THE REMAKE REBELLION CONTINUES! (BAAGHI 3 – Music Review)

Music Album Details
♪ Music by: Tanishk Bagchi, Vishal-Shekhar, Rochak Kohli, Pranaay Rijia, Sachet-Parampara, Bappi Lahiri & René Bendali
♪ Lyrics by: Shabbir Ahmed, Tanishk Bagchi, Panchhi Jalonvi, Ginny Diwan, Gurpreet Saini, Gautam G. Sharma & René Bendali
♪ Music Label: T-Series
♪ Music Released On: 7th March 2020
♪ Movie Released On: 6th March 2020

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Baaghi 3 Album Cover

Listen to the songs: JioSaavn | Gaana

Buy the songs: iTunes


Baaghi 3 is an Bollywood action film starring Tiger Shroff, Shraddha Kapoor, and Riteish DeshmukhThe film is directed by Ahmed Khan and produced by Sajid Nadiadwala. Introduction to this film franchise is futile, everyone knows about it and everyone also knows how it is just stretching itself longer than it can hold. Ah, well, going by the reviews, I can see a ‘Baaghi 4’ has bleak prospects, but that is all the more reason for the filmmaker to actually make a ‘Baaghi 4’. Anyway, the film franchise boasted of an all-original album for the first film, followed by a bearable album for the sequel. Here comes the second sequel in the franchise, and in this age of remakes and recreations, I’m not surprised that the first four songs of ‘Baaghi 3’ are remakes! Hoots and cheers for the remake artist Tanishk Bagchi for handling two of these remakes, while Vishal-Shekhar successfully claimed rights to their song ‘Dus Bahane’ and remade it themselves, and Pranaay comes back to recreate his theme song that features in all ‘Baaghi’ films till now. As such, one awaits the original compositions by Sachet-Parampara and Rochak Kohli. Let’s see just how well this remake rebellion fares.


Vishal-Shekhar risk entering a multicomposer album in order to salvage their 2005 hit ‘Dus Bahane’ (Dus) which is the opening song for ‘Baaghi 3’. Dus Bahane 2.0 definitely lacks the punch that the original had, and just increasing the tempo of the original track makes the song sound a bit weird, making K.K. and Shaan’s voices sound highly processed. Tulsi Kumar’s portions are awkwardly low in pitch, and composed really uncreatively. That kind of makes me think if Vishal-Shekhar really did contribute any new melody to the remake or just asked Meghdeep Bose to create a ‘Vishal-Shekhar Mix’ or something, of the Tanishk Version. That being said, the beats are well placed, and the song works as a crowd-pleaser, since this is clearly what pleases the crowd these days.

Moving on to Tanishk’s actual remakes, he picks up yet another Bappi Lahiri classic after ‘Yaar Bina Chain Kahan Re’ was remade in ‘Shubh Mangal Zyada Saavdhan’. This time ‘Ek Aankh Maarun’ (Tohfa) gets chosen to be recreated. The song’s catchphrase Bhankas becomes the title of the remake, and all that I notice in the first listen is the good choice of singers — Dev Negi and Jonita Gandhi. They bring the fun of the song to the forefront, and while Bagchi’s beats are just a modern mix of South kuthu beats with that 80s dhakkachika rhythm, the beats kind of work to the song’s favour. Songs like this do not really need their lyrics to be talked about, so I will do just that and go on to Tanishk’s next remake in the album, this time that of a foreign song, Do You Love Me by René Bendali. The song has already been remade by an English pop artist TroyBoi, and now T-Series picks it up for a Hindi reinterpretation. The Arabian setup isn’t new to Bollywood; we have had many original Hindi songs better than this, with the same musical setting. The new compositions with Hindi lyrics barely fit into the hook, but the creativity in the programming and beats makes it worth a listen. Nikhita gets not much space to shine, with very simplistic lines to sing, and before you know it, the song is thankfully over. Also, the Hindi lyricist for the new lyrics hasn’t been mentioned, so I’m guessing it is Tanishk.

Moving over to the franchise theme song by Pranaay, Get Ready to Fight Reloaded, which is probably the most ignored song from every ‘Baaghi’ album, but the makers still seem to be revamping it in hopes that it will get noticed by the audience this time around. The first time, it released as a single after the entire album released, so it went under the radar, while in the second album, it was very badly promoted. And this time, I finally do feel like it will get noticed. First of all, Pranaay packs it with a punch, and some interesting elements like EDM, electronic tablas, whistles, and a groovy beat coupled with Siddharth Basrur’s powerful vocals. The song doesn’t try too hard to be a ‘theme’, as in it doesn’t try too hard to do too much just to stick in the audience’s head, like the previous two versions of it, did. There is also a melodious antara to the song, and Ginny Diwan’s lyrics too make the song worthy of your attention. So this year, we saw the third version of ‘Bezubaan’ in ‘Street Dancer’ failing, but we get to see the third version of ‘Get Ready to Fight’, succeed in the same year. 🙂

Lastly, the two original, melodious songs of the album, one each by Sachet-Parampara and Rochak Kohli, two of the music composers that really impressed me with their original music last year. Sachet-Parampara follow their usual ‘Khwabfaroshi’ (Jabariya Jodi) and ‘Dilbara’ (Pati Patni Aur Woh) template in Faaslon Mein, a melancholic Bhatt-ish song that makes you wonder why nobody has taken them to Vishesh Films’ office yet. The piano, intense never-ending lines of singing, followed by a line of singing without any music in the background, and Parampara joining as background vocalist halfway through, the song contains all the standard elements of a Sachet-Parampara song, and that is scary — it means they have been typecast so soon into their career. The song ends with a brilliant strings piece accompanied by a chorus, and even though the composition seems underwhelming, at least Sourav Roy with his arrangements and Sachet with his vocals, have done a good job.

Rochak Kohli brings on board Shaan for his song Tujhe Rab Mana, getting him his second song in the album, if ‘Dus Bahane’ can be counted since it didn’t make him re-dub anything new. The song is a melodious ode to brotherhood, sort of like Rochak’s friendship anthems ‘Atrangi Yaari’ (Wazir) and ‘Tera Yaar Hoon Main’ (Sonu Ke Titu Ki Sweety). However, the song is musically set in a different space, intermediate to both of those aforementioned songs. Not as lively as the former, but not as melancholic as the latter, it finds its niche somewhere in the middle. The composition is sweet and uses the phrase “Tere jaisa yaar kahaan” in its lyrics, so that is enough to strike the brotherly string in Indians. 😂 Shaan delivers the piece with finesse, and Rochak aptly arranges strings, guitars and piano pieces to accompany the composition. However, I wouldn’t voluntarily go and listen to this song, it being around 5 minutes long.


As expected, ‘Baaghi 3’ relies on its remakes to propel it forward. And when the remakes actually do seem to be made and promoted with more efforts than the original tracks, it says a lot. Rochak and Sachet-Parampara’s songs are good but just that. The only great song was the ‘Get Ready to Fight’ remake by Pranaay. An album where not even one song is memorable.

Total Points Scored by This Album: 5.5 + 6 + 5 + 7.5 + 6 + 6.5 = 36.5

Album Percentage: 60.83%

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

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

Recommended Listening Order: Get Ready To Fight Reloaded > Tujhe Rab Mana > Faaslon Mein = Bhankas > Dus Bahane 2.0 > Do You Love Me

Which is your favourite song from Baaghi 3? Please vote for it below! Thanks! 🙂

CRAZY LABEL VS DECENT COMPOSER DUO! (ARJUN PATIALA – Music Review)

Music Album Details
♪ Music by: Sachin-Jigar, Guru Randhawa & Akash D
♪ Lyrics by: Guru Randhawa, Priya Saraiya, Benny Dayal & Akash D
♪ Music Label: T-Series
♪ Music Released On: 20th July 2019
♪ Movie Released On: 26th July 2019

 

Listen to the songs: JioSaavn | Gaana

Buy the songs: iTunes


Arjun Patiala is a Bollywood spoof comedy film starring Diljit Dosanjh, Kriti Sanon and Varun Sharma in lead roles. The film is direccted by Rohit Jugraj and produced by Dinesh Vijan, Sandeep Leyzell, Bhushan Kumar and Krishan Kumar. The film’s first poster credited Sachin-Jigar for its music, but that culminated in the album jukebox crediting Guru Randhawa and Akash D alongside the duo. How they ended up there and for what, let’s see!


It’s not as much surprising as it is sneaky of the music label to add Guru Randhawa as a co-composer, along with the already capable Sachin-Jigar, in two songs out of their four. Starting with that note, we get a very dull sad song, Dil Todeya, the name of which is quite representative of my feelings after learning that there’s another person along with Sachin-Jigar composing some songs of the film. The song is the standard-issue Punjabi pop song, and surprisingly the only song sung by leading man Diljit Dosanjh, though the rest of the soundtrack does leave plenty scope for him to have sung! Nothing in the composition or arrangements shows that the song involves Sachin-Jigar in any way, but ironically the arrangements are solely by Sachin-Jigar, so maybe they are deliberately this typical, given that the movie is a spoof after all. The only interesting element in the song perhaps is the Qamancha/Kamancheh, an Armenian bowed string instrument related to the violin, performed here by Rasalila, and it sounds wonderful. The lyrics by Randhawa again are standard Punjabi pop sad song lyrics. Diljit renders the song with the required sorrow, but it’s nothing compared to his previous songs in ‘Udta Punjab’, ‘Phillauri’, ‘Jab Harry Met Sejal’ and ‘Soorma’. Coincidentally, Sachin-Jigar were the first Bollywood composers to use his voice, back when he didn’t act in Bollywood, in ‘Pee Pa Pee Pa Ho Gaya’ (Tere Naal Love Ho Gaya) way back in 2012! Ah well, something has to be sacrificed at the altar of including Guru Randhawa as co-composer. Another coincidence (?) was that Guru’s debut or big break in Bollywood was in an album for which Sachin-Jigar did the original songs — ‘Hindi Medium’, which leads to the third coincidence — this film too was a Maddock+T-Series joint production! Want another coincidence? Sachin-Jigar were the first composers to use Randhawa in a film song, as a singer for a song he didn’t compose, ‘Lagdi Hai Thaai’ (Simran)! Phew!
The second song that the duo composes along with Randhawa though, fares much better, and this time, I contradictorily feel like the song sounds nothing like Guru Randhawa in terms of composition or arrangements! Also, when T-Series released the song, titled Main Deewana Tera as the opening promotional song for the film, they didn’t mention Guru as a composer. Some shady business going on in the crediting of this album. Anyway, Sachin-Jigar (and Guru Randhawa, apparently) create a funky party song (marketed as ‘Ek aur Remix gaana’ with the word ‘remix’ slashed out and replaced with the word ‘Original’) which throws you back to the duo’s own ‘Yeh Jawaani Teri’ (Meri Pyaari Bindu), what with the whole R.D. Burman sound (the second soundtrack in a row which harks back to Burman’s music, without remixing it!) It also sounds like Pritam’s ‘Badtameez Dil’ (Yeh Jawaani Hai Deewani) owing largely to the wonderful trumpet solos (Kishore Sodha). Guru Randhawa sounds thankfully well in this one, and along with Sachin-Jigar, he manages to concoct a catchy composition, writes functional but stale lyrics and to top it all, Nikhita Gandhi ends the song with her stray line.
Sachin-Jigar’s third song is one that sounds entirely like something Guru would compose, but to my surprise (or no surprise at this point, since we’ve seen two songs composed by both of them together, both of which sound nothing like a collaboration between the two) Guru Randhawa isn’t a composer for this one! Crazy Habibi Vs Decent Munda ends up being catchy in parts only, Sachin-Jigar totally imitating Guru’s musical style in the beats, with a very heavy bass line in the hookline, which, by the way, has been composed very catchily. The other great attraction in this song is Benny Dayal’s Arabic interlude (which he has also written, apparently!) The song loses its appeal towards the second verse, though, but Guru’s rendition of Sachin-Jigar’s tune is not annoying, and thankfully keeps him out of his comfort zone, the high pitch, which unfortunately for his comfort, makes us uncomfortable as listeners.
Sachin-Jigar finally get one song without any apparent interference from the music label (except maybe choice of singer). Sachiya Mohabbatan turns out to be a song that seems like a mélange of two super-hit songs from Maddock Films’ last venture ‘Luka Chuppi’ — ‘Photo’ and ‘Duniyaa’. The tune resembles ‘Duniyaa’, while the arrangements resemble ‘Photo’. Again, the fact that the film is a spoof provides some background as to why the music too must have been made like this. Sachet Tandon, getting songs for other composers as a result of his ‘Bekhayali’ (Kabir Singh) gaining more popularity than its Arijit Singh variant, delivers the melody with finesse, his notes and the occasional grunge on point. The flute (Shirish Malhotra) and guitars (Kalyan Baruah) complement the melody well, and the trademark Punjabi pop beats make the song perfect as a spoofy one. The flute is actually what makes it sound like ‘Photo’ in the first place. Priya Saraiya, appearing in a Bollywood soundtrack after quite some time, pens a nice and sweet Punjabi piece, but nothing we haven’t heard before.
To end the album, we have the mandatory daaru from every film that contains a Punjabi lead character, and another mandate that dictates this song is that it is a T-Series Punjabi pop single by Akash D, who therefore becomes guest composer with the song Sip Sip, used as is in the album. Aditya Dev programs and arranges this one, in the most typical way imaginable, and Guru Bhullar along with the composer himself, renders the cheesy lyrics (also by the composer). The opening synth music especially is really banal, making you reluctant to continue at all. If you do manage to continue, however, you’ll quit soon anyway.


An album devoid of the usual quirks of a Sachin-Jigar album, maybe thanks to the dictatorship of the music label involved, this album does witness them give some temporarily enjoyable party tracks and one melodious romantic song, but nothing compared to their previous works with Maddock Films (Go Goa Gone, Happy Ending, Badlapur, Stree)!

 

Total Points Scored by This Album: 6.5 + 8 + 7 + 7.5 + 5 = 34

Album Percentage: 68%

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

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

Recommended Listening Order: Main Deewana Tera > Sachiya Mohabbatan > Crazy Habibi Vs Decent Munda > Dil Todeya > Sip Sip

 

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

REMAKE-GIRI, BAHUT HUI, THAK GAYI HAI ABB JANTA!! (LUKA CHUPPI – Music Review)

Music Album Details
♪ Music by: Tanishk Bagchi, White Noise Studios, Abhijit Vaghani, Tony Kakkar, Goldboy, Dilip Sen, Sameer Sen, Gurmeet Singh & Bob
♪ Lyrics by: White Noise Studios, Anand Bakshi, Nirmaan, Tony Kakkar, Mellow D, Harmanjit, Kunaal Vermaa & Raja
♪ Music Label: T-Series
♪ Music Released On: 22nd February 2019
♪ Movie Released On: 1st March 2019

Luka Chuppi Album Cover

Listen to the songs: Saavn | Gaana

Buy the songs: iTunes


Luka Chuppi is a Bollywood film starring Kriti Sanon, Kartik Aaryan, Pankaj Tripathi, Aparshakti Khurrana, and Vinay Pathak. The film is the directorial debut of Laxman Utekar, and is produced by Dinesh Vijan. The film is a social comedy revolving around a couple who decide to enter a live-in relationship, and the problems they face from their relatives and the society in general. The music from Maddock’s productions has usually been good, though there was a slight dip in the quality of the music in Sachin-Jigar’s album to ‘Stree’. Well, here, the music is credited to multiple composers, including Sachin-Jigar’s Artists & Repertoire venture White Noise Productions, last heard in ‘Laaj Sharam’ (Veere Di Wedding), Abhijit Vaghani, and the lead ‘composer’ (read remake artist) Tanishk Bagchi. I just call him the lead remake artist, because the other two composers, too, have presented recreations, and coupled with Bagchi’s three remakes, that makes this album full of remakes. So basically, my review is going to be like a race where remakes are pitted against each other: knowing fully well that they have almost zero chance to cross the finish line.


Right from the beginning of the opening track of the album, Poster Lagwa Do, the Sachin-Jigar vibes hit you square in the face. The beats, distinctively similar to those of ‘Johny Johny’ (Entertainment) give away that this song has been worked upon by Sachin-Jigar’s A&R company, White Noise Productions (though i suspect it has been ghost programmed by the duo themselves, because of their close association to Dinesh Vijan). Anyway, the song, which is a remake of Dilip-Sameer’s ‘Yeh Khabar Chapwa Do Akhbaar Mein’ (Aflatoon), rides on the success of ‘Simmba’s ‘Aankh Marey’, in that the makers rope in Mika Singh to do the honours with the male vocals. Well, it doesn’t work half as well as it did in the former song, and another reason for that may be because the female singer there was a more effervescent Neha Kakkar as opposed to an amateur-sounding Sunanda Sharma here. One of the singers who I’d actually like to see the female portions of the song to have been sung by, though, is Nikhita Gandhi, who is instead relegated to an embarrassing two lines of rap that are easy to miss! The composition, though kept intact, gets new lyrics for the antara, and the lyrics have been credited to White Noise Studios too — I wish Sachin-Jigar would follow Pritam’s JAM8 when it comes to crediting individual artists (though their lack of individual credits just makes me believe stronger in my theory that they are the men behind all the music credited to White Noise and just don’t want to be named because of the album being a multicomposers album!) That said, the song is levels below any previous Sachin-Jigar presentation; the beats are dated, there’s no originality or innovativeness in the programming and the song ultimately lacks appeal and repeat value.
The other ‘guest’ composer, Abhijit Vaghani, presents his take on Akhil’s song ‘Khaab’, originally composed by Bob. Duniyaa is a pleasant recreation of the already present original romantic song, with completely different lyrics by Kunaal Vermaa, replacing Raja’s lyrics from the original. The new lyrics are sweet, and the new composition for the antara too, is appreciated. Akhil has been roped in to sing this version as well, which is a good choice, as the singer of the original also gets his Bollywood break in the bargain. Dhvani Bhanushali sings the female portions alongside him, and does quite a good job too; she sounds much better in low notes here (though clearly autotuned), than she does in high notes in songs like the recently released T-Series pop single ‘Main Teri Hoon’ by Sachin-Jigar. The flute is quite melodious, and is one of the features taken from the original. Thankfully, the beats of the original, which were quite passable, have been changed and made to sound a bit more melodious, with guitars and strings accompanying the composition.
Tanishk Bagchi, who ‘composes’, or ‘recreates’ the next three songs of the album, starts off with Coca Cola, a funky and more glitzy touch to the original by Tony Kakkar. Of course, Neha Kakkar gets to pitch in, and while her brother’s original composition’s tempo is cranked up quite considerably, she gets to sing a new antara, which seems to end as soon as it starts. Again, the choice of retaining the original singer’s voice is a commendable move. Tanishk’s programming saves the song; it’s uptempo beat and strings make it a fun one-time listen — unfortunately, it is not so fun that I would press the repeat button. There is that infectious digital beat that starts the song off though, and it thankfully plays for quite some times for those who loved it. To Tony Kakkar’s original lyrics are added some new lines by Mellow D — the lines sung by Neha Kakkar and the rap by Young Desi. Obviously enough, this is going to be the next club anthem though, for lack of anything better these days.
Tanishk goes on to present another love song, named Photo, this one being a remake of Karan Sehmbi’s ‘Photo’, composed by Gold Boy. Again, the singer is retained, and again, I commend that decision. Tanishk’s beats are really basic though, and provide nothing new to the original song — which was already sufficiently catchy if this was supposed to be catchier. The flute is a nice attraction, but the original had guitars, which I am missing here. The short length of the song keeps it thankfully not boring, but the repetitive composition by Gold Boy would not have been so pleasant if it had gone on for longer. The singer Karan Sehmbi has a nice folksy texture to his voice, which explains why T-Series backed him for a pop single, and agreed to let him sing its remake, which wasn’t the case three years ago when ‘Soch Na Sake’ (Airlift) was sung by Arijit Singh. Nirmaan’s lyrics are cute, with the lyricist also throwing in a clever self-reference in the second verse. A melodious song, but loses appeal because of the digital beats, which makes it sound more like a pop song than a film song.
The last song, Tu Laung Main Elaachi, a remake of ‘Laung Laachi’s title track by Gurmeet Singh, is probably my least favourite of the album. And there are quite a few reasons for that. First of all, a really sweet Punjabi song sung by a really good Punjabi singer, Mannat Noor, has been redubbed by Tulsi Kumar — the first bad choice. Second, the beats have been degraded in sound; there is no freshness in the song as one should expect from a recreation. It sounds like the song has just been recreated for the sake of doing so. The chorus singers at the beginning and the end are nothing short of irritating! The bass has been increased in the recreation, though, it seems, and wow, I’m sure that required a lot of effort! :/


Luka Chuppi is the result of the remake trend in Bollywood going far overboard. I am not sure how the makers always come up with stupid reasons to justify their including remakes in their albums, but I’m sure nothing can justify completely avoiding original music in your album! Atleast for the sake of art, and music in general, if they would have planned out the music of this album less hastily, maybe it would have been better. And it isn’t like these remakes are great, either! 

 

Total Points Scored by This Album: 6 + 8 + 7 + 6 + 5 = 32

Album Percentage: 64%

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

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

Recommended Listening Order: Duniyaa > Coca Cola > Photo = Poster Lagwa Do > Tu Laung Main Elaachi

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

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

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

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Sanju Album Cover

Listen to the songs: Saavn

Buy the songs: iTunes


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


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

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

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

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

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

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


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

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

Album Percentage: 74.17%

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

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

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

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

BEYOND BOLLYWOOD!! (BEYOND THE CLOUDS – Music Review)

Music Album Details
♪ Music by: A.R. Rahman
♪ Lyrics by: MC Heam
♪ Music Label: KM Musiq
♪ Music Released On: 2nd April 2018
♪ Movie Released On: 20th April 2018

Beyond The Clouds Album Cover

 

Listen to the songs: Saavn

Buy the songs: iTunes


Beyond The Clouds is a Bollywood drama film starring Ishaan Khatter, Malavika Mohanan in lead roles, and directed by Majid Majidi. The film is produced by Zee Studios. Majidi is directing a Hindi film for the first time, and he ropes in for the music, the same music composer who scored for his last Persian film, A.R. Rahman. Let’s see how the Mozart of Madras performs under the vision of such a prestigious director!


Rahman starts the album off with the two only songs with lyrics, and both of them feature some kind of mawali rap, but very stylishly done. The craziness isn’t toned down at all in Ala Re Ala; Dilshad Shabbir Shaikh MC Heam and Nikhita Gandhi doing their best to make it worthwhile. Nikhita especially, entertains with those unabashed interjections that really transport you to the humble setting of the movie. Ey Chhote Motor Chala doesn’t fare so well, thanks to some disconnect in the programming. MC Heam and Dilshad Shabbir Shaikh again, do amazing with the rap, but Rahman gives it a weird hip hop sound that doesn’t quite connect as much as the booming percussions in the previous song did.
The tradition from the lyrical songs to the instrumentals is wonderfully bridged by a song that is basically instrumental, but features Nikhita Gandhi’s humming. Beyond The Clouds is probably the most memorable instrumental track that will release this year; and Nikhita Gandhi’s soulful humming makes it all the more enjoyable. Rahman’s instrumentation is so beautiful, with the piano, taking centre stage, and the strings joining in whenever necessary. It almost feels like a live orchestra performance with Rahman on the piano. 😍 The signature tune of the song is a recurring tune throughout the album; it appears in many of the instrumentals. The last one minute of this track, though, is heaven. The track really opens up and clarinets join the vivacious strings, making it unforgettable!
The next track Son Of Mumbai is hinged around the same composition, this time too, with amazing piano and strings. The only difference is that, while the previous track took three minutes to gain pace, this one jumps right in, and is all in all much more memorable just for that reason! (If you’re the kind of person who remembers instrumentals, like I do!) The tune is given a different metre here, and it sounds happier and livelier, as opposed to the soul of the previous one. Rahman even throws in some brass towards the middle. Again, the last one minute or so is of a very feel-good nature. Wind instruments own that segment of the song.
The Game Of Life is the quintessential classical track Rahman is made to put whenever a Western director needs him, but this time since the film is set in India too, it seems more fitting. The wonderful mélange of the tablas (done oh so brilliantly) and sitar (done just as beautifully) makes you feel amazing. The short track ends before you know it, though.
Twist Of Destiny is the first mellow track we get, and is led primarily by low-octave strings. This one isn’t just as memorable compared to the others because it will definitely have an impact somewhere in the movie. Loved the harmony with the strings though! Again, the ‘Beyond The Clouds’ theme features here, but this time it is in a sombre mode.
The Gift makes things happy-go-lucky again, with Rahman’s amazingly placed flute playing the ‘Beyond The Clouds’ theme in its n’th variant. The high pitched flute that pitches in towards the middle stole my heart. Again, like all great things, it ends too soon.
The Family Comes Home has a certain poise to it, something that only comes with very systematically placed numbers in films — so I’m guessing it will feature at a very critical point in the film. Again, flutes steal the show, but strings are prominent too. One wishes this one were shorter.
Here onwards the album goes into a very sombre space, where most of the tracks sound more or less the same. Second Thoughts starts the melancholia with a very slow paced piano-led, strings-backed track that actually does work to soothe you down. Again, the theme features here beautifully, with piano, strings and wind instruments all teaming up to create a soulful impact. The song is one of the more interesting ones out of this lot of tracks.
Akshi, Hospital, The Family Leaves and Full Moon are melancholic numbers with the same instruments; they all seem way too long, and at this point the album has started to get repetitive.
Reunited is a waft of fresh air, in that it isn’t that melancholic, and just right for the casual listener. The strings and piano work well together, to make this track instantly likeable, and of course, because I liked it, Rahman ended it soon. 😤 The xylophone sounds beautiful, and I guess this track features during the resolution of the movie (as is evident from its title).
Holi gets Rahman into his “composing for Prabhudeva” mode; the shehnaai is really entertaining, as are the percussions! It’s nice to see him come back to such Indian sounds after a primarily Western sounding soundtrack! That was a great finale to the album!


Barring the low patch in the middle of the album, this soundtrack is primarily one of the best of the year so far, only because of the fact that it actually is a “soundtrack” in true sense! This goes beyond the usual Bollywood scope of music composition and kudos to KM Musiq for bagging the rights to the album, because nobody else would’ve released it the same way.

P.S. I will be lumping together the points of all twelve instrumentals and scoring them out of 120, instead of writing individual points for twelve similar-sounding instrumentals!

 

Total Points Scored by This Album: 7 + 6.5 + 9 + 84.5 = 107

Album Percentage: 71.33%

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

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

Recommended Listening Order: Beyond The Clouds > The Game Of Life > The Gift > Reunited > Holi > The Rest

 

No poll this time. For obvious reasons. 😛

 

OCTOBER 2017 ROUND-UP (CHEF, TU HAI MERA SUNDAY, RANCHI DIARIES, GOLMAAL AGAIN, JIA AUR JIA — Mini Music Reviews) + Important Announcement!!


The Important Announcement

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

Listen to the songs: Saavn
Buy the songs: iTunes

Listen to ‘Tere Mere’: Saavn
Buy ‘Tere Mere’: iTunes


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

Listen to the songs: Saavn
Buy the songs: iTunes


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 Man is 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

Listen to the songs: Saavn
Buy the songs: iTunes


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 <  < म < प < ध < नी < सां

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

Recommended Listening Order: Thoda Aur > Fashion Queen > Helicopter > Godfather



♦ 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

Listen to the songs: Saavn
Buy the songs: iTunes

Listen to “Aate Jaate Hanste Gaate”: Saavn


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 <  < 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)

 

Remake Counter:
No. Of Remakes: 35 (from previous albums) + 02 (from Golmaal Again) = 37


♦ 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

Listen to the songs: Saavn
Buy the songs: iTunes

Listen to “Jia O Jia Reprise”: Saavn


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

 

Remake Counter:
No. Of Remakes: 37 (from previous albums) + 01 (from Jia Aur Jia) = 38


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! 😉

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

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

Jab Harry Met Sejal Album Cover

 

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

To buy this album on iTunes CLICK HERE


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

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


1. Radha

Singers ~ Sunidhi Chauhan & Shahid Mallya

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

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

 

2. Beech Beech Mein

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

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

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

 

3. Safar

Singer ~ Arijit Singh

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

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

 

4. Butterfly

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

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

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

 

5. Hawayein / Hawayein (Film Version)

Singer ~ Arijit Singh

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

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

 

6. Parinda / Parinda (Search)

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

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

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

 

7. Ghar

Singers ~ Nikhita Gandhi & Mohit Chauhan

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

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

 

8. Yaadon Mein

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

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

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

 

9. Raula

Singers ~ Diljit Dosanjh & Neeti Mohan

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

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

 

10. Jee Ve Sohaneya

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

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

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

 

11. Phurrr (Film Version)

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

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

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

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


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

 

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

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

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

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

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

 

 

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