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

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

Raabta Album Cover

 

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

To buy this album on iTunes CLICK HERE


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


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

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

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

– Amitabh Bhattacharya

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

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

 

2. Raabta (Title Track)

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

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

– Irshad Kamil

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

Rating: 4/5

 

3. Sadda Move

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

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

– Irshad Kamil & Amitabh Bhattacharya

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

Rating: 3/5

 

4. Lambiyaan Si Judaiyaan

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

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

– Amitabh Bhattacharya

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

Rating: 2/5

 

5. Main Tera Boyfriend

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

Na Na Na Na!

– J-Star & Jitendra Raghuvanshi

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

Rating: 3.5/5

 

6. Darasal

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

“Inkaar mein jo chhupa hai woh ikraar ho!”

– Irshad Kamil

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

Rating: 4.5/5


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

 

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

Album Percentage: 71.43%

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

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

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

 

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

 

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

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KAATRU VELIYIDAI (MUSIC REVIEW) : Southern Spice – Tamil (Tamil Special)

Music Album Details
♪ Music by: A.R. Rahman
♪ Lyrics by: Vairamuthu, Madhan Karky, Navneet Virk & Shellee
♪ Music Label: Sony Music
♪ Music Released On: 20th March 2017
♪ Movie Releases On: 7th April 2017

Kaatru Veliyidai Album Cover

 

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

To buy this album on iTunes CLICK HERE


Kaatru Veliyidai is an upcoming Tamil language drama/romantic thriller which stars Karthi and Aditi Rao Hydari in the lead roles, and written, directed and produced by Mani Ratnam. The film is a romance between a military pilot and a doctor. Since I do not know Tamil, I cannot make out anything else about it, but I can make out that the film is a Mani Ratnam directorial and that means that it is also an A.R. Rahman musical. Scoring six songs for this movie, Rahman is expected to have taken the magic of the Ratnam-Rahman combo even further. So let’s see how far this album sticks to that!


1. Nallai Allai

Singers ~ Sathya Prakash & Chinmayi, Backing Vocals ~ Arjun Chandy, Lyrics by ~ Vairamuthu

Rahman starts off the album with a charming love song, that will surely please your senses. The composition is a breezy romantic one, with all the elements of a successful romantic song included in it. The mukhda is an apt introduction into the song, with a very soft and soothing sound, and very minimal arrangements. The hookline, when it comes, blows your mind. It is vintage Rahmanish magic — the kind where he gives something utterly simple (and which fake Rahman fans will call ‘Rahman being out of form’) and making it extremely catchy and soothing at the same time. The antara is wonderful, with its low and sombre notes. One bar of notes in that stanza sounds a lot like a bar from ‘Tu Hai’ (Mohenjo Daro). There are two antaras, composed in the same way, something we find Rahman doing very less — sticking to this convention. The arrangements are just as breezy and soothing as the composition, especially the guitars (Keba Jeremiah) which are the highlight of the arrangements. The first interlude has that guitar piece, which resembles the guitar piece in the interlude of ‘Enna Sona’ (Ok Jaanu) so much! Again, I’m not complaining. The vocals are amazing, Sathya Prakash hits the nail right on the head, and his variations and nuances are amazing. Chinmayi, though having no words as such to sing, hums a beautiful tune in the second interlude once, and once at the end of the song. Both times, her voice gives you the goosebumps very efficiently. As I’m not well-versed (what well-versed? I’m not even versed) in Tamil, I cannot comment on the lyrics, but I’ve heard from many people that Vairamuthu has used very archaic Tamil, from the Sangam Age, in this song. That is interesting, Tamil being one of the oldest languages of the world. 🙂 A breezy, love ballad that will soak you with its sweetness.

Rating: 5/5

 

2. Azhagiye

Singers ~ Haricharan, Arjun Chandy & Jonita Gandhi, Backing Vocals ~ Sid Sriram, Bawa Sahni & Keerthi Sagathia, Lyrics by ~ Madhan Karky, Punjabi Lyrics by ~ Navneet Virk

After the breezy romantic track, we have an upbeat youthful romantic song, and whatever Tamil albums I’ve heard, I’ve heard atleast one such song in each of them. And yeah, most (maybe even all) of them were by Rahman, so I guess Rahman loves to add such songs in his Tamil albums. Anyway, the composition redefines the meaning of ‘fresh’. A breeze of fresh air blows over you as you immerse yourself in this youthfully magical song. The hook composition is insanely catchy, and without understanding it, I loved it more than a lot! The way Rahman seems to have composed separate, individual mini-songs and put them all together into one song, is amazing. The seamless flow from Tamil to Punjabi and back, is something that I’ve experienced for the first time! (Yes, my mother tongue, Marathi, does have songs where Marathi and Hindi are mixed into one song, and it sounds horrible!) The humming portions by Jonita have been composed so majestically! She provides a splash of water in the fresh air that the song is. (Sorry if that was cheesy, but get my feelings!) The composition isn’t all-in-your-ears and determined to be on top of the charts, and that’s what I appreciate about it. Rahman has very humbly put a very medium-sized guitar riff (Keba Jeremiah) in the background, and decorates the rest of the composition with amazing strings (Murali, Mohan, Basker, John). The digital beats too, sound great. The harmonium and dholaks in the Punjabi interlude sound amazing, and I wish Rahman had composed such a song (I mean a whole song out of the Punjabi part) in Bollywood before the Tamil industry! The a capella backing vocals are amazing, and I wish more of it would’ve been there. The vocals are simply awesome. Arjun Chandy is in charge of the hookline, and he renders that beautifully, and charmingly. Haricharan does well in the Tamil portions, while Jonita hums her part impeccably well! Those nuances!! 💘 I wish she had more portions! (I guess I just wish everything was of more quantity in this song!!) A song effervescing youthfulness from every note.

Rating: 5/5

 

3. Vaan

Singer ~ Shashaa Tirupati, Backing Vocals ~ Arjun Chandy & Poorvi Koutish, Lyrics by ~ Vairamuthu

After two breezy romantic songs, it is time to get more intense, because here comes the vintage Rahmanish heavy composition, that just manages to find its way into every one of his albums. This composition is surreal, something that you just can’t ignore or dismiss as boring. It has some divine energy in it, which makes it universally appealing. The song has been composed on a very slow pace, and that makes it grow like slow poison. It starts with repetitions of “vaan varuvaan varuvaan…” which fade off. The sultry composition picks up even more at the “kadhal vandhaal..” part. The antara is just more entrancing. The magic is just unbelievable; it soothes you from head to toe. The arrangements are a masterpiece. There are no live instruments, except the flute (Kiran) and the piano, and the rest is digitally produced sound, which sounds amazing. I like the reverse sound effect that Rahman has added at olaces, where the sound seems to be sucked in towards the end. Sparkling, heavenly sounds accompanying the melody are just beautiful ‘tune-side’ attractions. The interlude with the vocal “ta ta ra…“, Sounds odd at first, but sets in later. The vocals by Shashaa are amazing; she has sung it very soulfully. An amazingly intense romantic song, that will leave the listeners in a trance.

Rating: 5/5

 

4. Saarattu Vandiyila

Singers ~ A.R. Raihanna, Tipu & Nikhita Gandhi, Backing Vocals ~ Arjun Chandy, Nivas, Santhosh, Aparna, Deepti Suresh, Abhay Jodhpurkar, Lyrics by ~ Vairamuthu

A traditional Tamil wedding song is up next on the soundtrack, and this is something I’ve never heard before. It is so beautiful to drown into some other wedding song, than the typical Punjabi wedding songs we hear in Bollywood. The composition is aptly upbeat, and trademark Rahman composition styles find their way into this one too. The hookline is really catchy, and the folksy beat really makes you dance hard. The arrangements are really vast, and awe-inspiring. The percussions (T.Raja, Yash, Kumar) are what stand out right away, the thavil resounding beautifully. Right from the beginning,the percussions are present. The santoor (Subhani) enters next, and its folksy sound makes everything sound even more beautiful. The flute (Kamlakar) is really sweet, and the solo interlude on the flute is amazing, where the ukulele (Lokesh) joins it. Again the guitar (Keba Jeremiah, Chris Jason) plays an important part in the arrangements. The vocals are really energetic, and the way the female singers, A.R. Raihanna and Nikita Gandhi, bring that sharp edge to their song, to sound more rustic, is really commendable! Tipu is great as the male singer. Backing vocalists play an integral role in the song too. A nice trip to a traditional Tamil wedding.

Rating: 5/5

 

5. Tango Kelaayo

Singers ~ Haricharan & Diwakar, Lyrics by ~ Vairamuthu

Now, from here, I felt the album slipping out of my hands. (Or ears.) The next song is a Tango, named ‘Kelaayo’. Rahman has provided a very efficient tango song, and the composition is aptly sensuous, and sultry. The sharp pauses and smoothly flowing notes, that usually define Tangos, are all present, yet I felt some barrier preventing me from loving the song to infinity, like I did the previous ones. Might be because of the composition, which is a quite typical one, if you compare it with other Tangos. The “unnai pirindhaal” effect has increased the song’s viability, without which it might just have become staid. The antara is a bit below expectations too, but that crescendo taken by Haricharan is beautiful. The arrangements are heavenly, getting the Spanish theme right. The accordions (Karthik Devaraj) and the strings hit the bullseye. The jingles and castanets too, are intriguing. There is one complete musical piece at the end which is basically a Spanish music showcase, and it provides a hard-hitting end to the song. Haricharan sings it well, and as Rahman cleared in one of his Facebook replies to a fan, Haricharan’s voice itself has been tweaked and pitch modulated to sound like that female voice you can hear in the song. Interesting fact! A song that is good, but you connect to it only partly.

Rating: 4/5

 

6. Jugni

Singers ~ A.R. Rahman & Tejinder Singh, Rap Vocals ~ Rajakumari, Shikara, Lyrics by ~ Shellee

The last song is the song I liked the least, from the album. Yes, it is also the only song from the album I totally understood as far as language goes. However, I guess I didn’t understand it as far as its composition and arrangements go. The song is such a typical Punjabi affair, that I am confused whether I like it or not! The composition is very, very monotonous, and that “JUGNI! JUGNI OH!” hook sounded quite irritating. The beats are groovy, but that didn’t make up for the flawed composition, which I just couldn’t catch up with. It goes all over the place, in the usual Rahman way of composition, but this time, I couldn’t grasp any of the tunes, except the aforementioned one, because it was irritatingly catchy. The arrangements consist of gratuitous bass, which sounds good for some time, and gets boring later on. The stereotypical “oye oye” which has been added in many places, is weird. But Rahman has used more great flute work here, and an entrancing sound. The arrangements on the most part are intriguing, but the composition is at fault. Tejinder Singh, “Voice India 2” finalist, excels with his rendition, but again, the composition doesn’t let him marvel too much. Rahman’s parts are those irritating outbursts of “jugni!“. Shellee’s lyrics make it out to be some kind of introductory song for the female lead, where she’ll be shown as a badass main character. A song where the composition plays the spoilsport, and how!

Rating: 3/5


Kaatru Veliyidai is an album that radiates the Rahman-Ratnam combo’s magic out-and-out. With the exception of one and a half songs, all songs are something that will go down in Tamil music industry’s history. Rahman has tried to finish up that small link which was missing in his last album for Mani Ratnam, ‘O Kadhal Kanmani’, and covers it up beautifully with this, which definitely supersedes ‘OKK’. For me, as a Hindi music listener, I found this album an intriguing mix of Western tunes, Tamil folk rhythms, romantic tunes and mixes of world music. Another masterstroke from the Mozart of Madras! 

 

Total Points Scored by This Album: 5 + 5 + 5 + 5 + 4 + 3 = 27

Album Percentage: 90%

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: Nallai Allai = Azhagiye = Vaan = Saarattu Vandiyila > Tango Kelaayo > Jugni

 

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

“I” M LOVIN’ IT!! (I – HINDI VERSION – Music Review)

Music Album Details
♪ Music by: A.R. Rahman
♪ Lyrics by: Irshad Kamil
♪ Music Label: T-Series
♪ Music Released On: 29th December 2014
♪ Movie Released On: 15th January 2015

I Album Cover

I Album Cover

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

To buy this album on iTunes CLICK HERE


is a Tamil that has released in Telugu and Hindi as well. The film stars Chiyaan Vikram and Amy Jackson in lead roles, and has been directed by renowned filmmaker Shankar. The film has been produced by V. Ravichandran and D. Ramesh Babu. In the South, the film’s music album has been creating waves ever since its release in September this year. That’s reasonable, considering that the film is being marketed as an A.R. Rahman musical, naturally increasing the buzz! Also given the fact that the Tamil album was the bestselling album of the year on iTunes India, I was too excited to wait for the Hindi album! And after that, due to unavoidable circumstances, I wasn’t able to review anything for two weeks, so here I am posting the review very, very late! 😅

And yes, I am returning to my original style of writing. I found it more comfortable and the old style was also one of the reasons for the delay of this review…and all that followed. 😅


1. Issak Taari
Singers ~ Nakash Aziz & Neeti Mohan

Who better than the Mozart of Madras knows how to infuse rowdiness and class into the same song? Yes, Rahman once again shows his excellence in composing catchy tunes, that may sound extremely weird at first, but later on make you go crazy like anything! The techno tunes he has used, make you listen intently for anything interesting, and sure enough, some unexpected dhols enter to make the crazy experience crazier still. On top of that, Nakash Aziz has sung the song out-of-this-world-ly! The amount of expression and energy in his voice makes it clear why Rahman chose him to do the honours! Even Neeti, in her brief part of saying just “ishaq taari” again and again in different tunes, impresses a LOT! Each time she sings it, it sounds so fresh! Her backing vocals towards the end… Bravissimo! Irshad Kamil’s lyrics are awesome too! They wonderfully reflect the feelings of a lovestruck Romeo, she same time they make us laugh. “Kaale tavey pe gorey omelette si, apun ki woh kaali aankhon mein yun chamke!” This line itself is GENIUS! 😁 Gonna make you crazy like no song has made you recently! Issak Taari with this song! #5StarHotelSong!

 

2. Tum Todo Na (Male Version) / Tum Todo Na (Female Version)
Singers ~ Ash King & Sunidhi Chauhan / Bela Shendey & Ash King

{Let me specify a few things here before you bombard me with tomatoes and potatoes and eggs for the flaw in the credits: Both the versions are technically duets, so I don’t see what problem T-Series had to name the songs as Version 1 & Version 2. But the male singer has more portions in the so-called Male Version, hence the name. Same with the Female Version. So let’s bear with this terrible flaw of T-Series. 😒😝}

Grand piano welcomes us into this song, which is after some time joined by beautiful flute. The unique voice texture of Ash will instantly grab your attention. This time, Rahman has succeeded in composing a beautiful Broadway-ish composition. It will give the feel of sitting in a theater and watching a musical play. The way Rahman has pulled off the Western style without any flaws, is amazing! A few minutes into the song, comes a grand musical piece, which you don’t want to miss for all it’s worth! Sunidhi’s part (as stated earlier, very short) doesn’t impress as much, but provides a bit of relief in this intense, sad song. The interludes have been brilliantly created, with piano and flute awesomely complementing each other. The conclusion to the song is something that haunts you for a long time and triggers those goosebumps. Irshad’s lyrics are good, but sometimes sound odd, because after all, it is a dub. The so-called Female Version does not manage to create half the ambience that the Male Version did, probably because of Bela Shendey not quite performing up to the mark. In Tamil, this version was better, but in Hindi, sadly, the choice of singer has terribly altered my choice. Everything else in the Female Version however, is beautiful, like Rahman’s arrangements, softer than the Male version. Ash’s cameo towards the end is also nice. A goosebumps-invoking haunting melody, with the power to get you emotional for a while. I would vouch for the “Male Version”, which is definitely a #5StarHotelSong!

 

3. Tu Chale
Singers ~ Arijit Singh & Shreya Ghoshal

Taking a look at the singers itself, anyone familiar with Bollywood music (or, for that matter, any Indian film music) can easily get an idea of what’s in store for them. Just as expected, the song takes you to a different world altogether. Simple, ordinary guitar strums open up the song. Though they are very simple, they come across as so catchy because of the way they are presented. Arijit, singing for Rahman for the second time now after ‘Kochadaiiyaan’, just nails it here too, just as he did the first time he sang for Rahman. The beautiful melody is literally enhanced by his singing, so much so, that he surpasses Haricharan who sang the Tamil song. Shreya with her classical-based portions impresses as she always does and her sweet voice suits the composition perfectly. Her di na tirkit taani na parts are just beautiful! The classical-based melody and the contemporary arrangements by Rahman prove to be great fusion and sound great with each other. The two antaras which are different from each other, both impress. The composition would definitely remind you of the Rahman of ‘Taal’ or ‘Jeans’. Rahman has added brilliant arrangements, mostly that of guitar supported by flute. Irshad’s lyrics are brilliant too, and again, dubbing has been done perfectly! An awesome, beautiful, melodious romantic song, which has been enhanced by the perfect choice of singers! Must listen! #5StarHotelSong!

 

4. Aiyla
Singers ~ Shiraz Uppal & Natalie Di Luccio

The next track probably offers some of the craziest stuff you’ve heard lately. First of all, the lyrics do not make any sense at all, but sound awesome nevertheless with the unique composition. Shiraz comes out of his comfort zone for this song, and does a great job here, as well. The song is an upbeat and catchy song which might not attract you in the very first listen, but later will definitely grow on you. Rahman’s composition is complex and very hard to learn, what with all the twists and turns it takes. Each line is different from the other. He has used many instruments to ensure that our attention is fully towards the song, mostly techno sounds, with Arabic drums, dhols, strings and piano joining at parts to make it more attractive. However, Natalie has to be given full credit for making this song what it is with her voice and vast range of notes. The opera parts, she carries out very well, just as she does the normal parts. The length of the song might disturb some at first, but once you start liking the song, you might not be able to keep track of time! A very innovative affair by the Mozart of Madras! Something very unique and new! #5StarHotelSong!!

 

5. Lady O
Singer ~ Nikita Gandhi

Full of techno-sounds, and having an out-and-out international feel, I cannot guarantee that everyone will love this song, especially the classical music lovers. However, I’ve loved it and appreciate how well Rahman has tried to compose a fully Western modern number. Newcomer Nikita sings some unintelligible words with ease and expertise, and does well, but I missed Shalmali in this song. The beat and tempo change at around 54 seconds into the song has been done very smoothly and surprisingly, doesn’t come across as abrupt! The Antara has to be the best part of the song. Lyrics don’t really seem to play much of an important role in the song. That they’re kind of hard to make out is a different story altogether. Besides universal appeal, everything else has fallen right into place. And just because of this factor, the song has not succeeded in getting the tag which all the other songs have got. Actually, very efficiently composed in a fulltoo international style, but might not appeal to all kinds of audience! Do try it!


am — umm… Is — an album full of variety, and with all songs composed very dedicatedly and efficiently by Rahman. All to the songs work in their place and all sound awesome when heard as individual songs, as well! This is a pretty rare thing to happen, and I’m sure the composer doesn’t do it purposely, but it just happens, unknowingly. Except maybe the female version of ‘Tum Todo Na’ and ‘Lady O’ a bit, all the songs have repeat value and universal appeal. The album is enough for your to say after hearing it, “I love I!!”

 

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:

Tu Chale > Tum Todo Na (Male) > Issak Taari > Aiyla > Lady O > Tum Todo Na (Female)

(on basis of my favourite in the album — you don’t have to follow, you can always have different opinions!) 

 

Which is your favourite song from “I”? Please vote for it below! 😊

Next “dish”: Alone, Chefs: Ankit Tiwari, Mithoon, Jeet Gannguli, Raghav Sachar & Dr. Zeus