COMPLETELY REBELLIOUS!! (BAAGHI 2 – Music Review)

Music Album Details
♪ Music by: Sandeep Shirodkar, Arko Pravo Mukherjee, Mithoon, Gourov-Roshin, Pranay M. Rijia, Laxmikant-Pyarelal & Panjabi MC
♪ Lyrics by: Ginny Diwan, Javed Akhtar, Arko Pravo Mukherjee, Sayeed Quadri, Kumaar & Channi Khannewala
♪ Music Label: T-Series
♪ Music Released On: 20th March 2018
♪ Movie Released On: 30th March 2018

Baaghi 2 Album Cover

 

Listen to the songs: Saavn

Buy the songs: iTunes


Baaghi 2 is a Bollywood action film (read comedy) starring Tiger Shroff, Disha Patani, Manoj Bajpayee, Prateik Babbar, Darshan Kumar, Randeep Hooda and Deepak Dobriyal in crucial roles. The film is directed by popular dance choreographer Ahmed Khan, and produced by Sajid Nadiadwala. If you remember, the first film (which I hated) had a quite likeable album, by Meet Bros., Amaal Mallik and Manj Musik. A “bonus” song by Pranay Rijia was released later. For this album, the music composers of the first film are completely forgotten, and except for Pranaay, they have all been replaced, by Sandeep Shirodkar, Gourov-Roshin, Arko Pravo Mukherjee and Mithoon. Now, I basically know that there will be a horde of remakes in this album, just by looking at the composers’ names — Sandeep Shirodkar and Gourov-Roshin have basically just created almost only remakes ever since they debuted. Arko and Mithoon’s songs do pique my interest, but nothing like “Oh, I’m so excited, I’m dying of excitement”.. nothing of that level. Anyway, let’s see just how well this album upholds the reputation (or demolishes it) of its predecessor.


Just because he has two songs, both remakes, Sandeep Shirodkar becomes lead composer for Baaghi 2. (It was Meet Bros. in ‘Baaghi’). His first remake is Mundiyan, a remake of Labh Janjua’s ‘Mundiyan Toh Bachke Rahi’. I must say, though, the song is quite enjoyable. Sandeep gets the Bhangra vibe right, and that’s the most important in such songs. Navraj Hans and Palak Muchhal make for some interesting vocals — especially Palak, who explores such songs once (okay, maybe twice, but not more) in a blue moon. She even raps! Navraj Hans is a vocal powerhouse as it is; there’s no use writing that he’s done well (it was taken for granted that he would). The one place Sandeep does mess up though, is the uncountable vocal breaks, disturbing proceedings many times, slowing down the pace of the song.
He doesn’t fare as well in his second song Ek Do Teen, remake of the song with the same name from ‘Tezaab’. Now, this is a very iconic song, not so much for its composition and music, (which was quite clichéd, if I may say so) than for Madhuri’s iconic moves on the dance floor. But even then, the flak the song is receiving is quite unjustified. Maybe it’s because the dance moves have been slaughtered (they have), or maybe it’s because the remake trend has achieved this abominable level these days. But the song isn’t that bad. Shreya substituting for Alka is a great decision; she sounds okay in the mukhda but amazing in the antaras. At least we haven’t gotten somebody like Neha Kakkar in charge of this song. The music is functional at best, with nothing remarkable in Sandeep’s new arrangements, except the easy-to-miss electric guitar riffs, and the spunky Bappi-ish disco sounds. Also, why does she only count till 20 here! That’s destroying the point of the song! 😂
Mithoon’s Lo Safar is a better result of his composition sung by Jubin Nautiyal, than the last one, which was ‘Tum Mere Ho’ (Hate Story IV). Here, at least, the composition isn’t overly sensuous, and not even trying to be. It is just a humble typical Mithoon melancholic melody, supposed to be a romantic song but playing more like a sad song. Jubin sings it well, and Mithoon’s arrangements consisting of nice guitar riffs, an amazing rap on many drums at the same time, and a serene flute, work wonders. Sayeed Quadri’s lyrics are just not the kind of lyrics he’s known for. Having written so many beautiful lyrics (especially the amazing ‘Ji Huzoori’ from ‘Ki & Ka’) for Mithoon, this should have been much better.
Gourov-Roshin’s Soniye Dil Nayi is also a remake of some T-Series pop single, whose credits on YouTube are so vague, they don’t credit the original composer, even in the video for the original song! The only good thing about this song, is that it doesn’t let Ankit Tiwari’s lazy voice get too much control over the song, because Shruti Pathak arrives at the right times to save us, with amazing aalaaps. Her portions are amazing, but the composition both of these singers have to sing is lazy, boring, dull and any other negative adjective you can think of. The composers try their best to ape Ankit’s composing style, so that his lines always end with us expecting a “Sunn Raha Hai Na Tu..” or a “Teri galliyan..” to follow. Too much said about this song.
The only composer repeated from ‘Baaghi’ is Pranaay Rijia, whose song ‘Get Ready To Fight’ from ‘Baaghi’ I neither reviewed nor heard (except in the movie) because it released late as a single track. Here he comes back to present Get Ready To Fight Again a song which you should be ready to fight again. That’s about it. I won’t tell you about the horde of singers roped in to sing a worthless song, and I won’t tell you about the actionless arrangements, even though this is probably the background song for when Tiger Shroff is showing off his stunts. This time the song gets a more folksy vocal treatment, thanks to Jatinder Shah’s vocals. Benny Dayal in the original song sounded terrible. (Let’s just put that out there since I hadn’t reviewed that.)
The best song of the album, more out of helplessness, than actually on its merit, is Arko’s O Saathi, a romantic melody sung by Atif Aslam, which fits perfectly into the Arko template of romantic songs. It might be a rehash of ‘Nazm Nazm’ (Bareilly Ki Barfi) and ‘Tere Sang Yaara’ (Rustom), with the exact same duff rhythm, and strings, and everything else, but it nevertheless sticks with you, because it is charming in spite of being heard before. Payal Dev’s humming lends the song a serene quality. The antara of the song is amazing; it follows a really unconventional composition, at least unconventional for Arko’s music. Atif sings it impeccably, especially the “Allah Mujhe” line. The hookline’s tune seemed forcibly stretched to cover about fifteen seconds of runtime each time it plays.. that’s about a minute that could’ve been spent in adding another antara! But I must say, Arko’s lyrics are beautiful, especially the mukhda!


While I still listen to ‘Baaghi’s music album sometimes even now, when I’m bored, I doubt I’ll listen to this album even one month from now. While “‘Baaghi’s album had zero remakes, this has four. While “‘Baaghi’s album was not a ‘BAAGHI’ (rebel) at all, this one totally is!

 

Total Points Scored by This Album: 7.5 + 6.5 + 7.5 + 5.5 + 4 + 8 =

Album Percentage: 65%

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: O Saathi > Lo Safar = Mundiyan > Ek Do Teen > Soniye Dil Nayi > Get Ready To Fight Again

 

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

Remake Counter:
No. Of Remakes: 06 (from previous albums) + 04 (from Baaghi 2) = 10
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KUCHH ACHHE REMAKES BHI HOTE HAIN!! (KUCHH BHEEGE ALFAAZ – Music Review) : Dessert Review

Single Track Details
♪ Singers: Jubin Nautiyal & Palak Muchhal
♪ Music by: Anshuman Mukherjee & Jatin-Lalit
♪ Lyrics by: Majrooh Sultanpuri
♪ Music Label: Saregama
♪ Music Released On: 5th February 2018
♪ Movie Released On: 16th February 2018

Pehla Nasha Once Again

 

Listen to the song: Saavn

Buy the song: iTunes


Kuchh Bheege Alfaaz is a Bollywood romantic drama starring Geetanjali Thapa and Zain Khan Durrani, directed by Onir and produced by Yoodlee Films. The film has no music album as such, but since ‘Pehla Nasha’ (Jo Jeeta Wohi Sikandar) has been used as to carry forth the narrative, the makers have recreated it as a promotional video. The recreation has been done by Anshuman Mukherjee.


The only song released from this movie is a remake of Jatin-Lalit’s super hit romantic classic, ‘Pehla Nasha’ (Jo Jeeta Wohi Sikandar), and it is aptly named Pehla Nasha Once Again. Anshuman Mukherjee, a newbie, strives hard and succeeds too, in making this Remake more melody-based, than sound-based. What I mean is that, in a time where remakes mostly mean converting an old song into a club number with a groovy EDM hook, this man has based the beautiful melody by Jatin-Lalit, solely on acoustic sounds, something we would never have gotten if somebody else had remade it, especially one name that is right at the tip of my fingers but you can guess who it is. Jubin and Palak do justice to the original composition and singers, adding their own little nuances once in a while. I enjoyed the way the song starts off slow but quickly picks up pace during the “chun liya” part. All in all, this song does what a remake is supposed to — it creates a nostalgic feeling!

 

Total Points Scored by this Track: 7.5

Percentage: 75%

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

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

Remake Counter:
No. Of Remakes: 05 (from previous albums) + 01 = 06

NO MUSICAL SORCERY WHATSOEVER!! (AIYAARY – Music Review)

Music Album Details
♪ Music by: Rochak Kohli & Ankit Tiwari
♪ Lyrics by: Manoj Muntashir
♪ Music Label: Zee Music Company
♪ Music Released On: 1st February 2018
♪ Movie Released On: 16th February 2018

Aiyaary Album Cover

 

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

To buy this album on iTunes CLICK HERE


Aiyaary is a Bollywood thriller starring an ensemble cast comprising Sidharth Malhotra, Manoj Bajpayee, Rakul Preet Singh, Vikram Gokhale, Pooja Chopra, Naseeruddin Shah, Kumud Mishra, Adil Hussain and Anupam Kher. The film is directed by Neeraj Pandey and produced by Reliance Entertainment and Pen Studios. Well, the fate of the film and its music has akready been decided, but for the record, I’m completing the albums I missed on my break– this being one of the first ones. The music is by Rochak Kohli and Ankit Tiwari, the former getting a lot of work nowadays, but the latter getting almost no work at all. Anyway, I expect an album that has nothing to do with the film, because it’s a Neeraj Pandey film after all. Hopefully, the songs will be listenable out of the film, if they’re in the film in the first place, that is. Let’s dive right in.


Rochak Kohli’s start to 2018 comes with Lae Dooba, a rehash of his 2017 hit ‘Rozana’ (Naam Shabana), this time in Sunidhi Chauhan’s voice. The song is great even by itself though, with Sunidhi slaying it as always with the calm tune, and the soothing arrangements playing their magic on you. The antara’s composition treads dangerously close to that of ‘Rozana’s antara, and Manoj Muntashir’s lyrics also become ‘Jab Chhooke Tu Nikle’ here, just like it was ‘Mujhe Chhooke Tu Guzar‘ in ‘Rozana’. Rochak is getting typecast now, but still manages to give great music. The arrangements are soothing too, with nice percussion (Sanket Naik) and amazing guitars (Mohit Dogra, Ankur Mukherjee).
His other song Shuru Kar has a nice anthemic vibe to it, harking back to Neerja’s ‘Aankhein Milayenge Darr Se’. Amit Mishra is the perfect rockstar to sing this song, and Neha Bhasin in her short role does well. It works in its intentions to rouse a certain motivation in our heart. Muntashir’s lyrics here are good too, going well with the patriotic and motivational vibe of the song. What will put one off instantly though, are the three stanzas with the exact same tune, making the song sound too repetitive, to top its already repetitive hookline.
Added later to the album, giving me a chance to review it now, is Lae Dooba By Asees Kaur, which is a clubbish interpretation of that song, where Asees graduates from her position as the backing vocalist, to the lead vocalist. Rochak’s lively electronic arrangement here is fresh and entertaining, and what’s best is that it has a life out of the movie. (Actually all Neeraj Pandey movie songs have lives outside the movie because they rarely fit into the movie – “M.S. Dhoni” being the exception!)
Ankit’s Yaad Hai sounds a lot like a Himesh Reshammiya composition, especially the parts the composer himself sings. Palak Muchhal sounds great here, except for a few blunders in diction that should have been rectified. (The first few lines are barely intelligible.) Arrangements are beautiful — especially the piano (Zafar Iqubal Ansari) and violins. Reading DJ Phukan’s name (one of Pritam’s frequent collaborators) in the credits as the arranger and producer doesn’t surprise me, because such beautiful arrangements can only be done by him! The lyrics of this song happen to be the best of the album; not surprising, seeing the past record of songs that Tiwari and Muntashir have made together.


A typical Neeraj Pandey short, simple and straightforward soundtrack with no ‘Aiyaary’ (sorcery) whatsoever.

 

Total Points Scored by This Album:8.5 + 6.5 + 7.5 + 8 = 30.5

Album Percentage: 76.25%

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: Lae Dooba > Yaad Hai > Lae Dooba By Asees Kaur > Shuru Kar

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

DECEMBER 2017 ROUND-UP (FUKREY RETURNS, FIRANGI, TERA INTEZAAR & MONSOON SHOOTOUT – Mini Music Reviews)

It is time for my Round-Up for December 2017, which is slightly delayed due to me being so busy, but better late than never, right?

December 2017 Round-Up

This Round-Up includes the following music reviews:

1) Fukrey Returns – Prem-Hardeep, Jasleen Kaur Royal, Sumeet Bellary, Shaarib-Toshi, Gulraj Singh, IshQ Bector, Shree D & Laxmikant-Pyarelal

2) Firangi – Jatinder Shah

3) Tera Intezaar – Raaj Aashoo

4) Monsoon Shootout – Rochak Kohli, Viveick-Mayur, Chinmay Harshe, Chetan Rao & Vikram Shastry

The music review for “Tiger Zinda Hai” will be posted separately.


♦ Fukrey Returns, But Ram Sampath Doesn’t! – FUKREY RETURNS Music Review

♪ Music by: Prem-Hardeep, Jasleen Kaur Royal, Sumeet Bellary, Shaarib-Toshi, IshQ Bector, Shree D, Gulraj Singh & Laxmikant-Pyarelal
♪ Lyrics by: Kumaar, Late Anand Bakshi, Aditya Sharma, Satya Khare, Raftaar, Rohit Sharma, Arsalaan Akhoon, Shree D, Mrighdeep Singh Lamba & Vipul Vig
♪ Music Label: Zee Music Company
♪ Music Released On: 16th November 2017
♪ Movie Released On: 8th December 2017

 

Listen to the songs: Saavn


So Fukrey has returned. Sadly, the man behind “Fukrey”s enjoyable music, Ram Sampath has not returned, and after his underwhelming stint in ‘Raees’, he doesn’t get a chance to bounce back with a franchise that was initially his. Anywho, let’s judge on what we have been given.
Prem-Hardeep, the original composers of ‘Kala Chashma’ before Badshah remade it in ‘Baar Baar Dekho’, get a chance now, to ruin somebody else’s song. Laxmikant-Pyarelal’s ‘O Meri Mehbooba’ (Dharam Veer) gets ‘remade’ into Mehbooba, a banal club song which starts and ends with the Fukras being rejected by a random girl in the club, who happens to be singing in Neha Kakkar’s voice. Yasser Desai gets one line that repeats over and over again, and it is frankly the best line of the song. Raftaar’s rap is too stereotypical. Jasleen Kaur Royal’s Peh Gaya Khalara, though fitting into her now-overused Punjabi dance number template, is quite enjoyable, with the sweet vocals by herself and Divya Kumar, Akasa Singh & Akanksha Bhandari accompanying them. The arrangements are what make the track more enjoyable, and also the quirky lyrics.
Familiar territory is entered in Ishq Bector & Shree D’s semiclassical Raina, which, though quite soothing, gets tedious due to its length (it is the only song on the album over three minutes long, and goes up to over four minutes long!) The arrangements help propel it forward though, and also Shree’s vocals. Shaarib-Toshi enter the Bollywood scene after a long time with a delightful Punjabi melody, Ishq De Fanniyar. The male version by Shaarib is great, but the Female Version has all the feels, hence scores higher. The beautiful melody seems like a wonderful sequel to the first movie’s ‘Ambarsariya’. The lyrics are sweet as well, not to mention amazing accordions in the arrangements.
The techno sounds come along with the last three songs, bunched up together, out of which two are by Sumeet Bellary (composed for ‘Fuddu’ last year), and one is by (another person who re-enters Bollywood as a composer after a loooooong time, longer than Shaarib-Toshi), Gulraj Singh.
Sumeet’s two songs rely on weird techno gimmicks, which fail to propel the songs forward. Tu Mera Bhai Nahi Hai is a quirky friendship anthem, but is pulled down by lack of catchiness in both music and composition. Bura Na Maano Bholi Hai is like a title song, but gets all over the place in no time. The arrangements are slightly better here. Both songs are sung by Gandharv Sachdev, wit Shahid Mallya joining him in the latter song, and aren’t all that well sung.
Gulraj does well in his title song, Fukrey Returns, with a nice catchy musical loop, and heavy use of brass and techno sounds which makes his song sound even better. Siddharth Mahadevan on the vocals is a bonus.


Not as great as the first movie’s album, but still a commendable album considering the amount of new talent on there. But nevertheless, I wish Ram Sampath had returned!

 

Total Points Scored by This Album: 2.5 + 3.5 + 3.5 + 4 + 4 + 3.5 + 3 + 3.5 = 27.5

Album Percentage: 68.75%

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: Ishq De Fanniyar = Ishq De Fanniyar (Female) > Peh Gaya Khalara = Tu Mera Bhai Nahi Hai = Raina = Fukrey Returns > Bura Na Maano Bholi Hai > Mehbooba

Remake Counter:
No. Of Remakes: 43 (from previous albums) + 01 (from Fukrey Returns) = 44


♦ Quite A Desi Album! : FIRANGI Music Review

♪ Music by: Jatinder Shah
♪ Lyrics by: Dr. Devendra Kafir, Ashraf Ali & Krishna Bhardwaj
♪ Music Label: Zee Music Company
♪ Music Released On: 21st November 2017
♪ Movie Released On: 1st December 2017

 

Listen to the songs: Saavn


The song with almost the least amount of Punjabi words (second only to ‘Gulbadan’, which comes later on in the album) in its lyrics, Oye Firangi, starts the album off, and Jatinder Shah steals your heart right away. The charming melody immediately gets you grooving — thanks to a little EDM twist in the hookline — and though it is very simple, it is amazing thanks to the programming, and Sunidhi’s marvellous voice. There comes a British-era ballroom style orchestral portion at the end, but I wish the composer had extended that into another antara instead of ending the song with it! Another charming but heard-before melody, Sahiba Russ Gayiya, starts from where ‘Channa Mereya’ ended, with a similar structure and arrangement. Rahat’s voice is a boon to the song, and it’s the first song of his in a long time that doesn’t get on my nerves.(Ahem, ‘Mere Rashke Qamar’!) I love the way he pronounces the hookline. The Unplugged Version sung by Shafqat Amanat Ali, is funnily named ‘Sahiba (Male)’, as if Rahat’s version wasn’t by a male singer. The song itself is an improvement on the original, in that we get to hear Shafqat’s impeccable aalaaps, and though the choice of Shafqat doesn’t make it sound less like a Pritam song in general [Shafqat is just as much of a Pritam camp singer as Rahat is!] it surely does sound less like ‘Channa Mereya’, because the electric guitars have been toned down. Acoustic guitars play the larger role here. However some factors make both versions balance out at the end.
If ‘Sahiba’ had ‘Channa Mereya’ written all over it, Tu Jit Jawna has ‘Bhaag Milkha Bhaag’s title song all, and I mean ALL over it! Daler Mehndi, who I wish had sung the BMB number too, sings this one, and so it is quite bearable, but otherwise, it falls flat and sounds hollow in its emotion. It is also lyrically a counterpart to ‘Oye Firangi’, except Daler paaji doesn’t call him a ‘Firangi’ (foreigner), while Sunidhi did.
Gulbadan is a Qawwali-esque number, sung by Mamta Sharma. Good to hear her sing a different kind of song, though I’m sure the video will be the same kind of Bollywood ‘item number’. The hookline is greatly composed, with amazing arrangements by Shah, but again, falling into the too much tried-and-tested category of arrangements. I guess the best that comes out of this song is hearing Mamta Sharma’s gentle voice, because she thankfully hasn’t been made to sing in the annoying loud voice of hers.
But the album’s best is the wonderful folksy number, Sajna Sohne Jiha, which transports you back to the Punjab of the olden days. Wadali Bros’ Qawwali ‘Ve Sone Diya Kangna’ has been given a nice reinterpretation by Shah, and it works so well. The rhythms at the beginning really bring out the song’s folksiness, and Jyoti Nooran’s strong voice helps propel it to the finish line, where it emerges the winner compared to the other songs of the album!


A very desi album to the film ‘Firangi!’

 

Total Points Scored by This Album: 3.5 + 3.5 + 4 + 3.5 + 3.5 + 5 = 23

Album Percentage: 76.67%

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: Sajna Sohne Jiha > Sahiba Russ Gayiya (Shafqat) > Oye Firangi = Tu Jit Jawna = Gulbadan = Sahiba Russ Gayiya



♦ No Intezaar for This Album! : TERA INTEZAAR Music Review

♪ Music By: Raaj Aashoo
♪ Lyrics by: Shabbir Ahmed
♪ Music Label: T-Series
♪ Music Released On: 11th November 2017
♪ Movie Released On: 1st December 2017

 

Listen to the songs: Saavn


After a long time (or is it the first time?), one single composer gets a chance to compose an album for a film starring Sunny Leone. Somehow, she debuted smack in the middle of the multicomposer craze and so, got mainly multiple composers to compose for all her films! Raaj Aashoo handles the album.
The title track, titled Intezaar Title, instead of a more apt ‘Tera Intezaar’ (Obviously, because that’s the film’s name), is a dreary 2000s melody, sung by Shreya Ghoshal too, as if she is still in her debut year. Adding to the ennui, is the Qawwali-ish chorus. Raaj’s composition is good, but dated. The arrangement is the best thing about the song, especially the flute. Another very typically 90s melody, Khali Khali Dil, sees Payal Dev and Armaan Malik at their clichéd best. The digital sounds do not help make it more ‘modern’ or anything, and even the harmonica fails to create any impact. Quite a similar sound follows in the dreary Mehfooz, another song straight out of Nadeem-Shravan’s music-bank. The guitar work makes it sound like a version of Mithoon’s ‘Sanam Re’ title track, sans the tablas. Yasser gets a version, and, sounding like Arijit as always, manages to make it sound genuinely interesting. The arrangements here too make this song much more interesting than ‘Khali Khali Dil’. The song appears in two more versions, one by Palak Muchhal and the other by a new singer named Hrishikesh Chury. Palak’s 2½ minute long version fares better than Hrishikesh’s normal length one, because of the pleasant arrangements. Also, Hrishikesh tries to sound like Kumar Sanu.
The best song on the album, Abhagi Piya Ki, becomes the best only because the others don’t deserve it. It appears in two versions, a banal one sung jarringly by Kanika Kapoor and Raja Hasan, and a slightly better version sung much better by Payal Dev and Javed Ali. The tablas that went missing from ‘Mehfooz’ seem to have come to this song, and they play in surplus. The semiclassical touch to the song is good, but the 90s melancholia seems to have followed the composer like a thundercloud whenever he sat to compose for this film.
The only song that does not sound anything like a 90s song is Sexy Baby Girl, and it doesn’t work because it tries to sound uber-cool with its lead singer Swati Sharrma, like always, trying to add unnecessary style to her words, resulting in a disaster. Also, the lyrics are cringeworthy.


This is not an album anyone would have waited for. 

 

Total Points Scored by This Album: 3 + 2 + 2.5 + 2.5 + 2 + 3 + 3.5 + 3 = 21.5

Album Percentage: 53.75%

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: Abhagi Piya Ki (Javed/Payal) > Abhagi Piya Ki = Intezaar Title = Sexy Baby Girl > Mehfooz = Mehfooz (Palak) > Mehfooz (Hrishikesh) = Khali Khali Dil



♦ Surprising Monsoon in Winter!!: MONSOON SHOOTOUT Music Review

♪ Music by: Rochak Kohli, Viveick Rajagopalan, Mayur Narvekar, Chinmay Harshe, Chetan Rao & Vikram Shastry
♪ Lyrics by: Sumant Vadhera, Kartik Krishnan, Deepak Ramona, Chinmay Harshe, Rohit Bhasy, Neeraj Sharma, Vinit Gulati, Nidhi Gulati
♪ Music Label: Saregama
♪ Music Released On: 19th December 2017
♪ Movie Released On: 15th December 2017

 

Listen to the songs: Saavn


Rochak gets two songs, and reminds us why he’s one composer that keeps popping up in numerous albums scattered over the year’s span. It is because of his strong melodies. Pal is a cherishable melody which, though predictable, does give you goosebumps, and makes you want it to rain. Arijit’s heart-touching rendition is enough to make anyone fall for the song. On the other hand Miliyo Re is a very Sachin-Jigar-ish romantic song, with Monali and Rochak behind the mic, with vocals that aren’t amazing, but are functional. The composition is good but very commonplace; not as distinct as Rochak’s other songs this year.
Viveick-Mayur present their only song Andheri Raat next, a haunting song with weird Marathi rap, and awesome Punjabi-flavoured male vocals. Neha Bhasin kills it behind the mic, as does her co-singer, Rajiv Sundaresan, doing the aforementioned Punjabi-flavoured portions. The Marathi rap by Aklesh Sutar is funny, and quite weird too.
The other three songs are quite situational, all by newcomers, with neither one exactly standing above the others. Chinmay Harshe’s Miss You Balma, by Akriti Kakar, is experimental but has you questioning “Why??” because the jazzy composition and the rock arrangements don’t really gel well with each other. Akriti aces the vocals though, singing in an unusually (for her) low pitch. The other duo, Chetan Rao & Vikram Shastry, present two songs, one being a folksy item song Maachis Ki Teeli, in which the very unconventional choice of singer, Bhavya Pandit, whi hasn’t ever sung such a song, proves to be great, as she adjusts to the song’s folksiness very well. Her co-vocalists provide good company as the loafers interjecting occasionally. The last song Faislay has a quite dated tune, and a very mismatching digital loop that starts it off, but Mandar Deshpande’s singing brings it up.


An album that is good, but still will be a wipeout.

 

Total Points Scored by This Album: 4 + 4 + 3.5 + 3 + 3.5 + 3 = 21

Album Percentage: 70%

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: Pal = Miliyo Re > Andheri Raat = Maachis Ki Teeli > Miss You Balma = Faislay



Hope you liked this section of reviews! The review for ‘Tiger Zinda Hai’ will be out soon!

NOVEMBER 2017 ROUND-UP #1 (ITTEFAQ, THE HOUSE NEXT DOOR, RIBBON, RAM RATAN, SHAADI MEIN ZAROOR AANA & JULIE 2 – Mini Music Reviews)

November 2017 Round-Up #1

NOVEMBER 2017 ROUND-UP #1

This round-up covers the following albums of November 2017 releases: ‘Ittefaq’ by Tanishk Bagchi, ‘The House Next Door’ by Girishh G, ‘Ribbon’ by Mikey McCleary & Sagar Desai, ‘Ram Ratan’ by Bappi Lahiri, ‘Julie 2’ by Rooh Band, Viju Shah & Javed-Mohsin, and ‘Shaadi Mein Zaroor Aana’ by Arko Pravo Mukherjee, Kaushik-Akash-Guddu for JAM8, Zain-Sam-Raees, Rashid Khan & Anand Raj Anand.

The ones that haven’t been covered in this post will be included in the next round-up for November, or will be written about in a separate post all for themselves.



♦ Intense & Intriguing, Ittefaq Se: ITTEFAQ Music Review

♪ Music by: Tanishk Bagchi & Bappi Lahiri
♪ Lyrics by: Anjaan, Tanishk Bagchi & Groot
♪ Music Label: Saregama
♪ Music Released On: 23rd October 2017
♪ Movie Released On: 3rd November 2017

Listen to the song: Saavn
Buy the song: iTunes


The only song from this film is a Atmos-Pop remake of “Raat Baaki” (Namak Halaal), named Ittefaq Se. Tanishk Bagchi is back to his remaking streak, after some nice original music in “Shubh Mangal Saavdhan” with partner Vayu. He keeps the original song intact, and that’s good, and he mysterious vibe that accompanies the song goes well with the setting of the film. The beats are nice as well. The only place the song lacks is the vocals, where Jubin sounds like he always does, and is starting to sound monotonous now, and Nikhita eats up her words while producing an over-stylish voice. I would have preferred Neeti Mohan on this one. The change in lyrics from “Pyaar Se” to “Ittefaq Se” actually fits in really well!


A good remake, that called for better voices behind it!

 

Total Points Scored by This Song: 3.5 

Song Percentage: 70%

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

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

Remake Counter:
No. Of Remakes: 38 (from previous albums) + 01 (from Ittefaq) = 39


♦ As Always, Romance Predominates: THE HOUSE NEXT DOOR Music Review

♪ Music by: Girishh G
♪ Lyrics by: Shakeel Azmi, Vayu Srivastava & Chen-Yu Maglin
♪ Music Label: T-Series
♪ Music Released On: 16th October 2017
♪ Movie Released On: 3rd November 2017

Listen to the album: Saavn
Buy the album: iTunes


Girishh G starts the album off with a dulcet Mithoon-with-Bhatts-like melody, O Mere Sanam, that impresses because of its complexity, like every other Mithoon melody. Benny Dayal sings in his trademark husky tone for romantic songs, and the hookline is something that gives you goosebumps. Girissh’s piano is the highlight of the arrangements, while Shakeel Azmi’s lyrics are beautiful with a delicious assemblage of Urdu words. Ye Waqt Maut Ka Hai is aptly disturbing, demonic as it is, and the composition is frankly very bad. It is Vayu Srivastava’s lyrics that make the song disturbing, and not because it is scary! Because it is cringeworthy. Suraj Jagan spoils the vocals, his co-singer Shilpa Natarajan could’ve done just fine without him. Xiao Xiao Ma is a haunting Chinese lullaby-ish number, which is good as long as it lasts, volatilizing shortly afterwards. The last track, The House Next Door, is a short instrumental piece, which again has the problem of not being captivating, despite the wonderful use of strings.


Not the best album for Girishh to debut in Bollywood with!

Total Points Scored by This Album: 4.5 + 1.5 + 3 + 3 = 12

Album Percentage: 60%

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: O Mere Sanam > The House Next Door = Xiao Xiao Ma > Ye Waqt Maut Ka Hai

 



♦ Cute Little Ribbon: RIBBON Music Review

♪ Music by: Mikey McCleary & Sagar Desai
♪ Lyrics by: Dr. Sagar & Puneet Sharma
♪ Music Label: T-Series
♪ Music Released On: 31st October 2017
♪ Movie Released On: 3rd November 2017

Listen to the songs: Saavn
Buy the songs: iTunes


Mikey McCleary presents a Sufi rock song, Charkha Ghoom Raha Hai, to start off the album, and also introduces a new singer Aniket Mangrulkar, a singer who is a much better tuned rock singer than the much-in-demand Amit Mishra. The composition by McCleary is irresistible, especially in the hook parts. The rhythms are spot on, and the lyrics too, are meaningful. Sagar Desai, the second composer, comes with a dulcet number, Har Mod Par Umeed Hai, which couldn’t have been better sung by anyone other than Jasleen Royal with her sweet voice. The composition is slow and jazzy, and so it takes some time to love, but it is at par with the first song on the lyrics front.


This seems to be the season for short and sweet (and most importantly, script-driven) soundtracks.

Total Points Scored by This Album: 4 + 3.5 = 7.5

Album Percentage: 75%

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: Charkha Ghoom Raha Hai > Har Mod Par Umeed Hai



♦ Bappi’s Music Ratan Has Lost Its Shine!: RAM RATAN Music Review

♪ Music by: Bappi Lahiri
♪ Lyrics by: Deepak Sneh
♪ Music Label: T-Series
♪ Music Released On: 12th October 2017
♪ Movie Released On: 3rd November 2017

Listen to the songs: Saavn
Buy the songs: iTunes


So, I only heard this album because the music composer was Bappi Lahiri, and I should’ve realised he is so irrelevant these days as far as composing goes. Nevertheless, here’s the “review” — a highly uninterested one, at that. Nand Lala starts off thinking it is ‘Bairi Piya’ (Devdas), but then goes off into a ‘Maiyya Yashoda’ (Hum Saath Saath Hain), and then becomes cheesier than any Krishna song ever. Palak’s cheap vocals do not help. The composition is bad, as expected, and Bappi doesn’t give anything great in the arrangements either. Instead he adds a cringeworthy English “rap” in the interlude! 😣 Nagada Nagada is the most dated 2000s Gujarati dhol mix, and Raja Hasan and Bhoomi Trivedi are made to sing like pop artists making a Garba album to be sold outside temples. Yeh Hai Dance Bar is as cheesy as its name — and Bappi is singing it himself. He tries to make it full of techno sounds but it flops. Jal Jal Jal Rahi Hain Raatein, starts off as if it could be the best of the album, with the irresistible sensuous tabla beats that R.D. Burman used in ‘Jaane Do Na’ (Saagar), but as soon as Sadhana starts with her outdated voice, it goes downhill. Mohammed Irfan too, sings like Bappi Lahiri! It turns out to be the most cringeworthy song on the album.


Bappi Lahiri clearly has lost his Music Ratan!

Total Points Scored by This Album: 2.5 + 1.5 + 0.5 + 2 = 6.5

Album Percentage: 32.5% 

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: Why don’t you just skip it? I might be the only one in the world to have had the honour of listening to it!



♦ Reprise Versions Zaroor Sunna: SHAADI MEIN ZAROOR AANA Music Review

♪ Music by: Arko Pravo Mukherjee, Kaushik-Akash-Guddu for JAM8, Raees-Zain-Saim, Rashid Khan & Anand Raaj Anand
♪ Lyrics by: Arko Pravo Mukherjee, Kunaal Vermaa, Shakeel Azmi, Kumaar & Gaurav Krishna Bansal
♪ Music Label: Zee Music Company
♪ Music Released On: 24th October 2017
♪ Movie Released On: 10th November 2017

Listen to the songs: Saavn
Buy the songs: iTunes


Out of the three versions that Jogi appears in, any layman would pick Shafqat’s version as the best – owing to his seasoned voice and classical prowess, and amazing nuances, not to mention Arko’s clever usage of wedding sounds at the beginning. The duet version is spoiled by Yasser trying to ape Shafqat’s singing style, and Arko’s typical duff rhythms with harmonica. The female version by Aakanksha Sharma is good too, where Aakanksha sounds like a better version of Palak Muchhal. The overall composition, though, is typical of Arko now, and he needs to move on from this. It is the sister of ‘Tere Sang Yaara’ and ‘Nazm Nazm’. Kaushik-Akash-Guddu compose Main Hoon Saath Tere for JAM8, another song that relies on the company’s previous success, ‘Zaalima’. The digital tune is tweaked, and Harshdeep gets kicked out, and some notes undergo permutations and combinations, and voila! We get this song. The hookline reminds me of some song, but I cannot remember at all which one! Arijit’s singing is very dull and he seems asleep, but Shivani Bhayana’s female version is pretty good, with different arrangements. The song falls flat in the antara though. It is Pallo Latke by newcomers Raees-Zain-Saim, which surprisingly becomes the song of the album, as an individual song (not including the various versions). As a remake of a Rajasthani folk song, it is surprisingly good, and will do until we get to hear some real Rajasthani folk music in “Padmavati”. Jyotica Tangri sounds amazing here, sweeter than she does in her Neha Kakkar avatar. Yasser spoils the song again, along with Fazilpuria’s annoyingly interrupting rap. The Dr. Zeus-esque tumbi seems out of place in a Rajasthani song though. Rashid Khan returns after a loooooooooong time, to give another typical romantic song Tu Banja Gali Benaras Ki, again in three versions, out of which once again, Shafqat’s steals the thunder. The composition is nothing special, it is Rashid’s usual sweet as sugar tune which is oh-so-predictable. Asees sounds sweet in her version, while newcomer Asit Tripathy also does well. Asit’s version scores high because of the beautiful Rajasthani arrangements — the ravanhatta being most prominent. The lyrics resemble those of ‘Main Rang Sharbaton Ka’ (Phata Poster Nikhla Hero), and are good enough until they become very cringeworthy with the Hinglish portion. Last on the album is veteran Anand Raaj Anand’s angsty rock song (in two versions) Mera Intkaam Dekhegi about a boy warning his girlfriend (ex-girlfriend??) that if she rejects him, she will have to see his revenge. Oh, the melodrama. She should just say, “Oh alright, let me get my camera too so the world can see it too.” Krishna hurts the ears with his painful rendition, and Anand’s was skip-worthy right from the beginning.


An ensemble of composers bring five pleasant, but heard-before songs, and are forced to make innumerable versions of them, to make sure we never forget them. No wonder the newcomers steal the cake. 

Total Points Scored by This Album: 4.5 + 4 + 4 + 3 + 3.5 + 4 + 4 + 3.5 + 4 + 1.5 + 1 = 37

Album Percentage: 67.27%

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: Jogi (Shafqat Version) > Pallo Latke = Jogi (Duet) = Jogi (Female) = Tu Banja Gali Benaras Ki (Asit) = Tu Banja Gali Benaras Ki (Shafqat) > Main Hoon Saath Tere (Female) = Tu Banja Gali Benaras Ki (Female) > Main Hoon Saath Tere (Male) > Mera Intkaam Dekhegi (Krishna) > Mera Intkaam Dekhegi (Anand)

Remake Counter:
No. Of Remakes: 39 (from previous albums) + 01 (from Shaadi Mein Zaroor Aana) = 40

 



♦ Raunchy Diaries: JULIE 2 Music Review

♪ Music by: Viju Shah, Rooh Band, Atif Ali & Javed-Mohsin
♪ Lyrics by: Sameer Anjaan & Shabbir Ahmed
♪ Music Label: Divo Music / VMS Music / Publishing Sdn Bhd
♪ Music Released On: 18th September 2017
♪ Movie Releases On: 24th November 2017

Listen to the songs: Saavn
Buy the songs: iTunes


Rooh Band & Atif Ali’s debut in Bollywood starts off with quite a corny title song Oh Julie, which is good enough as far as the arrangements and rhythm go, but the vocals and lyrics pull it down; stuff we have heard time and again. Their second song Koi Hausla Toh Hoh, also sung by their leading vocalist Anupam Nair, is the everyday Pakistani pop, something even the Bhatts would resist from including in their albums now, with staid lyrics like “Saanson Ka Chalte Rehna Hi Toh zindagi nahin”. Veteran composer Viju Shah’s stint of three songs for this album is devoid of much electronic disturbance. The romantic song Kabhi Jhootha Lagta Hai, is a typical 90s melody, in which the singer Mistu Bardhan sounds like Sadhana Sargam does in her live concerts. The voice is harsh to the ears. The reprise version Aise Kya Baat Hai, in Palak Muchhal’s voice, is better only because the voice is more ear-friendly. Otherwise, the song is just as flat and dated. His third song happens to be a raunchy item number, Kharama Kharama, sung by Pawni Pandey, and which surprisingly fares much better, thanks to the irresistible South Indian rhythm. Again, it is bogged down by a typically 90s composition, and the lyrics obviously. Javed-Mohsin, nephews of Sajid-Wajid, present the last song, Mala Seenha, sung by Mamta Sharma, a tedious rehash of their uncles’ item songs with the singer. Again, the rhythms are the only worthy parts of the song.


An album that you will automatically avoid.

Total Points Scored by This Album: 2.5 + 2 + 2 + 2.5 + 3 + 3 = 15

Album Percentage: 50%

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

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

Recommended Listening Order: Kharama Kharama = Mala Seenha > Aise Kya Baat Hai = Oh Julie > Kabhi Jhootha Lagta Hai = Koi Hausla Toh Hoh



 

Hope you enjoyed this Round-up! Second one coming soon!!

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! 😉

A TRIPLE-DEBUT TREAT TOILET!! (TOILET: EK PREM KATHA – Music Review)

Music Album Details
♪ Music by: Vickey Prasad, Manas-Shikhar & Sachet-Parampara
♪ Lyrics by: Siddharth-Garima
♪ Music Label: T-Series
♪ Music Released On: 13th July 2017
♪ Movie Releases On: 11th August 2017

Toilet – Ek Prem Katha Album Cover

 

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

To buy this album on iTunes CLICK HERE


Toilet – Ek Prem Katha is an upcoming Bollywood satire, starring Alshay Kumar, Bhumi Pednekar, Divyendu Sharma and Anupam Kher,  directed by Shree Narayan Singh, and produced by Aruna Bhatia, Shital Bhatia, Abundantia, Viacom Motion Pictures, Arjun N. Kapoor and Hitesh Thakkar. The film comes in support of PM Modi’s ‘Swacchh Bharat Abhiyaan’ by raising fingers at the issue of open defecation, prevalent in remote and underdeveloped parts of the country. Now it is a really good topic, but somehow, by the trailer and promos, I am not sure whether it will be carried out in a humorous way without looking dramatic. Anyway, the music, very surprisingly, has been scored by three debutant music composers, two duos and one individual. Vickey Prasad, Manas-Shikhar and Sachet-Parampara are the five lucky people who got to debut in Bollywood with an Akshay Kumar album, and how wonderful an opportunity is that!! I hope they make great use of it though, and provide us with a nice and clean ‘Toilet’! {Sorry for the desperate joke!}


1. Hans Mat Pagli

Singers ~ Sonu Nigam & Shreya Ghoshal, Music by ~ Vickey Prasad

The first newcomer starts off the album with a cute romantic song which sends off a great rural-setting vibe. The song’s composition is nothing innovative as such, but it still manages to hook the listeners, since it is so cute and such a throwback to Bollywood of the 90s. The only grouse I have with the composition is that the hookline sounds a lot like the antara of ‘Pardesi Pardesi’ (Raja Hindustani), which would be where the 90s vibes are coming from. The song is structured quite oddly, with a male mukhda, a male antara, and then a female mukhda followed by a female antara. Why couldn’t they just club the mukhdas together and the antaras together? That way, the listener would get some variation from male to female and then back to a male voice. Anyway, as they wish. The composition for all these stanzas is very cute again. The recording seems a bit faulty and raw, but that’s probably deliberate? The arrangements are again, not anything new or innovative, but that soft Qawwali setting to the hookline gives a soothing feeling, and the dholaks have been played beautifully, as are the plucked string instruments throughout the song, and the guitar itself. There is a wonderful rapid tabla piece before Sonu sings his antara. The rhythm is heard before, but the cuteness of the composition helps you listen to such a rhythm yet again without complaining. The vocals send you back to 2005-2007, when Sonu-Shreya duets were the thing. Every director wanted a Sonu-Shreya duet in their film; sadly, nowadays, that happens only in films where the director knows only about the old singers, and hence his music ends up sounding outdated. But here, there is no datedness whatsoever. It is more like a nostalgia. Both singers do an amazing job, though I somewhere thought that Shreya was struggling with such a high-pitched line in the antara. Siddharth-Garima choose the perfect line for the hookline; it increases the cuteness quotient of the song. The rest of the lyrics are cute too, but not too innovative. A good song to start the album with, but it has its own faults.
Rating: 4/5

 

2. Bakheda

Singers ~ Sukhwinder Singh & Sunidhi Chauhan, Music by ~ Vickey Prasad

Vickey has the second song to his credit as well, making him the main composer on this album. This song takes a more lively route, but stays a romantic song. As soon as it starts, the folksy vibe hits you, and you are also relieved that Vickey has used a more modern recording style for this one; it proves that the recording was deliberately done that way for the previous song. The composition is a lively one, but the hookline is really a letdown — it is so staid and bland. Also, we have heard such a hook so many times where the mukhda builds up to it, and then after a pause, the hookline takes the song forward. The antaras are very well composed. Sukhwinder, at his usual energetic self, renders the song with ease, and creates a good impact on the listeners. The problem lies in Sunidhi’s vocals, which seem less energetic as usual. It really sounds like she wasn’t interested, or maybe the pitch was too low. That makes her portion sound very odd, despite the beautiful composition of the antara. The arrangements are lively folksy arrangements with the percussion leading, and a nice plucked instrument entertaining throughout. A sarangi can also be made out occasionally. The percussion is the star of the song though. Siddharth-Garima, again, write an effective song to go with the film, but the impact of the lyrics doesn’t reach the audience out of the film. A functional song, but won’t really stay with you for long.
Rating: 3/5

 

3. Gori Tu Latth Maar

Singers ~ Sonu Nigam & Palak Muchhal, Backing Vocals ~ Umesh Joshi, Vijay Dhuri, Swapnil Godbole, Karan Kagale & Rishikesh Patel, Music by ~ Manas-Shikhar

The Rahman vibe hits you as soon as this one starts with the beautiful chimey music at the beginning. Manas-Shikhar, another debutant duo, enter the album with this song, and with only one song to prove their worth, they seize the opportunity and let me tell you, they make the best use of it, better than both of the other composer teams on this album! They employ a very lively setting to a supposed-to-be sad song. It is the festival of Holi, but of course, Bhumi Pednekar’s character is mad at Akshay’s character, because of we know what! So this is a situational song, in which Akshay pleads to her for forgiving him. Against the backdrop of a Holi song, a very emotional song, and I’ve heard something like this for the first time. Siddharth-Garima’s lyrics reveal all the emotion in the best way possible. Now let’s go back to Manas-Shikhar’s music. Their composition is just so catchy, especially the mukhda, which should be catchy in order to hook the listeners right away. It sounds like something straight out of a Rahman song. The hookline also succeeds in being a very beautiful, and catchy line. The antara is the female part of the song, and it has a very beautiful tune as well, which will remind you of the 90s songs, that used to slow down in the middle for the female parts. There’s a nice tempo-rise towards the end, in which we hear the already popular “Radhe Radhe” chorus. Sonu Nigam renders the tune with such brilliance, knowing when to emote which emotion, and wonderful aalaaps. Palak too, sings beautifully, and the brilliant composition of her portion helps her do that wonderfully. The arrangements are ever fluctuating, with the emotional and soft sound from the mukhda alternating with the usual Holi sound of the dholaks and other percussions. The shehnaai is played in a very beautiful tune. Those bells at the beginning are the most beautiful though. A wholesome song that defines what Bollywood is all about — colour, festivity, emotion and dance! Oh, and congratulations to Manas-Shikhar for a smashing debut!
Rating: 5/5

 

4. Subha Ki Train

Singers ~ Sachet Tandon & Parampara Thakur, Backing Vocals ~ Sukriti Kakar & Rituraj Mohanty, Music by ~ Sachet-Parampara

The last of the debutants bring up the finale of the album, which happens to be yet another cute romantic song. This one is a little less folksy than the others, but it does have the effect that it should. Sachet Tandon and Parampara Thakur have composed a lilting melody, that, though situational, and very predictable, still makes you smile and feel good. The prelude gave off some vibes of “Tere Sang Yaara” (Rustom). The mukhda is very sweet and simple, and instantly grabs your attention. The letdown here is the hook, which is as staid and heard-before as imaginable. But the antara is mind-blowing; especially the second line of it. The arrangements too, follow a very simple template, with that cute Duff rhythm, and in a wonderful second interlude, the flutes assortment and strings orchestra just mystifies. The first interlude with the mouth organ is splendid too. Sachet and Parampara handle the vocals themselves, and strangely enough, employ Rituraj Mohanty and Sukriti Kakar as backing vocalists for the aalaaps. Parampara’s is a voice to look out for, while Sachet’s voice just blends in with the multitude of new male voices we have in Bollywood, other than Arijit. 😅 Again, Siddharth-Garima stick to situational yet catchy lyrics; the hook lyrics made me smile. A good finale, and a promising debut, but not a song that will stay in my head for more than a month.
Rating: 3.5/5


Toilet – Ek Prem Katha is an album just like Akshay Kumar movie albums usually are — fun, vibrant and groovy, but with an overbearing romantic theme. What makes it even more special is that all the composers are debutants and it is commendable of the makers to have accepted the three for a film which will reach so many people! Seizing the opportunity, all three newcomers do a good job, and especially Manas-Shikhar do an amazing one. The album is a triple-debut treat!!

 

Total Points Scored by This Album: 4 + 3 + 5 + 3.5 = 15.5

Album Percentage: 77.5%

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: Gori Tu Latth Maar > Hans Mat Pagli > Subha Ki Train > Bakheda

 

Which is your favourite song from Toilet – Ek Prem Katha? Please vote for it below! Thanks! 🙂