear and you end up getting bored soon. Raman’s voice isn’t pitch perfect either, and that makes it worse. The slow pace of the composition doesn’t go well with the upbeat and breezy composition here, and though it tries to sound like an IndiPop song, it ends up sounding pretty stale. Pinky Pooniwala’s lyrics are good, though. Nothing new, but nothing bad, either. A song that is a disappointing end to an unexpectedly great album.
I wouldn’t even have reviewed Hai Apna Dil Toh Awara. I had never heard about the movie or anything about the songs. But when I heard it, I was pretty blown away with the dedication of the makers. Even though the movie might not have a big star cast to boast of, the makers have made sure that the music finds as many takers as possible. The songs are a fresh change from the usual albums to small films as these, and I was really surprised on hearing it. Refreshing!
Final Rating for This Album: सा < रे < ग < म < प < ध< नी < सां
Note: The letter which is underlined is the final rating.
Recommended Listening Order: Meheram Mere > Bhool Saari Baat > Hai Apna Dil Toh Awara > Chu Liya > Dil Ke Rahi > Dil Ke Rahi
Which is your favourite song from Hai Apna Dil Toh Awara? Please vote for it below! Thanks! 🙂