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

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

Jab Harry Met Sejal Album Cover

 

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

To buy this album on iTunes CLICK HERE


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

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


1. Radha

Singers ~ Sunidhi Chauhan & Shahid Mallya

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

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

 

2. Beech Beech Mein

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

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

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

 

3. Safar

Singer ~ Arijit Singh

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

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

 

4. Butterfly

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

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

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

 

5. Hawayein / Hawayein (Film Version)

Singer ~ Arijit Singh

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

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

 

6. Parinda / Parinda (Search)

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

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

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

 

7. Ghar

Singers ~ Nikhita Gandhi & Mohit Chauhan

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

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

 

8. Yaadon Mein

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

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

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

 

9. Raula

Singers ~ Diljit Dosanjh & Neeti Mohan

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

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

 

10. Jee Ve Sohaneya

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

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

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

 

11. Phurrr (Film Version)

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

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

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

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


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

 

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

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

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

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

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

 

 

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

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THE CASE OF THE INCOMPLETE ALBUM… (JAGGA JASOOS – Music Review)

Music Album Details
♪ Music by: Pritam Chakraborty
♪ Lyrics by: Amitabh Bhattacharya
♪ Music Label: T-Series
♪ Music Released On: 20th July 2017
♪ Movie Released On: 14th July 2017

Jagga Jasoos Album Cover

 

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

To buy this album on iTunes CLICK HERE


Jagga Jasoos is a Bollywood musical adventure film, starring Ranbir Kapoor And Katrina Kaif in lead roles. The film has been directed by Anurag Basu and produced by Siddharth Roy Kapur, Anurag Basu And Ranbir Kapoor. The film is a musical that revolves around the adventures of a teenage detective, Jagga. The musical format of the film makes it one-of-its-kind, and never before tried in Bollywood. After having watched the movie, I can only say that Anurag gets full marks just for trying the format and sucking us into this very innocent and beautiful world. Now, T-Series has bought the rights of only the full-length songs in the film, it seems, and so they’ve released a ‘full album’ comprising six songs. Pritam has done a wonderful job giving rhyme and tune to Jagga’s world. You might have already noticed that I haven’t written a rant about how late the album released — it is because I kind of expected the songs to release late just because they might give away the story of the film. Sadly, the deceitful makers only released six songs. So whatver, let’s just analyze the songs we all have been hearing for the past two months!


1. Ullu Ka Pattha

Singers ~ Arijit Singh & Nikhita Gandhi, Ulule Vocals by ~ Vivienne Pocha, Lyrics by ~ Amitabh Bhattacharya

“Hmm, confuse hai,
Dosti pe isse aitbaar aadha hai,
Rang mein dosti ke jo bhang ghol de,
Ishq ka bhoot sar pe savaar aadha hai!
Nigal sake nahin, ugal sake!
Sangemarmar ka bangla banaata hai,
Dil akbar ka pota hai!
Jaana na ho jahaan vahin jaata hai,
Dil ullu ka pattha hai!”

– Amitabh Bhattacharya

Pritam starts this colossal album with a song that jumps right into diversity, with a Spanish guitar wonderfully setting up a nice European flavour for us. And then Vivienne Pocha’s “ulule” vocals start and we are instantly hooked. Pritam’s composition is catchy, with a mellifluous sound. The rapid-paced portions are just amazing, and the way they drop into the smooth hookline is marvellous too. The “ulule” adds a tinge of craziness and zaniness to the song, giving something that children and adults alike can pick on to, as a kind of signature of the song. The antara has a beautiful composition, and keeps up with the Spanish feel of the song. The arrangements are just bewitching; the Spanish guitar as described earlier, is just a beautiful addition to the song; it transports you elsewhere. There’s a nice conclusion in yhe form of a Spanish guitar musical piece, and that part is something you ought not to miss, thinking that the vocals are over. Other instruments like drums and then digital beats provide a nice and groovy beat to the song. The vocalists do a great job; Arijit as always moulds himself into the required form and renders this quirky romantic song with ease, while Nikhita supports him well. Though I feel Shalmali would have suited better here! Anyway, that huskiness in Nikhita’s voice is what makes it sound amazing. I like the way how Pritam adds a welcoming drum portion before she enters; it sounds like it’s a welcome for her to come in the song! And of course, Vivienne, who gives the song a nice hookline in the form of her “ulule” backing vocals, does a fantastic job. Arijit’s vocals at the end of the song where he just experiments by making non-verbal sounds, sounds amazing. Amitabh Bhattacharya’s lyrics are super cute, describing the heart as many things nobody could ever think of, like Shah Jahan, A hundred rupees change, and whatnot. A crazy and fun romantic song to start off this album; it has already created waves across the nation!

Rating: 4.5/5

 

2. Galti Se Mistake

Singers ~ Amit Mishra & Arijit Singh, Lyrics by ~ Amitabh Bhattacharya

“Chal muscle phulaana, thodi body banaana,
Tere chikne gaalon pe stubble ki fasal ugaana,
Arererereee, abey aye,
Chal beta shuru ho jaa guru,
Bagal uthaake thoda deo lagaana,
Kisi bagal waali ko mardaani khushboo sunghaana,
Chal upar ke do button dheele karke bataana,
Baalon wala seena dikhaana, baalon wala seena dikhaana!”

– Amitabh Bhattacharya

Pritam switches modes from European music to Indian music in the next song. Indian music itself is so diverse; here he picks a wonderful style of music to back the next song, and that is Assam’s Bihu Dance music. The fun Assamese percussion and wind instruments start off the song, until it takes a digital turn and the song starts. It is essentially a fun song being sung in the boys’ hostel, and that craziness reflects in the composition. The way the composition makes abrupt stops and starts, and turns unexpectedly, shows the same. I loved how Pritam infused the Bihu Dance theme into this kind of a song, that has no relation whatsoever to Bihu. The wonderful folk instruments they’ve used, against the backdrop of digitally produced sounds and a crazy composition, provides for a fun listen. The composition itself takes time to grow, because the song is so situation-oriented. The hookline is just so cute, you can’t get it out of your head. The antara is amazing, but what makes it more amazing is Amit Mishra’s stupendous rendition of it. He brings a very harsh quality to his voice, probably to be shown as the rowdiness of the boys in the hostel. Arijit joins only in the hookline, and the voice quality gets smoother, so you know he is singing. Amit sings the rest of the song brilliantly though! After the antara, Pritam introduces an almost one-minute-long folk interlude, after which the hookline just plays again. I feel that could’ve been shortened in length as that portion is just a mix of all the instrumental pieces we heard at the beginning of the song. Amitabh’s lyrics are again, hilarious. The antara is superbly funny! A fun song, whose composition takes a little time to grow, but till then, the arrangements and vocals help you love it!

Rating: 4/5

 

3. Jhumritalaiyya

Singer ~ Arijit Singh, Lyrics by ~ Neelesh Misra

“Duniya yeh thodi thodi hai behtar lagey,
Dil ke naukar-o-chaakar lagey,
Jhuk ke pooche kya hai aarzoo!”

– Neelesh Misra

This soft romantic song is featured on the album next, and it is a song that made me love it right from the moment I first heard it. Pritam brings in an evident Coke Studio treatment for this song, which is tangible in the arrangements and unconventionally sweet composition. The composition is instantly likeable, only because of its amazing cuteness. The hook, ‘duniya yeh..’ has a distinct Coke Studio feel; it goes suddenly high-pitched in the otherwise low-pitched and calm composition. The “Ah-ha-haa” sounds so cute as well! The composition is what makes the song sound fit for a Disney movie. The antara has the same tune as the mukhda, with Arijit providing a bit of pleasant variation. There is a short conclusion line after a long interlude after the antara, which brings in the trademark Pritam touch to the song, and ends it on that very Pritam-ish note. The arrangements are complete with acoustic guitars, rock guitars, and drums, but all of this only increases the calmness of the song, making it a kind of peculiarly soothing alternative rock song. And that’s why I immediately linked it to Coke Studio. The backing chorus provides even more of that oh-so-tangible Pritam touch. The mukhda that is arranged solely on acoustic guitars and the groovy drum beats, sounds amazing and grips the listener right away. There is a nice banjo-like instrument portion in the hookline, which sounds amazing, giving the song a kind of folksy vibe. The second interlude is what showcases the most important part of the song, at least musically. It is here that we are served a wonderful rock guitar and drums combo that works so well, and then when the backing chorus joins in later on, you can’t help but sway with the vocals, as the wonderful drum beats accompany you. Arijit’s vocals are the perfect choice here; he exudes simplicity and charm, and renders the song spot-on. His vocal prowess is showcased in the song, especially in that short portion at the very end where his raw voice without any instruments behind it is exposed. And in the antara, the way he sings “rakh jaaunga“, is spectacular! A slight confusion is that Mohan Kanan could be heard in the song promo of this song on YouTube; but nowhere to be heard in this audio version. 😐😐 Neelesh Misra, who writes so infrequently, hits the bull’s-eye yet again, and some of the lines are funny in a cute way, while the others are very thought-provoking, like the one I’ve showcased up there below the credits of the song. A pleasant, breezy romantic song!

Rating: 5/5

 

4. Phir Wahi

Singer ~ Arijit Singh, Lyrics by ~ Amitabh Bhattacharya

“Phir wahi, phir wahi, saundhi yaadein puraani, phir wahi,
Phir wahi, phir wahi, bisri bhooli kahaani, phir wahi,
Phir wahi, phir wahi, jhootha vaada,
Aasmaan ka mere, chanda, aadha,
Dil kyun joda agar dil dukhaana tha?
Aaye kyun thhe agar tumko jaana tha?
Jaate jaate labon pe bahaana tha, phir wahi!”

– Amitabh Bhattacharya

After all those happy-go-lucky songs, it is time for a pathos-filled, heart-rending, sad song. And let me tell you, this one is a masterpiece! The composition takes the route of many former Bhatt-Pritam sad songs, but still has a sound of its own, thanks to Pritam’s wonderful arrangements. If the had arranged it just like his old Bhatt-ish songs, it might not have appealed so much at all. The composition is wonderful. It starts very slowly, and might not hook you at once, but right from the first instance of the phrase “Phir Wahi” in the song, it gets better. The emotion is almost tangible, and Arijit’s singing makes it even more so. I personally loved the tunes of the lines “dil kyun joda agar dil dukhaana tha..” and all other variants of it. The song has nothing more than the mukhda repeated twice, but its essence lies in that. It is emotional without having an overtly complex and twisting composition. The straightforward notes hit your heart instantly. The hookline is really emotional. And the song is actually about a son yearning for his father to come back, making it so much more layered than the usual boy missing girl Bollywood sad song. More on that when we speak about the lyrics. The arrangements are beautiful as well. There is a wonderful guitar played throughout the song. The way they stop-and-resume the guitar strums in the “aansoon pochhe hi kyun…” line of the antara, is just mind blowing!!! But even more spectacular than the guitar, there is also a WONDERFUL piano portion that starts the song. The interlude is a wonderful Coke Studio-esque portion, with amazing soft rock sounds of the drums, which continues for the rest of the song. The piano chords throughout the song are amazing. Backing vocals are beautiful wherever they can be heard. The alternative rock that features in the song after the mukhda is the trademark Pritam sound, which we heard in songs like ‘Kabira’ (Yeh Jawaani Hai Deewani), ‘Saware’ (Phantom), ‘Daayre’ (Dilwale) and the recent ‘Main Agar’ (Tubelight). Towards the end, a wonderful saxophone enters that steals the show before the song ends. And again, that splendid piano loop that started the song, ends the song too. Amitabh’s lyrics just tug at your heartstrings. The love of the song for his father is beautifully reflected in the lines he’s written, with a bit of frustration on the son’s part for his father leaving him like that, and evident love in that frustration as well. A sad song unlike the Bollywood sad songs of these days.

Rating: 5/5

 

5. Musafir

Singer ~ Tushar Joshi, Lyrics by ~ Amitabh Bhattacharya

“Ho kahaani meri, tarjumaa ho tera,
Ho duaayein teri, sar jhuka ho mera,
Raaz mein bhi tere, sach chhupa ho mera,
Main kamaai jodun, karz adaa ho tera,
Yahaan mera tere siva, hai dooja nahin koi re,
Akela mujhe chhodke, na jaana yun nirmohi re!”

– Amitabh Bhattacharya

Pritam finally brings in another singer to sing the entire song, this time, a debutant! It’s really exciting when Pritam introduces new singers to us, because we know he doesn’t leave them for a long time, and keeps giving them opportunities to shine in his later albums. Tushar Joshi, who did sing a couple of backing vocal portions in Pritam albums prior to this, gets to enter Bollywood as a lead singer, and how! The song he gets is plain out of this world. A composition that is a trademark Pritam composition, yet invokes such pathos and emotion, this song grows on you in no time! The mukhda is wonderful; it repeats twice in this song too; I think that’s the norm nowadays — maybe composers don’t have the time to compose a new tune for antaras! Anyway, the composition is beautiful. After each stanza, a wonderful “Aye-aye-aye-aye” portion really gives you the goosebumps. The high-pitched line in the song, “yahaan mera tere siva...” is just too good! Pritam’s arrangements do not stray from his usual style of arranging such songs; a loud but soothing rock template backs the solid composition, with wonderful instances of piano, acoustic guitar and the necessary drums and electric guitars. Towards the end, a ravishing background chorus sings for about the last one and a half minute or so, coupled with an amazing guitar solo! At the beginning a nice and soothing piano loop plays, and quite like the previous song, ‘Phir Wahi’, it sucks you in completely! Tushar’s voice sounds very similar to Arijit’s in the high notes, but otherwise, it is sort of a cleaned version of Arijit’s voice, without the rough texture. Amitabh’s lyrics are yet another instance of his bravissimo; the man is a complete genius when it comes to such philosophical-slash-romantic songs! A beautiful composition evoking memories of songs like ‘Kabira’ (Yeh Jawaani Hai Deewani)!

Rating: 5/5

 

6. Khaana Khaake

Singers ~ Pritam Chakraborty, Amitabh Bhattacharya, Tushar Joshi, Geet Sagar, June Banerjee, Antara Mitra, Amit Mishra, Ashwin Kulkarni, Aaroh Velankar & Sunny MR, Lyrics by ~ Amitabh Bhattacharya

“Life ki simple si philosophy, yeh jaan lo,
Hum yahaan do din ke mehmaan hai, yeh maan lo,
Non-stop ek party hai, jahaan sabko aana hai,
Aur khaana khaake, daaru peeke, chale jaana hai!
Jeena toh unhi ka jeena kehlaaya,
Jo bhi bina chu cha, karke, khaake peeke chale gaye, chale gaye!”

– Amitabh Bhattacharya

The next and final (😏😏) song on the album, is a laugh riot, whether you hear it on-screen or off. If you’ve watched the video, there’s an entertaining video to couple with the random and quirky song. But if you hear just the audio too, it doesn’t take away from the comic appeal of the song. The hook itself is a crazy, zany and wacky line, that by itself, helps us gather more interest to listen on. The composition is very simple, and has nothing much like a proper structure. All I know is that it has the hookline repeated thousands of times. The only thing that can pass as an antara, is Tushar Joshi’s portion in the middle, which has been composed and even sung, beautifully. But it has been written even more beautifully. Bhattacharya sees life as a party, where everyone has to eat, drink, and then leave! What an imagination! So can we say, “All the world’s a party. And all the men and women merely eaters and drinkers”? 😄😄 The song provides a lot of entertainment for the ears, for instance, there’s a nice haunting line in the form of the “khaali ghar mein chaaron aur sannata” line and its variants, and the entertaining lyrics, and to top it all, one of the female vocalists emulates a saxophone and succeeds in adding to the whimsicality of the song. Tushar Joshi in his portion, playback singing for Ranbir’s character, cleverly incorporates a bit of Jagga’s stammer before starting his line! That’s a nice effect! The simple digital metronomish beat that backs the song serves as almost the only instrumentation, besides the weird quirky sounds like a spoon clinking against a glass, and other zany sounds. Of course, this song tilts a little on the “Less Repeat Value” side! Welcome to a madhouse!

Rating: 4/5


Jagga Jasoos is an amazing album, full of variety, innovation and catchy music. Pritam and Anurag Basu recreate the magic of “‘Barfi!”, though in a slightly different and more massy way. The music has worked already and should work even more. My only regret is that, for a film that’s a musical and has such amazing songs in it, and had such hard work gone into it by all persons involved, the small songs haven’t released with the full album! Let’s hope they’ll release and we will get to relive Pritam’s and Basu’s magic of the big screen, on our phones! And let me assure you, these six songs are NOTHING compared to those! Anyway, this six-song album is a good showcase of Pritam’s range and versatility!

 

Total Points Scored by This Album: 4.5 + 4 + 5 + 5 + 5 + 4 = 27.5

Album Percentage: 91% {This is not the final rating; when the OST releases, I will review it average it out}

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

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

Recommended Listening Order: From start to finish in the same order.

 

Which is your favourite song from Jagga JasoosPlease vote for it below! Thanks! 🙂

A SUPER-BRIGHT, LED TUBELIGHT!! (TUBELIGHT – Music Review)

CONGRATULATIONS!!! 👏👏👏👏👏👏👏👏🎉🎉🎉🎉 Guys, this calls for celebrations!!! After releasing the first song ‘Radio’ on May 17th, Sony Music stretches the music promotions till the eve of the film’s release! As I’m writing this, the time is 10:35 PM on Thursday, 22nd June, the night before the film releases. So Sony Music overtook Zee Music with this one. Zee Music had released the music of ‘Raees’ on the Thursday morning before the film, so now Sony goes one step further and rekeases this one roughly twelve hours before the film! Claps! A round of applause! Hats off! And the best part, the album has TEN songs. *Slow claps*. Before the album released Sony released five singles at tortoise speed and then left us hanging till 9:30 PM or so on 22nd June 2017. Wooosh! Phew! Geez.


Music Album Details
♪  Music by: Pritam Chakraborty
♪ Lyrics by: Amitabh Bhattacharya & Kausar Munir
♪ Music Label: Sony Music
♪ Music Released On: 22nd June 2017, 9:30 PM or so
♪ Movie Releases On: 23rd June 2017, 9:00 AM or so

Tubelight Album Cover

 

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

To buy this album on iTunes CLICK HERE


Tubelight is an upcoming Bollywood war drama film, starring Salman Khan, Sohail Khan, Mohammad Zeeshan Ayyub, Zhu Zhu and Om Puri, directed by Kabir Khan, and produced by Salma Khan, Salman Khan and Amar Butala. The film is set against the backdrop of the 1962 Indo-China War, which was fought over a disputed Himalayan border. The film is the official adaptation (no, not the “copy”, SRK fans!) of 2015’s “Little Boy”, an American film directed by Alejandro Gomez Monteverde. Of course, Salman Khan is looking very innocent in the promos, and the film seems to be another feather in the cap of the Kabir Khan-Salman Khan combo. Not just that, but even the music director of the film brings with him, many hopes and expectations from the audience. Pritam has been a constant collaborator with Kabir Khan, and right from their first album together, ‘New York’, he has been giving great music for Kabir’s films, and he has done three of Kabir’s films, making this the fourth film. The maestro gave an iffy soundtrack to ‘Raabta’ earlier this year, but then chose not to be associated with it for reasons we know. So for all practical purposes, this becomes his first album of the year. So, let’s see what Pritam has to offer in this long soundtrack that released twelve hours before the film!


1. Radio / Radio (Film Version)

Singers ~ Amit Mishra / Amit Mishra, Additional Vocals ~ Akashdeep Sengupta, Backing Vocals by ~ Tushar Joshi, Lyrics by ~ Amitabh Bhattacharya

“Aankhon mein aaye, aansoon khushi ke,
Phoola samaaun na main,
Haaye marr hi jaaun na main, haaye marr hi jaaun na main, ho ho,
Harkat ajoobe, Karne se khud ko, rok paaun na main,
Haaye marr hi jaaun na main, haaye marr hi jaaun na main!
Gaaunga Sur mein oonche, gaana yeh mera goonje,
Jammu se Jhumri-Talaiya,
Sajan Radio-oh-oh-oh-ohhhh, bajaiyo, bajaiyo, bajaiyo zara,
Sajan Radio-oh-oh-oh-ohhhh, bajaike sabhi ko nachaiyo zara!”

– Amitabh Bhattacharya

{NOTE: Sony had initially released a version of this song that actually had Kamaal Khan’s vocals in it, but later on it was replaced by a solo version by Amit. The Kamaal Khan Version was the film version, but now Amit has redubbed Kamaal’s parts. Even in the Film Version. Maybe Sony has credited him so that he doesn’t sue them or anything.}

So Pritam starts the album off with the quintessential, focus-the-cameras-on-Salman-Khan-dancing, sure-to-be-popular kind of song. This time, thankfully, it focuses less on Salman’s character, and stupid gimmicks like Bass and Selfies, but it apparently plays a role in the narrative. The protagonist gets a very good news, via the radio, the only source to get news of the war in those times, and hence, the whole village celebrates by singing this quite festive song, ‘Radio’. Pritam leaves no stone unturned in trying to compose this song in a catchy way, and still keeping the superhero’s image intact. 2015’s ‘Selfie Le Le Re’ (Bajrangi Bhaijaan) was low on the composition front, and Pritam fixes those problems and adds a more rich tune, here. The mukhda is the only odd thing; it might take time to get used to, but from the hookline to the end of the song, it takes you on a fun ride, showcasing Pritam’s trademark fun and desi side. The hook is something that will surely never leave my mind and heart, it has touched me with its cuteness. The way the word ‘Radio’ has been elongated with those intricate nuances, is just mind blowing. And extra marks to Amit Mishra, who rendered them just as perfectly. The antara, which is what Kamaal had sung in the initial version, which was taken down, has been composed just as charmingly, and I actually felt a nice old-world-charm in it. And the bridge from the antara back to the hookline, the part that goes “Jammu se Jhumri-talaiyya“, for some reason appealed to me a lot! The latter part of the song is just everything we had heard earlier in the song, played again, but I assure you, it doesn’t seem tedious or boring to listen to. Pritam has employed some wonderful arrangements to make this song sound as innovative as it can, in a Salman Khan movie. The accordion (Jeff Taylor) that starts off the song itself, draws you in so strongly, it is hard to stop listening right away. And then the composer brings in his usual upbeat Indian beats, the dholaks (Rhythms by Nitin Shankar & Dipesh Verma) standing out brilliantly especially in the hookline. The trumpets (Samuel Ewens) too, have a wonderful effect on the song. There’s a wonderful accordion (Jeff Taylor) solo in the second interlude which is something that can’t be missed at any cost! Sadly, people who will just be watching the badly-edited video song on TV, will miss it! The fiddle (Eli Bishop) is just lovely, standing out most prominently in the beginning of the antara, and as the antara progresses, we can hear one odd Banjo (Matt Menefee) note, which stands out like a sore thumb, but a good one, I guess!! Amit Mishra, Pritam’s latest blue-eyed boy, renders this one with amazing vocal prowess. It wasn’t always in his previous songs, that Amit hit the notes perfectly, but somehow, he manages to do so in an upbeat song where the melody plays the main game. Kudos to him for improving his vocals! Especially the low notes in the antara, he performs magnificently. The Film Version is basically the same song, but with Amit taking up different lyrics in the antara (this is what Kamaal had sung earlier, quite terribly too, at that, and I’m glad Pritam removed his voice. But then why have Sony credited him? May I say “LOL”?!). But that one gets a little less marks as the corresponding part in the antara of this song isn’t as hooking as the “Jhumri-talaiya” portion that I had loved! The situational lyrics by Amitabh are quite easy to decode, and we can easily understand what’s going to go on in the film when this song plays. It isn’t just a roadside attraction like ‘Selfie Le Le Re’ was in ‘Bajrangi Bhaijaan’. A solid start to the album; this song might not be the favourite of Salman Khan’s or Pritam’s fans, but it left me awestruck with its innocent and charming nature! 

Rating: 4/5 for Original Version, 4/5 for the Film Version

 

2. Naach Meri Jaan

Singers ~ Nakash Aziz, Dev Negi, Kamaal Khan & Tushar Joshi, Kumaow Backing Vocals by ~ Dev Negi, Anurag Saikia, Akashdeep Sengupta & Tushar Joshi, Lyrics by ~ Amitabh Bhattacharya

“Rishta humaara, jaise ki dori, se judi ho patang, patang, patang, patang!
Tujhse bichhadke chal na sakoonga, ek bhi main, kadam kadam kadam kadam!
Palkon pe mujhko bas toone bithaya,
Jeene ka nuskha yehi, toone bataya,
Chhed ghata ko, banke pavan tu, chhodke saare, kintu parantu,
Naach meri jaan, hoke magan tu, chhodke saare, kintu parantu!”

– Amitabh Bhattacharya

The second song comes across more as the commercial, show-off-Salman’s-stardom kind of song, than the first song. But this time, along with Salman, his real-life and reel-life brother, Sohail Khan, also gets the spotlight. The song is being touted as a ‘Brotherhood Anthem’, and that, it is. It is heartwarming to hear Pritam’s composition for this one. A very innocent composition at heart, it really suits the ambience of the film, and will set the base for the two brothers’ love in the film, perfectly. The prelude is a wonderful folksy instrumental on a folk instrument of the Northeast India. After the prelude ends, I found myself very tempted to sing “Jashnbaazi Ki Shaam Hai..“, the opening lines of Pritam’s ‘Tukur Tukur’ (Dilwale), because the feel of both songs is just so similar. Even after the mukhda plays, though, that song cannot be forgotten, and yet another Pritam song, ‘Chicken Kuk-Do-Koo’ (Bajrangi Bhaijaan), comes to mind. Pritam always does those slightly Goanese flavoured songs with utmost care and fun, in the process, making us get a very fun song to listen to. The composition of the mukhda starts off the song very beautifully though, despite all the throwbacks to his previous songs. And the hookline too, is amazingly charming. The antaras, both having the same tune, witness Pritam doing his (yet again) trademark repetition of one word many times, and that effect sounds really cute and catchy here. The composition overall gives out a very beautiful old-fashioned feel, and I mean it in a good way. Pritam does the Laxmikant-Pyarelal thing again, and scores. The arrangements in this song are much more richer, than the Pritam songs that it sounds like. The entire song is based on a folksy rhythm, with a strong whiff of the Northeastern flavour. The percussion stands out very prominently, as a quirky and catchy one. The folksy instrument keeps playing throughout the song, and you can’t help but keep humming the flute portions in the second interlude. That interlude is hands-down, the best part of the song for me. Close behind comes the folksy chorus part, sung in Kumaow, the dialect spoken in the hilly areas where the film is set. Dev Negi, Tushar Joshi, Anurag Saikia & Akashdeep Sengupta, do an amazing job singing those lines. As for the lead vocals, Nakash Aziz is his usual energetic self, whose best is always brought out by Pritam. Dev Negi sings the other brother’s portions in the audio song, or so I believe, because I can hear Kamaal Khan’s soft-and-unimpactful voice in the video, and that’s not the same voice in the audio song. 😂 So again, Kamaal gets replaced for the album version of the song, just as he was in the first song. Whoever has sung those parts in the audio then (though I’m guessing it is Dev Negi) has done an impressive job compared to what Kamaal sounds like in the video. Amitabh Bhattacharya’s lyrics are a very cute take on the dynamics (in the song, very smooth and easy-going, which I don’t think it is like in real life… Right?? 😂😂😂) between two brothers. To sum it up, this song is something that touches your heart, as well as makes you tap your feet, at the same time!

Rating: 4.5/5

 

3. Tinka Tinka Dil Mera / Tinka Tinka Dil Mera (Film Version)

Singers ~ Rahat Fateh Ali Khan / Jubin Nautiyal, Chorus ~ Vivienne Pocha, Shazneen Arethna, Marienne D’Souza & V. Chandana Bala, Traditional Shepherd Calls by ~ Jubin Nautiyal, Vivienne Pocha & DJ Phukan, Lyrics by ~ Kausar Munir

“Tinka tinka dil mera, teri lau mein, jalta hai,
Jaaye tu chaahe kahin, mere dil mein dhalta hai,
Qatra qatra, dil mera, teri raah mein behta hai,
Jaaye tu chaahe kahin, mere dil mein rehta hai!”

– Kausar Munir

After two upbeat and foot tapping numbers, the pathos and poignance that eventually gets to all Pritam-Kabir Khan soundtracks, sets in. What is presented to us next, is a pensive melody that really brings tears to your eyes, and I’m not exaggerating! Pritam ropes in his long-time collaborator, Rahat Fateh Ali Khan from across the border, to sing this song, and I must say, he was the perfect choice for this song. Of course there is a “Film Version” by Jubin Nautiyal as well, but more on that later. The composition is essentially a heart touching one, complete with little nuances throughout its length. The mukhda, which is in its entirety, the hookline itself, hits you right where it should. The folksy bits in the interludes, (rendered powerfully by Jubin Nautiyal, Vivienne Pocha & DJ Phukan), are really impactful and provide a raw and earthy feel to the song. Even the basic composition by Pritam is very raw and rustic, not like Pritam’s usual alternative rock-styled sad songs a la ‘Saware’ (Phantom), ‘Daayre’ (Dilwale), etc. The antara does something inside you that not even the mukhda could do. The high notes it touches are just so heart-rending, it leaves a lasting impression, at least it left one on my heart. The slow pace really works in the song’s favour, and evokes memories of another such song by Pritam, “Ashq Na Ho” (Holiday), which was also, coincidentally, about the sentiments of family members of a soldier when he goes off to war. There is yet another “roadside attraction” as I call it, in the song, and that is the Chorus, singing like an English choir. Vivienne Pocha, Shazneen Arethna, Marienne D’Souza and V. Chandana Bala do that with a striking brilliance. It kind of resembles the similar chorus we had in ‘Bajrangi Bhaijaan’s ‘Zindagi Kuch Toh Bata’. Now, to talk about the leading man, Rahat. I think that if I say he has done extraordinarily in the song, it would be an understatement. His rustic voice produces a magic it has not produced of late, and reaches out to your heart. Jubin, on the other hand, not having the same vocal texture in other songs, tries impressively to produce it, and even succeeds to an extent. The way he has moulded himself to fit into the rustic standards of the song, is very impressive. But of course, some of the magic that Rahat could provide, is evidently missing in Jubin’s version. {Fun fact here: Even in ‘Bajrangi Bhaijaan’, Jubin had sung one version of ‘Zindagi Kuch Toh Bata’, and the other one was a duet between Rahat and Rekha Bhardwaj!} Pritam’s arrangements are some of the most beautiful arrangements I’ve heard for a sad song this year. Usually, composers while arranging the sad songs are of the (mis)conception that it would be fitting to arrange it very monotonously, with the same sounds repeating all throughout the song. They almost never try to experiment at it, but here, Pritam has experimented by adding touches of the folksy flavour (credited by Sony Music as “Traditional Shepherd Calls”) and a Western flavour through the Choir. Even in the instruments, he tries to bring variety, by gracing some parts of the song with nothing but a serene-sounding piano, making the song suitable for a lullaby, but other parts heavy with rich and lush instrumentation, especially the finale to the song, where the American choir starts to sound African (but I guess that’s how the Hill Regions’ folk music sounds). Interspersed throughout the song, is a string instrument that is very fascinating; that would be the Swedish Nyckel Harpa (played here by Emelia Amper). Regular orchestral strings too prevail in the song, and sound magnificent especially in the first interlude. The instrumentation doesn’t stop even at the percussion part of the song, where Pritam employs Dipesh Verma, Omkar Salunkhe & Backtracks to produce a very intriguing Afro kind of percussion section. The guitar, of course, is a nice and pleasant addition to everything else that sounds so heavy. Even though the song is very emotional though, it never sounds heavy to the ears, and that is definitely because the arrangements have been kept so soothing to the ears, especially the minimal piano/xylophone parts. Both version are the same in arrangements, only differing in the vocal department. Kausar Munir, guest lyricist, pens down this song as a very heart-moving depiction of one brother’s love for the other, who is obviously off at war. SPLENDID!!

Rating: 5/5 for the Rahat Version, 4.5/5 for the Jubin Version

 

4. Main Agar / Main Agar (Film Version)

Singer ~ Atif Aslam / K.K., Chorus in Atif’s Version ~ Vivienne Pocha, Shazneen Arethna, Nisha Mascarenhas & V. Chandana Bala, Lyrics by ~ Amitabh Bhattacharya

“Main agar, sitaaron se churaake laaun roshani,
Hawaaon se churake laaun raagini,
Na poori ho sakegi unse magar, teri kami,
Main agar, nazaaron se churake laaun rangatein,
Mazaaron se churake laaun barqatein,
Na poori ho sakegi unse magar, teri kami!
Yeh duniya paraayi hai, bas ek apna hai tu,
Jo sach ho mera woh savere ka sapna hai tu!
Dekhunga tera raasta, ho kuchh tujhe bas Khuda na Khaasta!” 💜

– Amitabh Bhattacharya

Finally, with the fourth song in the soundtrack, the TYPPPPPPICAL Pritam vibe enters, and by that I mean a very soft and dulcet melody, with rock arrangements that send you on a trip to dreamland. The song starts off very promisingly. Very, very promisingly. The mukhda starts off right away with the hookline, which is a haunting line, that you catch onto instantly! It takes these abrupt turns into that “Haunting Note” territory, and when a tune goes into that territory, you end up loving it right away! That part even reminded me of the same “Haunting Note” territory part in “Zindagi Kuch Toh Bata” (Bajrangi Bhaijaan). But after that nice and dulcet tune, in comes a very oddly placed high-octane rock portion that defies the era and time period in which the film is set; it sounds very much like the formulaic songs that Pritam sometimes composed for the Bhatts. But fortunately, the composition is so strong, you overlook the mismatch of the era and the musical style. The antara gets back into that Haunting territory, and in the high notes, it just sends chills along the length of your arms. But hands-down, the best part of the song is the part where the title comes into play. Again, towards the end, a wondrous chorus joins (Vivienne Pocha, Shazneen Arethna, Nisha Mascarenhas & V. Chandana Bala), giving a very goosebumps-inducing experience. The arrangements in this one, are quite different from the folksy feel that the album carried till now, as is clearly evident right when the first electric guitar riff plays. The guitars, nevertheless, are very engaging, and Pritam does that technique of his which we heard in ‘Kabira’ (Yeh Jawaani Hai Deewani) and ‘Saware’ (Phantom), where the guitar just seems to play in a never-ending circular loop. The song starts off, however, with a very serene and soothing piano-driven instrumentation, and those first sixty seconds of the song are something to savour, because then, after that, the drums (Backtracks) and guitars (Warren Mendonsa & Oscar Foreleg Storm) overshadow everything else. Once in the antara, between the lines “woh lamha hoon main“, and “Phaagun Ke Mahine“, you can hear a very Indian Qawwali-ish instrument, like the chimta, and I wonder what that is doing in this song. Whatever it’s doing, I loved that it is doing whatever it is doing. 😍 The basic rhythm of the song is very engaging. One grouse I had during the finale of the song is that the chorus + guitars + Atif yelling at the top of his voice, gets so loud at one point, that you have to decrease the volume from whatever volume you are listening it at, because it just doesn’t sound consistent with the rest of the song. That brings us to Atif. He pronounces his words quite better than he does usually, and leaves no doubt in out mind that this song was tailor-made for him and solely him. Whatever has irked me about the loudness in the original song, isn’t quite set right completely in the Film Version by K.K., but as a song, this one is a more glitzy version of the melancholic song. This one has modern club beats (reminding one of “Tum Mile” title song), which sound like even more of an oddity considering that the film is set in the 1960s. And to think that a club version is the Film Version, is well, awkward. Pritam tweaks the tune a bit, adding a part where K.K. repeats the word “bepanah“, and uses his trademark neverending guitar loop there too. K.K.’s vocals are enjoyable, and I must say, he grazes the high notes way better than Atif does, in a very effortless manner. Pritam also does away with the female choir here, and ends the song softly, instead of loudly like the original version. Amitabh Bhattacharya’s lyrics in this song, though, are what will make people to listen to it, even fifty years down the line. Such poetic lines, and so meaningful! Wow! He even writes different lyrics for two portions in the so-called “Film Version”. I still have a gut feeling that Atif’s version would be the Film Version, and Sony has just written it on the K.K. version by mistake. Both versions are slight misfits in the album, but a great song nevertheless. Despite a few grouses here and there, it is made up for by the SPECTACULAR lyrics!

Rating: 4/5 for Atif’s Version, 4/5 for K.K.’s Version

 

5. Kuch Nahi / Kuch Nahi (Reprised) / Kuch Nahi (Encore)

Singers ~ Javed Ali / Shafqat Amanat Ali / Papon, Lyrics by ~ Amitabh Bhattacharya

“Naa nabz, naa hi saansein, Kuch nahi, kuch nahi
Tere bina hai jeena, Kuch nahi, kuch nahi
Naa ashq naa hi aahein, Kuch nahi, kuch nahi
Tere bina hai marna, Kuch nahi, kuch nahi!
Tere bina main kyun, Tere bina main kya?
Har pehar darbadar, Kuch nahi, kuch nahi..
Naa aks naa hi saaya, Kuch nahi, kuch nahi
Tere bina hai mera, Kuch nahi, kuch nahi!”

– Amitabh Bhattacharya

The grand finale to this much-awaited and much-delayed album, appears in three versions. So it is as of Pritam is making up for all the time we spent waiting, by giving us a treat of two extra versions! Let’s remind ourselves that ‘Tu Jo Mila’ (Bajrangi Bhaijaan) also featured in three versions, one by K.K., one by Javed Ali and the last by Papon. Well here, Pritam follows a similar template, giving one version to Javed, one to Papon and the third to someone he has collaborated with many times, but has been absent from Bollywood for quite a long, long time, Shafqat Amanat Ali. So first version first. Javed Ali gets to sing the original version of the song, and what an apt choice that is, for, he renders it so beautifully with his voice that is the perfect blend of rustic and sweet. The composition immediately gives off fragrances of ‘Tu Jo Mila’, right from the first line, but Pritam takes detour from that similar tune quite soon in the proceedings of the song, only to make it sound like a different line of ‘Tu Jo Mila’. The bottom line was that, I couldn’t forget ‘Tu Jo Mila’ the whole time I was listening to this song. The guitar in the beginning is played very similar to that in ‘Tu Jo Mila’, and by very I mean very, very. Is that a complaint? No, not at all. The composition, despite all similarities, is very beautiful and has a soul of its own. The rest of the arrangements, too do not emulate ‘Tu Jo Mila’ either. While that song had more of an alternative rock setting, this one goes a more rooted way, with the use of traditional (by which I mean traditional Western) arrangements: the orchestra is phenomenal, you just have to keep your ears ready for phenomenal performances by the strings, especially in the antara. And can we take a moment to appreciate the impeccable beauty of the composition of the “tere bina main kyun, tere bina main kya?” line!? Even the antara is very soulful, but it is the hookline with its ‘Tu Jo Mila’-esque properties, that draws you in right away. Anyway, the arrangements are amazing, and a nice rhythm section, again, has been employed all throughout. A wonderful flute interlude plays the ‘Main Agar’ hookline, and that part reaches your heart instantly! This arrangement stays for the Reprise by Shafqat, but it is changed in the Papon version. Papon’s Version has a slightly different arrangement than the other two. A mellow piano, and a twinkly xylophone backdrop welcomes us into the song, with a cello following quite soon. And then the strings just free up so beautifully, and showcase their beauty right away. Here, Pritam does away with the percussion, and keeps it like a classical Western song, and you will get a feeling that you are in some authentic Symphony House in Prague. The interlude too, changes from the flute one to a string orchestra one, with piano leading us to the antara. The antara has hints of brass instrumentation as well, and the percussion returns, but not as pronounced at it was in the two other versions. All in all, this version has the richest arrangements of the three. As for the vocals, I’ve already mentioned how Javed’s high pitched voice helps him directly reach our hearts. Shafqat seems a bit out of form, and that vibrato that used to be the characteristic of his voice, seems to have vanished, making his singing sound duller than his former singing, but better than other singers nowadays!! How I wish the old singers that Pritam has used in this album get many more songs today. Papon in his version, uses his deep, metallic voice to awe his audience and fares way better than Shafqat, but again, I felt the composition only suited Jared’s high pitched voice. The other two have sung well, but the composition just doesn’t go with those low voices for me. But the arrangements helped to make those versions better. Amitabh Bhattacharya keeps the lyrics the same in all three versions, and that’s good too, because the lyrics are so wonderful and deep. 🙂 A perfect finale to this album, in three options! Choose your preferred option and enjoy!!

Rating: 5/5 for Javed’s Version, 4/5 for Shafqat’s Version, 4.5/5 for Papon’s Version


Tubelight turned out to be quite worth the excruciating wait. With only five original compositions, and each of them scoring in their own ways, Pritam has made this album a treat for music lovers. The typical Pritam practice of adding lots of reprises in albums has been revived, the last such album of his being probably ‘Dishoom’. But those reprises were so redundant. Here, each reprise has its own specialty. About the album on a whole, it is so full of variety, while also keeping the emotion of the film intact. Though there are three songs that are uninhibitedly sad/mellow songs, even the two upbeat songs have tinges of emotion in them hidden somewhere. Since this album took such less time to grow on me, at least, I would say that it is a superbright, LED tubelight, which of course, light much faster than the normal ones! 😉

 

Total Points Scored by This Album: 4 + 4 + 5 + 4.5 + 4.5 + 4 + 4 + 5 + 4 + 4.5 = 43.5

Album Percentage: 87% {Just 0.5% short of getting the top rating! Oh well.}

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: Kuch Nahi = Tinka Tinka Dil Mera > Tinka Tinka Dil Mera (Film Version) = Naach Meri Jaan = Kuch Nahi (Encore) > Radio = Radio (Film Version) = Main Agar = Main Agar (Film Version)

 

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

A COMMANDO WITH LESS COMMAND ON TUNE! (COMMANDO 2 – Music Review)

Music Album Details
♪ Music by: Mannan Shaah, Gourov-Roshin & Pritam Chakraborty
♪ Lyrics by: Kumaar, Aatish Kapadia, Raftaar & Sameer Anjaan
♪ Music Label: T-Series
♪ Music Released On: 13th February 2017
♪ Movie Releases On: 3rd March 2017

Commando 2 Album Cover

Commando 2 Album Cover

 

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

To but this album on iTunes CLICK HERE


Commando 2 is an upcoming Bollywood action thriller film starring Vidyut Jammwal, Adah Sharma, Esha Gupta and Freddy Daruwala, directed by Deven Bhojani, and produced by Vipul Amrutlal Shah. It is a sequel to 2013 sleeper-hit, ‘Commando’, which is still famous for its wonderful action scenes. That film had more of a rustic setting, wheras this one is a sleek, urban film. And that might reflect somehow in the music as well. Which is by the composer of the first movie, Mannan Shaah. I don’t know whether he did some other small albums during these four years, but I definitely didn’t hear any. He has composed three songs for the movie, while the guest composers Gourov-Roshin have “composed” another. It is a remake. My expectations are 50-50, considering that the music of the first film was good as per the movie’s theme, and that T-Series has changed over the years. And also, Gourov-Roshin have remade something, which succeeds only sometimes. At least I hope the Mannan Shaah part of the album is good. So let’s see how the album is, though I’m a bit apprehensive!


1. Hare Krishna Hare Ram

Singers ~ Armaan Malik, Ritika & Raftaar, Original Composition by ~ Pritam Chakraborty, Music Recreated by ~ Gourov-Roshin, Original Lyrics by ~ Sameer Anjaan, New Lyrics by ~ Kumaar, Rap by ~ Raftaar

“Hare Ram, hare Ram, Hare Krishna Hare Ram!”

– Sameer Anjaan

T-Series’ habit of rehashing old hits continues with the first song of the album itself. And the song isn’t a hit from the 70s, 80s, or even 90s! It is a (relatively) new song (can’t believe ten years have passed already!!) from 2007! The goat that gets sent to the slaughterhouse this time is ‘Bhool Bhulaiyaa’s title track, by Pritam! And the remake is in the hands of the people I least trust with remakes nowadays, Gourov-Roshin! (With Abhijit Vaghani doing the programming) So yeah, lethal combination. Now, the song’s new composition by Gourov-Roshin cleverly doesn’t stray too far away from the original one, and in doing so, sounds quite similar to the old one in totality. However, it sounds completely incomplete! The song starts off with a rapid rap from Raftaar (if you don’t know, his name means speed 😛 ) which is quite impressive as far as rap is concerned. Then comes the new mukhda, which, as I said, sticks very close to the original. The hookline is the only thing here that deserves to be heard, because of its original catchy and haunting tune by Pritam. The antara too, can’t survive without the old tune serving as a structure. So yeah, I bet the duo did a lot of put-this-note-here-and-that-there, and composed the new parts with the same notes, but jumbled up. The arrangements are quite cool, and there’s a nice tap dance part after the rap at the beginning, which sounds amazing. And that plucked instrument loop from the original has been incorporated in the places you would least expect it to be, sometimes played on some trumpet-like instrument. The beats are groovy. And that synthesiser loop that starts the song is mind blowing. Vocals by Armaan Malik are one of his worst performances ever. The makers have made him song in a different voice, yes, but it doesn’t suit him or the song at all. The female vocalist hardly gets scope to say anything, and that too, is unintelligible. Raftaar, as mentioned before, raps efficiently. The new lyrics by Kumaar are no weirder than the original by Sameer. 😀 Good as a song, but not as a remake as it doesn’t meet the standards of the original, which was way ahead of its time!

Rating: 2.5/5

 

2. Tere Dil Mein / Tere Dil Mein (Club Mix)

Singers ~ Armaan Malik / Armaan Malik & Shefali Alvares, Music by ~ Mannan Shaah, Lyrics by ~ Aatish Kapadia

“Abb toh intezaar hai, bas tere jawaab ka,
Milta hai khayal kya, tere mere khwaab ka,
Mera dil toh ho chala, ikk khuli kitaab re…
Tere dil mein kya hai tu bataa re!”

– Aatish Kapadia

Composer Mannan Shaah takes over from here, and his first song is a dulcet romantic ballad, that instantly gets you hooked. The composition is one of the sweetest I’ve heard this year. Each month seems to be having its own ‘Best romantic Song’, and while January’s and February’s songs were ‘Enna Sona’ (Ok Jaanu) and ‘Bawara Mann’ (Jolly LLB 2) respectively, I would vouch for this one as March’s best romantic track till now. Mannan’s composition is heart-rending, especially the hookline, which has an innate Indian touch to it. It is just so emotional-sounding for some reason! And the line going “Tu hi mera sach hai re…” has been composed beautifully! The antara just continues with the beauty of the composition, and I especially loved the part where the antara bridges to the hookline! That’s when the maximum goosebumps showed up. The arrangements are amazing, with acoustic guitar riffs (Warren Mendonsa) forming the base of the arrangements, and a ravishing Strings section by the Chennai Strings Conducted by Sax Raja blows away your mind. Electric guitar, also by Warren Mendonsa, makes a cameo in the interlude, and that’s quite interesting to listen to too. The vocals by Armaan are cute and sweet, but his diction falters at places, like “kaab” for “khwaab“, and he hasn’t seemed to have got time to rehearse those intricate aalaaps in the mukhda and hookline! Sad, because that makes a technical glitch in such a beautiful song! Armaan is usually good, but I cant help but miss Arijit here. The song is like a modern equivalent to ‘Commando’s romantic song ‘Saawan Bairi’, but gets nowhere close to it in terms of compositional intricacy and perfection. Then again, that was a semiclassical composition. There is a “Club Mix” included in the soundtrack, which is basically a remix, with the original track played at a very high tempo, that barely does any justice to it. There’s a female portion in that track, which is sung by Shefali Alvares (I got that even before reading the credits! Yayyyy! :p ). The song makes for a nice club track, but doesn’t at all do justice to the surreal composition. And yes, I am rating that because if the makers want to degrade their album by adding unnecessary remixes, it’s not my fault! Note that it is the first remix in all of 2017, and that means we are changing! The remix has been essentially done to bring forward another antara, which wasn’t in the original, and unused. So if you want to hear that, hear this club mix. Otherwise, I will only suggest that you hear it if you work as a DJ. The lyrics by Aatish Kapadia are simply wonderful, and I really loved them, both in the original and the antara of the song that got used in the remix. A romantic song straight from the heart.

Rating: 4.5/5 for original, 2/5 for Club Mix

 

3. Seedha Saadha / Seedha Saadha (Reprise Version)

Singers ~ Amit Mishra / Jubin Nautiyal, Music By ~ Mannan Shaah, Lyrics by ~ Kumaar

“Seedha saadha dil, Seedha saadha,
Mera Kam hai tera zyaada!”

– Kumaar

A melancholic rock song is the next song Mannan Shaah has to offer here, and from the way it starts, you can tell that it isn’t headed anywhere. The first version, at least. It has that feel to it right at the beginning, which tells you right away that it is a weird, unlikeable composition. And it definitely does start off that way. The composition is as colourless and dull as it can be, before the hookline. The only part the composition ever becomes likeable is in the hookline. The antara too, is decent, but because of the mukhda and other factors we’ll come to later, the song just doesn’t appeal to you. It is a pity that such a good hookline couldn’t get a better fitting part to it. Now for the other factors. Like Amit Mishra’s vocals. Amit Mishra. The one who stunned or entertained us with his renditions in ‘Manma Emotion Jaage’ (Dilwale), ‘Sau Tarah Ke’ (Dishoom) and the best, ‘Bulleya’ (Ae Dil Hai Mushkil), does nothing but disappoint in this song. His faltering voice doesn’t go with the composition, for which even K.K. would’ve worked. Jubin does way better in his version, but then, his version is a subtly arranged one, without as many hard-hitting rock noises as Amit’s version has. And I must say, Mannan’s composition sounds way better as a soft rock song, than a heavy rock song. Jubin’s soft voice had the right voice texture for it to come out right, which is why his version is way better. The arrangements in Amit Mishra’s version are too distracting, and the melody can’t be enjoyed as such. Whereas Jubin’s version has a wonderful, sway-inducing soft rock arrangement, enhanced by a synthesiser loop playing in the interlude. In a nutshell, you should go for the wholesome Reprise, than the incomplete and weird first version. Lyrics by Kumaar are good, but quite typical here. A sad song better felt in Jubin’s voice than Amit’s. It is basically a middling composition relying on voices to uplift it, out of which one clearly could not!

Rating: 2/5 for Original, 3.5/5 for Reprise Version

 

4. Commando (Title Track) / Commando (English Version)

Singer ~ Aditi Singh Sharma, Music by ~ Mannan Shaah, Lyrics by ~ Kumaar

Commando, commando, commando, commando!” :p

– Kumaar

The last song of the album is the title track of the film. Of course, it isn’t exactly the title track because they don’t say ‘Commando 2’, but then whatever. The composition is yet another middling composition by Mannan, and I don’t get why it flies all over the place and has so many turns and twists, that nobody will be able to decipher or even enjoy it. The mukhda makes it start off like a very run-of-the-mill track, without any shine whatsoever. The hookline is the easiest possible way you could imagine to put a tune to the word ‘Commando’. The interlude sees the song going all fusion-y, and then there’s a tempo increases that gets the song taking off at last. From there, the song at least sounds decent. There’s a nice traditional percussion in that part, and it is followed by a nice electric guitar piece. The antara that follows is also better composed, and has the required attitude that is seen in the action scenes of the movie’s trailer. There’s an English Version, in which just the mukhda’s Hindi parts have been replaced by lines in English, and it was actually unnecessary. They could’ve secretly added it in the movie without giving us another audio track, like some filmmakers do for certain songs that are actually good. Aditi is at her pretentious best, and stylises the words so much that it sounds too false! Mannan’s techno sounds do fare well for the song though. Kumaar’s lyrics are just bland. One of the most boring title tracks of late. *Remembers Raees title song*. Or maybe not.

Rating: 1.5/5 for original , 1.5/5 for English Version


Commando 2 is such a letdown, I can’t explain it in words. Only one song matches any expectations, and that too isn’t as good as the best song of “Commando”. Gourov-Roshin’s remake is good except for the fact that is unnecessarily relies on Pritam’s song to propel it forward. Mannan’s other songs are below the standards he set for himself with the first film’s album. Also, unnecessary reprises bog down the album. This Commando lacks command over tune, and composition! And maybe, choice of singers too.

 

Total Points Scored by This Album: 2.5 + 4.5 + 2 + 2 + 3.5 + 1.5 + 1.5 = 17.5

Album Percentage: 50% (How convenient!) 

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: Tere Dil Mein > Seedha Saadha (Reprise Version) > Hare Krishna Hare Ram > Tere Dil Mein (Club Mix) > Seedha Saadha > Commando (Title Track) > Commando (English Version)

 

Remake Counter:
No. Of Remakes: 06 (from previous albums) + 01 (from Commando 2) = 07

 

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

DHAAKAD DUO PRITAM-AMITABH WIN THIS MUSICAL DANGAL!! (DANGAL – Music Review)

Music Album Details
♪ Music by: Pritam Chakraborty
♪ Lyrics by: Amitabh Bhattacharya
♪ Music Label: Zee Music Company
♪ Music Released On: 14th December 2016
♪ Movie Releases On: 23rd December 2016

Dangal Album Cover

Dangal Album Cover

 

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

To buy this album on iTunes CLICK HERE


Dangal is an upcoming Bollywood sports drama / biopic starring Aamir Khan, Fatima Shaikh, Sanya Malhotra, Sakshi Tanwar, Zaira Wasim and Suhani Bhatnagar. The film has been directed by Nitesh Tiwari, and produced by Aamir Khan, Kiran Rao and Siddharth Roy Kapur. The film revolves around the life of wrestler Mahavir Singh Phogat (played by Aamir), who teaches his two daughters, Geeta and Babita Phogat to master the sport. The movie looks like a fun but emotional struggle of the family, and I’m looking forward to watching it. Of course though, till the 23rd of December, we all have the music album of the movie to entertain us. The music has been composed by Pritam, who has not even yet come out of the fresh success of his latest super-hit album ‘Ae Dil Hai Mushkil’. This happens to be Pritam and Aamir Khan’s second time working together, the first being ‘Dhoom 3’, which, as most sequels are, was a bit underwhelming. This movie being a sports film, I was skeptical whether there would be any scope for Pritam to shine as much as he did in ‘Ae Dil Hai Mushkil’, but again, we remember music albums like ‘Phantom’ and ‘Barfi’, movies where music might not have played too much of a role, but Pritam nailed it with his music and stunned critics as well as listeners. So let’s hope Pritam continues his hit spree with this album as well! With this album, Pritam offers 6 more songs to add to his 6 songs from ‘Ae Dil..’, so without further ado, let’s start!!!


1. Haanikaarak Bapu
Singers ~ Sarwar Khan, Sartaz Khan Barna, Backing Vocals ~ Kheta Khan & Dayam Khan

“Toffee chooran, khel khilaune, kulche naan parantha,
Keh gaye hain tata jabse, Bapu toone daanta!
Jis umar mein shobha dete, masti, sair, sapaata,
Uss umar ko naap raha hai, kyun ghadi ka kaanta?”

It is with the first song itself, that Pritam assures that whatever our doubts were before hearing the album, he is going to provide his utter best and not leave a single chance to give good music, whatever be the genre of the film. So of course, the film shows the struggle of Mr. Phogat’s daughters right from their childhood, in which case a children’s song is a must, isn’t it? And so, Pritam, very diligently, delivers a children’s song as the very first song of the album. And what a smashing opening it makes for! The composition is another one that falls into Pritam’s category of insane, fun songs, and is one that will instantly connect with the audience, especially the part of the audience that it is clearly aimed at — The kids! More specifically, the kids who have a very strict father, like the girls in the movie do. 😀 The song starts with a cute little ad-lib by the young boys, paving a nice way into a folk-flavoured rhythm that goes “ding dang ding dang…” and at the same time, makes you groove. And it is the mukhda which makes the song finally get going finally. The catchy tune, rendered by those cute young voices, just can’t let you hate it! The raps that act as fillers in the interludes are so entertaining, that the instruments almost don’t matter! (People wanting to sue me because of less recognition and rights for instruments, please note the ‘almost’ 😛 ) The antara showcases even more of the Folk flavour, by slowing the tempo down, sort of like how it is in Qawwalis, and that tune too is amazing! Pritam has employed great folksy nuances to complement his buoyant composition, the rock guitars (Vadim Zilberstien & Amandeep Singh) being the most prominent. What infuses the folksy feel into the song, though, are the lively harmoniums and that wonderful rhythm (Iqbal Azad, Hanif Dafrani, Aslam Dafrani & Yusuf Sheikh) that plays all throughout. The duffs and other folksy percussion have been used so wonderfully, not to mention the awesome occasional drums (Alan Hertz). I completely loved the fusion of Western and Folk music that Pritam has utilised in this song. The second interlude has a wonderful banjo solo, that is just a pleasure to listen to! Back to the rock guitars, it just rejuvenates you when those guitar strums play unexpectedly in the middle of a verse. The song ends on a nice high-energy conclusion, complete with whistles and the “ding dang” rhythm making it a grand finale. The vocals are impressive. Pritam’s earthy finds, Sarwar & Sartaz Khan, two young folk singers, render the song beautifully. That naughtiness that was required to render the song, has been very professionally brought into the song by them. Their diction of certain words is very fun and entertaining, like ‘torture’. But the backing vocalists, two more young boys, namely Dayam & Kheta Khan, also make the song sound better with their occasional embellishments throughout the song. The genius mastermind that he is, Amitabh Bhattacharya excels with the pen in this track. His witty nuances constitute the majority of the song, while also dissipating the subliminal message of letting children enjoy their childhood. Lines like “Bapu sehat Ke liye Tu toh haanikarak hai” (Father, you are injurious to health) and “Mitti ki gudiya se bole Chal body Bana, yo toh torture hai ghana re yo toh torture hai ghana” (He tells a young girl to do body building, this is sheer torture!) and “Discipline itna khudkhushi Ke laayak hai” (So much discipline, that it is enough for us to commit suicide), though marinated in sarcasm and exaggeration, do evoke laughter from you, even though they are a bit far-fetched. 😀 The jest contained in this song is enough to make you rolling with laughter. Finally, Bollywood evolves from songs that worship blindly, to songs that are straightforward like open letters. To those cute boys, please sing more in the future! #5StarHotelSong!!

 

2. Dhaakad / Dhaakad (Aamir Khan Version)
Singers ~ Raftaar / Aamir Khan

“Tanne chaaro khaane chitt kar degi, Tere purje fit kar degi,
Datt kar degi Tere daanv se badhke, pech palat kar degi,
Chitt kar degi, chitt kar degi!
Aisi dhaakad hai, dhaakad hai, aisi dhaakad hai,
Aisi dhaakad hai, dhaakad hai, aisi dhaakad hai!”

The next song redefines Bollywood’s meaning of ‘rap’ and actually takes rap for what it means. The song is a Haryanvi hip-hop rap song, that is full of attitude and spunk. Though it is completely a rap song, it is that harmonium tune by Pritam that gets the listener hooked right from the beginning. The arrangements too are very captivating. More on them later. So as I was saying, or writing, the song starts off quite subtly with a rap that does not instantly grab you in. However, gradually, as the rhythm sets in and you get accustomed to the very innovative setting of the song, the song sounds nothing but catchy. Raftaar’s rap has this flow to it that makes you want to hear it over and over again. Especially the lines I’ve written above, that part sounds so good!! However, Raftaar only plays half the role in making the song sound so good. Because Pritam has decorated the background music with such cool sound effects, that it is difficult to keep your concentration on one particular thing. The song itself starts with a very stunning prelude, which gives us an insight into the Haryanvi setting of the song, with the sarangi (Rajesh Kumar) welcoming us into the song very warmly and getting us ready for some folksy fest, when unexpectedly, some techno sounds and digital beats start playing and those nice sound effects bring a modern touch to the song. The Folk percussion and the manjeeras too help the song to get elevated right at the beginning. Raftaar’s spunky rendition is just perfect. There couldn’t be a more full-of-attitude delivery of the verses. He also puts in those awesome backing vocals that interrupt in between the lines, like ‘haanji’, ‘kasam se’, ‘by God’, ‘ibb yo suno’ and whatnot. Those phrases just sound awesome in their randomness. Aamir’s version has Aamir starting off well, and with a lot of attitude, but you just get disconnected from the song midway. Nevertheless, it acts as a nice makeover of the actor’s goody-goody image. :p He does deliver the words very fast, and that one rap in the middle which Raftaar had rendered amazingly, Aamir too aces easily! About that ‘nineteen-to-the-dozen’ rap, though, there are many musical additions by Pritam behind whatever Raftaar or Aamir are saying. A nice techno base offers a modern touch, while electronic tablas steal the show and that been/pungi (Mukesh Nath) that sounds oh-so-earthy, is just awesome. Pritam places the techno elements in the song in places they are least expected. And that harmonium which plays everytime the rapper says “Tere purje fit Kar degi..” is just mind blowing!!! Amitabh’s lyrics are equally full of attitude. I doubt Raftaar being a rapper could’ve written the lyrics! A step towards the uplifting of the rap genre in Bollywood, this song acts as a nice relief from the rap songs of today. #5StarHotelSong!!

 

3. Gilehriyaan
Singer ~ Jonita Gandhi

“Ek nayi si dosti, aasmaan se ho gayi,
zameen mujhse jalke, muh banaake bole, Tu bigad rahi hai!
Zindagi bhi aaj kal, gintiyon se oobke,
Ganit ke aakdon ke saath ek aadha sher padh rahi hai!”

With the next song, the fun and naughty flavour of the album is gone, and replaced by a subtlety and innocence which can only be got in the best of romantic songs. With that fun flavour, even the rustic, folksy nature of the former tracks is replaced by an almost urban, modern touch. So Pritam has composed a song tracing the feelings of the girls when they go to the city for their training, and what results is a lilting composition that sucks you in right away. The mukhda is the hookline itself, and what a relief it is! It is so fresh and relaxing, that you cannot even imagine to hate it! The part that goes “Kyon zarasa mausam sarphira hai ya mera mood maskhara hai..” is beautiful! Pritam’s tune instantly gets you hooked, and you can’t do anything except sit and listen until the magic is over. The antara just continues the magic, and those two lines of the antara sound scintillating and surreal. The way Pritam connects the antara then, to the hook again, is fantastic! The hook has that lilt to it, which you normally feel when you are on top of the world, happy, jolly and indifferent to whatever’s going on around you! That lilt has been infused into it because of the amazing arrangements. The guitars (Nikhil Paul George) are so beautiful, that you just can’t ignore them, not to mention those finger snaps at the end of every line. The strings (The Symphony Team conducted by Christian Lorenz) are amazing, coupled with a nice choir piece to them. The mandolin can be heard in places, while the matkas are beautiful in the hook. The whole thing results in a wonderful positive vibe that does nothing but make you feel content and satisfied. It is Jonita that explores herself the most in this song. While she has sung quite some soft numbers for Rahman, it was her first such song with Pritam (the club numbers ‘Sau Tarah Ke’ from ‘Dishoom’ and ‘The Breakup Song’ from ‘Ae Dil Hai Mushkil’ being her previous songs with Pritam) and Pritam has made her sing so calmly and smoothly that it actually sounds fairy-land-ish and lulling. When she touches the high notes, her voice just directly touches your heart. Amitabh’s lyrics are genius here as well, and those lines from the antara are just ingenious!! A song that will make a place in everybody’s playlist for this year’s best songs! Melodic! #5StarHotelSong!!!

 

4. Dangal
Singer ~ Daler Mehndi

“Thhos majboot bharosa, apne sapnon pe karna,
Jitne munh utni baatein, gaur kitnon pe karna,
Aaj logon ki baari, jo kahe, keh lene de,
Tera bhi din aayega, uss din hisaab chukake rehnaaa..!
Arey, bhed ki hahakaar ke badle sher ki ek dahaad hai pyaare,
Dangal Dangal!”

The album’s title song comes quite late into the album, but how! The song is a pulsating, racy, energetic song that can be described just half of how great it actually is! Pritam has outdone himself here and produced such a heart-rending, motivational song, with such a beautiful composition, that I really have to salute him! The song starts off with those backing vocalists that we heard in the trailer of the film, and they sing that line with such conviction and energy, that it’s simply magical! The song immediately plunges into the mukhda that is the hookline, and then takes a small detour to the actual mukhda, which is amazing. (“Dhadkanein chhati mein…”) The composition of these two parts is enough to grab the attention of the listener and get him hooked! The backing vocals line keeps repeating throughout and it sounds just as exhilarating each time it plays. Though the hookline is oh-so-dependent on the repetition of the words “dangal dangal”, it still remains fresh in your mind after the song is over, and doesn’t come across as boring,because the padding around it has been composed rather professionally. Of course, what else can you expect from Pritam? The antara has a very emotional touch to its tune, and that was a welcome touch added by the composer. Everytime the verse connects with the hookline, you feel some thrilling sensation, and that just means that the motivational song has succeeded in its intentions! Arrangements are awesome as well! Of course, the usual rock guitars (Amandeep Singh & Roland Fernandes) and drums (Alan Hertz) that are used by everyone in such motivational title songs, are present. But leave it up to Pritam to give an already fortified and established cliché, an unexpected twist. He adds a nice Punjabi percussion to the song, and I must say, the percussion (Iqbal Azad, Girish Vishwa, Babloo Kumar, Ramjan Khavra, Ahmed Khavra) has added a nice and very intense quality to the music. Though it is a bit reminiscent of the ‘Rang De Basanti’ title song, which also had Daler Mehndi singing amidst heavy Punjabi percussion, this one too will make a place for itself in history. Moving on to the vocals, I can’t really praise Daler Mehndi enough! This year he has ventured into Bollywood thrice — once with Sachin-Jigar in ‘Raj Karega Khalsa’ (A Flying Jatt), then with Shankar-Ehsaan-Loy in the ‘Mirzya’ title track, and now this. Each time, he has showcased his awesome singing prowess and prices that he is the lion of Bollywood music. He uses his distinctive voice to awe the listeners in this track too, and doesn’t fail to live up to the energy that Pritam has created with his tune and arrangements. The backing vocalists (unfortunately uncredited by Zee Music), as mentioned earlier, are awesome! Amitabh goes to a different league altogether with the lyrics of this song. The struggle of the main character has been perfectly described through his words. The antaras are amazing, and somewhere I find that the words also apply to Pritam himself, who rose up from those demonic allegations of plagiarism and reinvented himself. The words are very touching and are sure to get some tears (even one will do, but don’t cheat and add glycerine please!) in your eyes! An adventurous title song, rendered beautifully by Daler Mehndi! Pritam has tried something different and succeeded with flying colours!! #5StarHotelSong!!

 

5. Naina
Singer ~ Arijit Singh

“Naina, jo saanjhe khwaab dekhte thhey,
Naina, bichhad ke aaj ro diye hain yun,
Naina, jo milke raat jaagte thhey,
Naina, seher mein palkein meechte hain yun”

The melancholia sets in with the next song. Pritam composes another song to accompany his songs in the league of ‘Channa Mereya’ (Ae Dil Hai Mushkil), ‘Kabira’ (Yeh Jawaani Hai Deewani) and ‘Ashq Na Ho’ (Holiday). The same feeling of melancholia hits you as soon as this one starts playing. The song starts with a small verse that sounds a bit like that concluding Punjabi couplet of ‘Channa Mereya’ in certain notes. However, it soon passes through that small resemblance phase, and as the miraculous hookline takes over, you soon forget about whatever small resemblance both songs showed. The hookline is amazingly poignant, and touches the chords of your heart immediately, and then the mukhhda just consolidates their position in your heart. The antara too, is very soul-stirring, and the high notes in Pritam’s composition help that part to connect with the audience. The melody has some old-world charm to it, something that is missing in most of today’s songs. The arrangements are beautiful as well, and the Composer goes with the typical Duff rhythm to accompany the composition. Calm guitars help the song to grab the attention of the audience before the actual melody starts playing. A wonderful sitar provides a nice source of relief in the interlude, only to be followed by an accordion-mandolin combo. In other parts though, the Duff does the needful, and though I have gotten bored of this rhythm in other songs, it sounds fresh here, maybe because of the poignant melody. And that violin that appears out of the blue at 2:18 in the song!! It sounds so retro and soothing! 😀 Violins also join in to conclude the song during the last hookline. Arijit renders the song beautifully, but part of the sameness of this song and the others I mentioned at the beginning, is that Arijit has sung them. Nevertheless, he is good at his delivery and does what he’s best at. Amitabh’s lyrics are splendid and a great to listen to, especially with Pritam’s heart-touching melody. A song that might go unnoticed, but is actually a gem! #5StarHotelSong!!

 

6. Idiot Banna
Singers ~ Jyoti Nooran & Sultana Nooran

“Main boli banna manne picture dikha de, Balcony ki do tho ticket kata de,
Yoon toh Sara theatre tha khaali, Banne ne ek ticket hi nikaali!
Bola ke interval take dekh le Tu, Interval ke aage ki main dekh loonga,
Ek ticket se kaam chale toh do leke Kya karna?!
Idiot hai mera banna!”

The last song on the album definitely suits as a grand finale to the album. The song is a wedding song, clearly a song where the ladies of the town are singing and dancing, and the men are nowhere to be seen. The song follows the convention of songs like ‘Mere Haathon Mein Nau Nau Chudiyan’ (Chandni), ‘Didi Tera Devar’ (Hum Aapke Hain Koun) and ‘Gore Gore Se Chhore’ (Hum Tum) where the girls are singing about the men, and making fun of them. And with the men being made fun of, we listeners too get let in on a few secrets as we enjoy the track. Pritam’s composition perfectly sums up the essence of village weddings, and has a distinct Haryanvi flavour to it. The backing vocalists (again uncredited) become a nice addition as they help with the gossiping and whatnot. They start the song off on a very upbeat and ‘Cutiepie’-ish note. The mukhda too, seems as if it has been taken out of ‘Cutiepie’ (Ae Dil Hai Mushkil). Again, the resemblance only lasts for an insignificant amount of time, and wears off right away. The hookline is catchy, and very fun. The antara is functional, but since the song is primarily situational, it doesn’t matter, as the fun lyrics help us through the song. Arrangements are fantastic, almost a replica of ‘Cutiepie’ but less loud and less in-your-ears. The dholaks are what reminded me of ‘Mere Haathon Mein’ (Chandni) and the shehnaai in the interlude is very fun and cute, though reminiscent of Salim-Sulaiman’s shehnaai in ‘Baari Barsi’ (Band Baaja Baaraat). The rock guitats and drums stand out here as well, and the harmonium sounds charming. The Nooran sisters with their ebullient voices, harmonize perfectly with each other and though their voices, usually left free to their natural extent, sounds a bit suppressed and restricted here, the magic produced is the same. Amitabh Bhattacharya’s lyrics are very humorous, and really make for a fun listen. The words I have showcased are just one of the three funny incidents about the Banna. (Groom) Bringing the old Bollywood traditions back into Bollywood as they were!! #5StarHotelSong!!


Phew!! Dangal is stunning! Each and every track has a different distinct flavour to it — one primarily a children’s song, another a rap song, yet abother a lilting romantic song, and a electrifying motivational song, a poignant melody, topped by a fun village-ish wedding song. Pritam has delivered songs that don’t even scream “Pritam has composed us!”. None of the songs sound like a Pritam song! How interesting it is, that all the sings from Pritam’s last album, ‘Ae Dil Hai Mushkil’ had that distinct Pritam flavour, while all of the songs in this album (save maybe ‘Naina’) don’t! Anyway, the album is one of Pritam’s best, and also Aamir Khan’s best albums in quite some time. (‘PK’ being good, ‘Dhoom 3’ being okay, and ‘Talaash’ being the last great album of his movie.) The variety of tracks that this album offers, is amazing! All I can say is that, the ‘dhaakad’ duo Pritam-Amitabh have won this Musical ‘Dangal’ and ended 2016 on a high, with a bang!!

 

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: Dangal > All the rest! 😀

 

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

 

THE YEAR’S ALBUMS ARE OVER!!! STAYTUNED FOR THE ANNUAL ROUND-UP! 🙂

NA PASAND AANA HAI MUSHKIL! (AE DIL HAI MUSHKIL – Music Review)

So, like two days before the movie releases, Sony Music decides to finally release this album! Good job, Sony and Keep it Up! 😠


Music Album Details
♪ Music by: Pritam Chakraborty
♪ Lyrics by: Amitabh Bhattacharya
♪ Music Label: Sony Music
♪ Music Released On: 26th October 2016
♪ Movie Releasees On: 28th October 2016

Ae Dil Hai Mushkil Album Cover

Ae Dil Hai Mushkil Album Cover

 

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

To buy this album on iTunes CLICK HERE


Ae Dil Hai Mushkil is an upcoming Bollywood romantic comedy / drama, which stars Anushka Sharma and Ranbir Kapoor in lead roles, Aishwarya Rai Bachchan and Fawad Khan in cameos, and special appearances by Shahrukh Khan, Lisa Haydon, Alia Bhatt and Imran Abbas. The film has been directed by Karan Johar, and produced by him along with Hiroo Yash Johar, his mom. The film’s storyline has been well debated on throughout the days of its promotions, and that leaves me with nothing to write about it here, and since the album has been released so “early”, I need to get on with the review like right away! So as you all may know, Karan Johar’s movies have always had awesome soundtracks that become the definition of his films. Be it ‘Kuch Kuch Hota Hai’ by Jatin-Lalit, ‘Kabhi Khushi Kabhie Gham’ by Jatin-Lalit, Sandesh Shandilya & Aadesh Shrivastava, ‘Kabhi Alvida Naa Kehna’ & ‘My Name Is Khan’ by Shankar-Ehsaan-Loy, or ‘Student of The Year’ by Vishal-Shekhar, Karan has struck a great rapport with each music composer he’s worked with and the results have always turned out to be outstanding. This time, he chooses the hit machine Pritam Chakraborty to do the honors, and I think that was a great decision after the music of his production ‘Yeh Jawaani Hai Deewani’ which had music by Pritam, became such a blockbuster. I also suspect that that was when he roped in or started thinking about Pritam scoring for his next film, that turned out to be ‘Ae Dil Hai Mushkil’. Well, five of the music videos have already released, and from the last two months, the songs of the movie have been all over, literally! Pritam has scored six songs for the movie. So without further ado, let’s see how mushkil (difficult) it is to like this album! 😀 Or rather, how difficult it is not to like it! 😉


1. Ae Dil Hai Mushkil
Singer ~ Arijit Singh

The album kicks off with melancholy galore! And I really don’t usually like melancholy with a typical Bhatt wrapping in Bollywood music, but this song, is so different! First of all, forget about that Bhatt wrapping! Because this time, the Bhatt wrapping itself, has been given a very different touch! Pritam uses the same style he would use to compose songs for the Bhatt movies, but in the process, sheds all typicality. The melancholy represents the Bhatt style so much, but the arrangements all scream “Grand!!” The song seems like a put-together of ‘Janam Janam’ (Dilwale), and a very Bhatt-ish sound to it. I’m not complaining! The result is fantabulous! The composition is wonderful. Pritam starts off with an enticing mukhda that just screams at you to jump into the song, just as your grandmother tells you to jump into her house when you visit! 🙂 Everything about it is so alluring and convincing, that nothing could go wrong. A grand opening makes way for the very mellow hookline, which has become the daily food of most of the nation’s population over the two months since it has come out. The high-pitched line “Mujhe aazmaati hai teri kami…” is so fantastic, that it hurts to wonder how Pritam put together such contrasting lines as this and the starting line and the hookline. The first antara follows the high-pitch and angst and takes it to a whole new level, where it seems that Arijit seems uncomfortable touching those notes, but the result still sounds amazing. Pritam’s vision can’t go wrong, can it! 😀 The second antara follows a more sombre approach to being angsty, and the different, low-pitched composition is sooooooo beautiful, that it just immediately grows on you. The low pitch eventually gives way to more high-pitched lines, this time also, very magical. The hookline, which has different lyrics each time, is so wonderful, that you just can’t forget any of its versions. Pritam’s arrangements surpass everything else. The reason the song reminded me of ‘Janam Janam’ (Dilwale) was solely because of the arrangements. The nice little piano loop at the beginning of the song are so, so grand! On top of that, the grandeur is accentuated even more by wonderful, ostentatious, orchestral strings. The string orchestra consists of violins (Rolf Wilson, Morvin Bryce, Natalie Klauda, Ian Humphries, Raja Halder, Jan Regulski, Charles Sewart, Michelle Fleming, Debbie Widdup, Kate Robinson), violas (Meghan Cassidy, Timothy Grant, Eoin Schmidt Martin) and cellos (Ashok Klauda, Will Scholfield, Peter Gregson). The whole orchestral recording has been produced by Nikhil Paul George, and I must say, he has done a brilliant job putting together those wonderful sounds of the orchestra, not to mention the awesome job that Pritam did in composing them! The trumpet (Neil Brough) in the first interlude is so wonderful, and it imparts a kind of jazzy feel to the song. The oboe (Alison Teale) has been done very nicely, and it plays in the second interlude. Throughout the second antara, wonderful digital beats give the beats, and it sounds so otherworldly! Arijit’s vocals are amazing. He might be struggling a bit with the high notes, but manages to pull it off, and leave us spellbound with the magic of his voice. The way he mellifluously goes through the composition, both low and high portions, is commendable. Amitabh’s lyrics are quite ordinary, not bad and not excellent. They are, however, nice on the ears, due to a good use of Urdu. 😀 grand beginning to the album! Arijit is going to get his second career boost after ‘Tum Hi Ho’ with this one! And Pritam’s melody is just so… PERFECT!! 😀 #5StarHotelSong!!

 

2. Bulleya
Singers ~ Amit Mishra & Shilpa Rao, Backing Vocals ~ Arjun Chandy, Himanshu, Ashwin & Geet

The second song in the album is a more upbeat, fast-paced, rock-Sufi ballad. Pritam starts it off with a wonderful guitar strum, and then that strum breaks into a very impressive riff, which makes you groove to it right away. The dynamic nature of this composition perfectly contrasts the mellow nature of the previous one, and while that one was perfect as a soother, this one works as an energizer, in a very heavenly way. The composition instantly gets stuck in your head, with Pritam very nicely constructing it with traditional Sufi songs in mind. The mukhda is immensely catchy, and the magic of Pritam is infused into it in such a way, that it doesn’t take long for you to get tripping over it. Right from the beginning, Pritam might have been using some kind of telepathic connection, and as the song progresses, you’ll find that it unfolds just as you want it to, and that’s because you really love what’s going on! 😀 The mukhda is quite sober, but it’s not until the hookline when the composition gets really intoxicating. It reaches its peak there, and rises up to the mountain of high notes so easily, that you have no option but to listen with your jaw open in surprise and wonder. The first antara, sees the song get even better, with a very freely flowing tune that is something to fall for. This is definitely my favourite part of the song, and the way Amit Mishra brings a smile into his voice while singing it, is so cool! It gives way to the hookline perfectly. The second antara, is composed on a different set of notes, and is sung by Shilpa Rao very beautifully. The composition of this stanza is so heavenly, and perfectly suited for a female voice, especially that of Shilpa. I just loved the way it makes the energy of the song come to a complete halt for a while and the way it lets us in on a glimpse of heaven. The vocals by both singers are amazing. Amit Mishra is slowly emerging as a very versatile and well-ranged singer, with his voice perfectly acing those high notes in the hookline as well as the more mellow notes in the first antara. The vibe that his voice sends out while singing the words ending with “aaaar” like “yaar“, “pukaar“, “parvardigaar“, is just soooooo applause-worthy!! Shilpa Rao, who Pritam has made to sing after quite some while now (last being ‘Malang’ from ‘Dhoom 3’) sings the second antara angelically. Amit also ends the songs brilliantly with a portion that gives you goosebumps. The backing vocals by Ashwin, Himanshu, Geet and Arjun Chandy are great, and they complement Amit superbly in the main hook of the song – “murshid mera, murshid mera“. Amitabh’s lyrics are wonderful here as well — romantic and a hint of devotion. Pritam’s arrangements though, are the star of the song. That rock guitar (Roland Fernandes) is the biggest attraction of the song, and it plays almost everywhere! It is what makes the arrangements sound so energetic and dynamic. The drums, of course, are there, and can very well be missed due to everything else happening, but make their presence very well felt during the beginning of the hook every time, when they do a kind of rapid beat which is something to die for. The dholaks, on the other hand, sound very calming and soothing — resulting in a very smart fusion of rock and Sufi. Energetic, dynamic and something of an extravagant nature. Amit becomes the new rockstar of bollywood music, as Pritam presents this wonderful rock and Sufi clash! #5StarHotelSong!!

 

3. Channa Mereya
Singer ~ Arijit Singh, Backing Vocals ~ Keshia Braganza & Gwen Dias

It is the next song, that keeps up the emotional quotient of the album, with which we had started off the album in the title song, but this one takes that emotion to a whole different level. The composition has the capability to touch the strings of your heart and how! ❤ The song has been composed on a very trademark dholak beat, which can be heard in many such songs, and which instantly reminds me of Pritam’s own ‘Kabira (Encore)’ (Yeh Jawaani Hai Deewani). The composition is very sweet and heart-touching, and though it seems like it has been heard many times before, it still refreshes you quite magically from the inside, along with giving you this weird sense of sadness as it ends. The song starts with the mukhda sung by Arijit in an unplugged style, with nothing but the guitars supporting him, and then it gives way to that very touching dholak backing loop. The mukhda has a very emotional tune, and it just makes you want to sit and listen to it in peace, without any disturbances. Such songs are always masterpieces. Pritam did it last time in ‘Kabira’ and now here he is, at it again. The hookline is sooooo enchanting, that it just doesn’t get out of your head after hearing it for just one time. It is so immensely catchy, that it just sticks in there and all you can do about it, is to pamper it by singing it and humming it all day. You might not even realize when you start singing this song, it just comes so spontaneously to me. Now that’s a sign of a masterpiece. The first antara too, has such a sweet and lovable tune, that it is hard to ignore or forget, on hearing. The second antara actually takes the form of a kind of traditional style of singing folk Punjabi songs, and Arijit kills it! Pritam’s arrangements are masterclass. The dholak rhythm (Played by Iqbal Azad & Sanjiv Sen) keeps you listening, while the acoustic guitars (Roland) support the dholaks very well. Rock guitars (Roland & Amandeep) infuse the pathos into the song, making it sound trademark Pritam. In the first interlude, a very soul-stirring shehnaai (Omkar Dhumal) just connects with your heart, and the tune gets stuck in your head. Pritam employs some very sweet and angelic voices (Keshia Braganza & Gwen Dias) to sing the backing vocals, and you can hear them sing the hookline in a very heavenly tone. In the second interlude, they rule, and while they’re at they’re hookline, working to pave their way into our hearts with their awesome voice, there’s a very short and wonderful sarangi (Ghulam Ali Khan) in the background, which you would miss unless you’re hearing very carefully. It comes back during Arijit’s second antara, and once again, is very soft, so you have to strain your ears to hear it! Arijit’s vocals are fabulous, with each and every note making itself a home in your heart (God, your heart must be full now.. How will the blood enter and exit? 😦 ) With each of his variations, you can’t help but let out a “Waah“, and during that conclusion paragraph of his, well, he just aces it! The lyrics by Amitabh are mostly in Punjabi, but they are veryyyy touching. With lines like “Andhera tera, maine le liya, mera ujla sitaara tere naam kiya” (I took your darkness, and gave you my bright star, in exchange) and “Kitni dafaa, subah ko meri, tere aangan mein baithe, maine shaam kiya” (I turned so many of my days into evenings, waiting in your yard), Amitabh proves his mettle as a songwriter. Each line just makes its way so gracefully into your lungs. (Remember, your heart is full!) Heart-touching, and a masterstroke by Pritam! One of the best songs of the year for me! #5StarHotelSong!!

 

4. The Breakup Song
Singers ~ Arijit Singh, Badshah, Jonita Gandhi & Nakash Aziz, Rap by ~ Badshah

After those three songs that constitute the heartrending, emotional and cry-worthy songs of the album, things become lighter with a song that is another emotional, sobby song, disguised in a sweet, upbeat, club number. Pritam is an expert at such club numbers, and just two months ago, he gave us ‘Sau Tarah Ke’ (Dishoom) which was more of a sensuous song. This one here, is completely clean and sanskaari so much so, that the girl is actually happy about breaking up with her so-called ‘saiyaan ji‘! Pritam brings together his arrangements for songs like ‘Blame The Night’ (Holiday) and ‘Hey Mr. DJ’ (Phata Poster Nikhla Hero), and adds to it, a very desi melody, reminding one of the Kishore Kumar-Asha Bhosle duets of the 50s and 60s, where all the nok-jhok and cute teasing would please the listener. The song starts off very quirkily, with Nakash Aziz singing an introductory couplet in the voice of a chipmunk. And then the chipmunk, thanks to the clever vocal programming done by Pritam, goes on to sing a very funny and catchy tune, which turns out to be the characteristic tune of the song. (The one that starts at 0:18 and keeps playing occasionally throughout the song) After the froggy/duck-y tune in “Premika” (Dilwale), Pritam makes this chipmunk tune very nicely. 😂 And then we are introduced to the main character, a girl who’s just broken up with her saiyaan that morning, and she recites a quite interesting couplet, about how her boyfriend left her for a foreigner. And then, the tune that follows, is why I love Pritam so much! 😀 It is a very attractive tune that just lures you into the song right away. The mukhda is very catchy, and it plays entirely after every antara, too. The hookline is the best part of the song though. That tune!! The antara is a good continuation of the sweetness of the song, and keeps up the catchiness very well. There is a rap by Badshah in between the two antaras, and that, however, is so mediocre, that you don’t really pay attention to it. It seems like a forced addition into the song. The arrangements by Pritam are signature Pritam club song arrangements, with the EDM working its magic on you very strongly. The techno sounds become quite entrancing at certain points. The folk percussion is what infuses that wonderful desi feel to the arrangements, and Tapas Roy excels with that. The dholaks (Iqbal Azad & Yusuf Sheikh) are wonderful, and at places, wonderful jugalbandis of the dholaks and Techno sounds give birth to very impressive pieces of music. Amitabh Bhattacharya’s lyrics are funny, and give you a nice entertainment throughout the song. His clever Hinglish gives your brain something cool to chew on, after all those philosophical and emotional lyrics in the previous three songs. I personally loved the part where he writes “Kalti hua jo saiyaan stupid tera, jeevit hua hai phir se cupid tera!” 😀 Unfortunately, Badshah’s rap becomes the only vulgar (or on the border of vulgar and profane) stuff in what would have been a very clean club number! :\ Last but definitely not the least, the vocals. Jonita wonderfully carries herself throughout the song as a girl who’s happy telling the world about how she got over her breakup, while Arijit very cutely essays the role of the boy who was clearly waiting for this breakup to take place! 😀 The way Arijit sings “Humko bin bataye toone yeh kab kar liya“, girls and ladies will die for him all over again! Jonita, once again, shows a different side of her voice, this time, a very sweet voice that we would fall for anytime! A sweet melody carried very impressively by Jonita and Arijit, whose chemistry turns out to be just amazing! And Pritam, please don’t stop experimenting like this!! #5StarHotelSong!!

 

5. Cutiepie
Singers ~ Pardeep Singh Sran, Nakash Aziz, Meenal Jain & Antara Mitra, Backing Vocals ~ Neetu Bhalla, N.K. Deep Kaur, Bhabita, Sunny, Himanshu, Ashwin, Kaushik & Sachin

The next song of the album, at first listen, seems like your everyday, typical KJo, Punjabi wedding song. But it is so much more than just that, which I understood by listening to it again and again. Pritam uses the Punjabi bhangra style to make this the most templatized song of the album, but the way he has played with the notes, is just too entertaining, enjoyable and outright fun! The song starts wonderfully with very typical Punjabi beats, a very fun ukulele loop, couple with the beats of a dhadd-like instrument. The composition is a fun-filled, energetic one, that reminds you of the craziness that Pritam is capable of infusing into his songs and subsequently, into us. This composition too, is a successor to his earlier crazy songs like ‘Saree Ke Fall Sa’ (R… Rajkumar), ‘Dhating Naach’ (Phata Poster Nikhla Hero), ‘Badtameez Dil’ (Yeh Jawaani Hai Deewani), ‘Tukur Tukur’ (Dilwale), ‘Chor Bazaari’ (Love Aaj Kal) and sooo many others. The mukhda, which, as Pritam has generously written in the song credits, was based on a concept by the lyricist, Amitabh Bhattacharya, is very energetic and spunky, making a very effusive start to the song. The line just before the hookline, which goes “Boyfriend ki tujhe koi fikar nahin…” has been composed in such a fun way, that it will get you up and dancing. The Punjabi ladies sangeet that starts off the song, is so sweet and catchy, and also reminds me of two of Pritam’s earlier hits, ‘Saj Dhaj Ke’ (Mausam) and ‘Nagada’ (Jab We Met). The hookline is also very differently composed, but it doesn’t stand out in the song, rather it blend in with the rest of the song, and that is very good! The antara is a bit weak, but since it is so short, and works as the antara to a dance song, you ignore it, and the awesome cross line comes back to take you to the hookline. The arrangements by Pritam are top class, and the omnipresent Punjabi flavour brings a different kind of sweetness to the song. At the same time, some strong techno sounds help to enhance the quality of the sound, and the keys (Firoz Khan) tune is an awesome tune to catch onto. The guitars & ukulele (Mohit Dogra & Dev Arijit) help to bring the missing tumbi feel to the Punjabi song. The percussion, probably some electronic dholaks and dhadd, is fascinating. Towards the end, a very high-energy dhol rhythm supports the composition. There’s a part in the song when the dholak is played so rapidly, and beautifully (hear it at 1:22 and 2:56 in the song) that it just makes you go “Wow!” The main vocals by Pardeep, former ‘Raw Star’ contestant and singer of ‘Allah Hoo Allah’ (Dharam Sankat Mein) are very extravagant (Loved the way he sings “aaaye haaaye“), while Nakash supports him well (I don’t even know if Nakash has his solo portions or backing vocals, but I don’t think he has sung any solo portions, because it doesn’t sound like him). Pardeep is very vivacious in his treatment of the song, but it is at times like this, when I can’t help but wish that Labh Janjua was still here with us; he would ace the song! The additional backing vocals by Meenal Jain and Antara Mitra are awesome. (that’s the ladies sangeet!) Other backing vocalists Neetu Bhalla, N.K. Deep Kaur, Bhabita, Sunny, Himanshu, Ashwin, Kaushik and Sachin, do a good job with the “haay“s here and there in the song. Amitabh Bhattacharya’s lyrics are a laugh fest, right from the ladies sangeet, to the actual lyrics of the main body of the song. His quirkiness from ‘The Breakup Song’ just seems to have increased, and the DESI-ness in his lyrics perfectly complements the desi composition by Pritam. A song that will cater to the masses, but won’t be dismissed by the classes, either! Quirky! #5StarHotelSong!!

 

6. Alizeh
Singers ~ Arijit Singh, Ash King & Sashwat Singh

The last song of this much-awaited album, is a very sweet and divine-sounding romantic track, sung by three men whose voices sound more or less the same! 😀 The song starts off with a brilliant vintage Pritam electric guitar riff, and then progresses very seamlessly to the melody of the mukhda, which is opened by Ash King, but a wonderful relay is played between Ash and Arijit as Ash hands over the baton to Arijit after one line! Anyway, the composition is heavenly, and the mukhda wonderfully provides a start to the song. The hookline just brings that magic forward, and the way Pritam has broken the word ‘Alizeh’ (Which is Anushka’s character’s name in the movie) is spectacular! The composition instantly grabs you and you start humming it immediately. Pritam brings back his old-world charm, that we heard in so many of his songs (the most prominent coming to my mind right now being ‘Mere Bina’ from ‘Crook’). The antara wonderfully brings the song forward. The antara is very simple and sweet, but appeals to you very pleasantly. At the end of the antara, Sashwat does a wonderful vocal piece, and he can be distinguished from the other two with his bold and clear voice (kinda like Nikhil D’Souza’s voice). Towards the end of the song, he does a very interesting rap portion, which is very attractive, and finally, some rap that makes sense and fits into the song. Pritam’s arrangements are grand and match the grandeur of the rest of the album, this time, bringing a pleasant Western / European touch to the arrangements because of the wonderful sound of a church-flavoured organ instrument. The beats are digital, and very attractive. The drums too, are quite beautifully played, while Pritam uses his typical Western choir to enhance the sound of the hookline, complete with claps and a Western chorus. The guitars of course, play throughout and don’t fail to let you down. The vocals are very intriguing, and I must say, Ash King overshadows Arijit here, and that can be very well heard when they sing the same lines one after the other in the antara. On the other hand, Sashwat seems to say a lot with his two portions, one Hindi, and the other an English rap. The way Ash sings the lines in the hookline that go “Tera hun main, tujhe yaad hai naa” is just mind-blowing. His mellifluous voice really does a different kind of magic in the song. Amitabh writes perfect romantic lyrics, which are sweet and simple to understand. With this, the album ends of the same grand note as it began, with a very opulently arranged, melodious piece! Arijit, Ash and Sashwat complement each other very well, and Pritam makes the track a pleasant listen, full of love. #5StarHotelSong!!


Ae Dil Hai Mushkil turns out to be an album full of variety. The album has Pritam, the hit machine, showing his various sides of composing, and with two very emotional tracks, one high-energy romantic track, one dulcet romantic melody and two upbeat dance tracks, the album ends up being one of the best commercial albums of the year! With Arijit being the voice of Ranbir in the movie, I was expecting myself to get bored with his voice after the album would end, but Pritam’s wonderful melodies and the ways he made him sing differently in each song, didn’t make me do so. Also, the two songs that are sung by other male singers are fantastic respites from Arijit, while the last track where two other singers accompany Arijit, is also mind-blowing. So, all in all, this is an album which makes it difficult for you to choose your favourite song, and also makes it difficult not to love it! Pritam is truly back with a bang now!

 

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

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

Recommended Listening Order: Channa Mereya > Everything else 😀

 

Which is your favourite song from Ae Dil Hai Mushkil? Please vote for it below! Thanks! 🙂

A DISHOOM LACKING PRITAM’S USUAL PUNCH!! (DISHOOM – Music Review)

Music Album Details
♪ Music by: Pritam Chakraborty
♪ Lyrics by: Kumaar, Ashish Pandit & Mayur Puri
♪ Music Label: T-Series
♪ Music Released On: 15th July 2016
♪ Movie Releases On: 29th July 2016

Dishoom Album Cover

Dishoom Album Cover


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

To buy this album on iTunes CLICK HERE


Dishoom is an upcoming Bollywood action/adventure/thriller film starring John Abraham, Varun Dhawan and Jacqueline Fernandez in leads, while Akshaye Khanna plays the baddie. The film is directed by ‘Desi Boyz’ director, Varun Dhawan’s brother, Rohit Dhawan, and produced by Sajid Nadiadwala and Sunil A. Lulla. The film is about two cops, Kabir (John Abraham) and Junaid (Varun Dhawan) who are on a case to find a missing cricketer, who happens to be India’s top batsman and whom the makers have cleverly named as Viraj Kohli (played by Saqib Saleem). The two cops have 36 hours before an ‘India vs. Pakistan’ match (come on, how clichéd can you get!!) to find the man. The only reason I’m following this movie is — no, not the energy of Varun Dhawan or the action by John Abraham. And no, not because Akshaye Khanna is returning in a ‘villainous’ avatar after doing ‘Gali Gali Chor Hai’ in 2012 and disappearing. But the reason is because of the music. My personal favourite, Pritam Chakraborty is in charge, and I’m so excited to hear it, because he had given enjoyable songs for ‘Desi Boyz’ as well, and I’m hoping he has done so in his second collab with Rohit Dhawan too! The movie is expected to have some dance tracks, which I know Pritam does very well! So, here goes! Let’s explore the music album of ‘Dishoom’!!


1. Sau Tarah Ke / Sau Tarah Ke (Revisited)
Singers ~ Jonita Gandhi & Amit Mishra / Aditi Singh Sharma & Abhijeet Sawant, Backing Vocals by ~ Ashwin Kulkarni, Himanshu Shirlekar & Akash, Arabic Choir by ~ Maher Al Halabi, Karim Khayat, Youmni Abou Al Zahab, Lyrics by ~ Kumaar, Hookline Lyrics by ~ Ashish Pandit

Pritam starts off the soundtrack with an energetic dance track just as expected, and really makes you dance with this one. The song starts off with a very unusually addictive vocal break, which just lures you into the composition so effectively. Pritam sure knows how to attract his audience in a classy way, and he does it here. That vocal break is toooo innovative, and also my favourite part of the song — fortunately for me, it plays everywhere throughout the song. Pritam’s composition is a fun one, with a few grey shades that add the mystery and shadow of the thriller/action film to the song. It is an item-song-ish composition, and you can almost call it one, but of course, everything is done so classily that you can classify it as a club song. The hookline has that folksy feel to it, that tells you that the movie (or at least the song) is set in the middle east. The mukhda doesn’t stand out too well during the first couple of listens, but later on, it grows tremendously. It repeats once more after the antara, to end up the song. The antara itself is a nice portion of the song, with a sensuous tune to it. Pritam conveniently uses club beats to enhance the reach of the song, and the booming bass in the song really helps to propel it ahead in the playlist of the listeners. And again, that wonderful vocal break! He uses EDM at places too, and towards the end, the hookline is played with the EDM sound, and sounds so dynamic! In the beginning, a very thrilling oud invites you into the song with that Arabic flavour. The ney by Sahi Shamat is wonderful as well. Both versions have only the vocals different, and everything else exactly, or almost exactly, the same. In the first version, Jonita startles with her performance — it being her first song of this kind. She has brought a naughtiness into her voice, which always used to sound so pure and innocent. It has that sharp texture to it, which it didn’t in her other songs. Amit Mishra, on the other hand, works well as a replacement for Nakash Aziz, sounding quite like him, but impressing nevertheless. In the second version however, Aditi Singh Sharma’s overstylised vocals are a pain to the ears. She hasn’t modulated her voice well and it comes across as too soft where it should’ve been more confident like Jonita’s! Jonita, who sang such a song for the first time, performed better than a singer who is known for such songs, and that’s pretty shocking! Abhijeet Sawant too, doesn’t work well with the composition. He seems to be trying to hard to sing in the way he’s required to. In both versions there’s this awesome Arabic hookline, sung by the Arabic choir I mentioned above. Kumaar and Ashish Pandit together have come up with quite enjoyable lyrics, that suit the theme as well as appeal to the audience. Nothing seems put of place according to Bollywood standards, and so I’m accepting the lyrics! 😂 Pritam opens the album with a great club song, that has the potential to be a chartbuster and also the club anthem of the year! The first version is definitely a #5StarHotelSong!!

 

2. Toh Dishoom
Singers ~ Raftaar & Shahid Mallya, Lyrics by ~ Mayur Puri

Next up, we have the title track for the movie, a theme song that is composed on sinister lines, with dark shades predominating in the composition. The composition is actually very less; it is mostly made up of Raftaar’s rap, which is in a tune that keeps repeating whenever the hookline isn’t playing, so in the mukhda and antara. Actually there is no mukhda and antara, as it is the Punjabi rap-styled tune that keeps playing on loop until the hookline comes to rescue it. 😀 The hookline, which is sung by Shahid Mallya and actually has a tune, is pretty good, and has kind of a sinister tune to it. It is actually the backing music that has the mysterious tone to it; the guitars which play in the background. Pritam has not impressed as such with the composition, as the song is very simple, and not of his level. Also, the credits in the jukebox read “Melody based on generic traditional punjabi folk progressions.” I don’t know how to interpret that! The rap is the most prominent part of the song, and that too, gets kind of irritating towards the end. However, as I said, the hookline is good. There is a rapid rap in the second interlude, and at that part I just completely zoned out of the song; it was so tedious to hear. Raftaar’s voice is not too impressive, of course, as he isn’t a singer. Shahid, on the other hand, tries his best to save the song, and manages to do so to a good extent. It is his “Toh dishoommm… Toh dishoommm” parts that I keep waiting for in the song. Pritam’s arrangements are good, and stick to the action theme of the movie, and perfect for a theme song for a heroic character. Especially those guitars and club beats. Some places, it sounds a lot like the ‘Desi Boyz’ title track too! Mayur Puri is back after ‘Bajrangi Bhaijaan’s ‘Selfie Le Le Re’ and ‘Chicken Kuk-Du-Koo’, and writes words that hardly make any sense. After impressing so much with so many songs, he disappoints very badly with this one, literally writing whatever comes to mind and adding a “Toh dishoom” at last to make it sound related to the movie. Lines in the rap sound pretty unbelievable as well. It’s pretty much how the person has a very bad personal life, but in a mock-heroic style, tries to explain how he will punch people when they do stuff he doesn’t like. All in all, a disappointing offering, with just the hookline being the saviour of the song!!

 

3. Jaaneman Aah (Version 1) / Jaaneman Aah (Version 2)
Singers ~ Aman Trikha & Antara Mitra / Nakash Aziz & Antara Mitra, Backing Vocals by ~ Ashwin, Akashdeep & Himanshu, Lyrics by ~ Mayur Puri

Claps, percussion and guitars start off the third song of the album, quire resembling ‘Afghan Jalebi’ (Phantom) in its overall treatment. After that, a bazooka-like instrument plays a tune that is what makes the starting interesting, and alluring. But from there, the song suffers a number of ups and down, never being consistent in its catchiness. The composition by Pritam is pretty bland and tasteless, and it is that kind of composition that depends on its arrangements to do its work of attracting the listeners to it. There is a line however, that really impressed me, in all its oddness and though it is kind of a misfit in the song. The line I mention, is the line just before the hookline, which, in the mukhda goes like “Ishq mein saare, ilzaam hai sacche.. “. The tune of that line is an oddball in the song, which is predominantly of a happy tune. But that line has a darker shade to it, which is why I loved it! The rest of the tune follows a really Sajid-Wajid-ish template of item songs, which I didn’t exactly expect from Pritam, after great songs of this genre like ‘Dhating Naach’ (Phata Poster Nikhla Hero), ‘Gandi Baat’ (R…Rajkumar) and ‘Afghan Jalebi’ (Phantom). It is the arrangements that makes the song at least listen-worthy. The exciting dhols (Percussion by Dipesh Varma, Keyur Barve and Shikhar Naad Qureshi) help the song get the required energy, while that bazooka tune keeps playing throughout. Aditya Benia is great with the guitars, too. On the vocals front, again, we have two choices to choose our favourite from. In the first place we have Himesh Reshammiya’s blue-eyed boy, Aman Trikha. Singing for Pritam for the first time, it was bound to be a powerpacked rendition from his side, and that’s what we get, but we can’t help but miss Nakash. Pritam saves us the time that we would spend in brooding over Nakash not being there, and actually records the “Film Version” or “Version 2” of the song in Nakash’s voice. His infectious energy is unmatchable, and he sings well, putting in the punch that was lacking in the first version! 😀 The female voice in both versions is Pritam’s own blue-eyed girl, Antara Mitra. You can’t believe it is the ‘Gerua’ girl who’s sung it, but then you remember she sang ‘Saree Ke Fall Sa’ and ‘Kaddu Katega’ from ‘R…Rajkumar’ too, and then realize it isn’t such a big deal. She sings with the right vocal texture, but I’ve said this many a time jokingly and will say it again — she needs to find a comfort zone for herself in the industry! I can’t help but think she keeps changing her voice too many times and it is getting irritating now!! 😀 Jokes apart, her versatility is really commendable. It is Mayur Puri, the lyricist, who disappoints gravely. His lyrics in this song are nothing like what I like his lyrics for! The whole song is full of lines that a man sings to a lady, trying to convince her to marry him! Lines like “Do saal mein hinge tere bacche, mere bachhe” really make you cringe and think where Mayur’s splendid writing has gone in that one year! 😦 The song starts with the two characters playing ping-pong with names of relatives. I didn’t get that part of the song, either! Though Pritam has scored very well in the past with these songs, this time, he doesn’t really make the cut! Most of the credit for it goes to the disappointing lyrics!

 

4. Ishqa
Singers ~ Abhijeet Sawant & Antara Mitra, Lyrics by ~ Kumaar

The album ends on a very celebratory note, with an Arabic-styled party song that has distinct shades of Pritam’s typical composition styles. The composition is really enjoyable though! The song, standing at a duration of just less than three minutes, 2:47 to be precise, is too short, and too catchy; I wish there was more! There is no distinct demarcation of hooklinebut there is one loop of a line, sung by Antara, which goes like “Zyaada main toh nahi kehti…” and that line is so insanely catchy!!! Pritam has composed the song very beautifully, given that it is so short. The mukhda and antara are both by Abhijeet, and he sounds way better here than he did in the second version of ‘Sau Tarah Ke’. Antara has just that one line which repeats many times, but as I said is really well sung by her, and really well composed by Pritam too. Another great thing is the arrangements. The Spanish guitars are the highlight of the song, while the Arabic percussion is really great. The Arabic strings are stunning as well! There is a great electronic interlude that is so insane! The whole thing together sounds very catchy and groovy. Kumaar’s lyrics are good, as well, again, without being cheap or anything. A finale that actually delivers what was expected throughout the album!! #5StarrHotelSong!!


Dishoom is definitely not what I expected. I rarely say this, but this time, Pritam did not deliver as much as I was expecting. He has composed all four songs as per the requirements to make a fun album, but I know he can do way better than this. Two songs, ‘Sau Tarah Ke’ and ‘Ishqa’ actually deliver what I expect when I hear the name ‘Pritam’. The other two seem very templated songs, with very less composition and more of a dependency on lyrics, which are bad, and arrangements, which excel. So, I would say, the Pritam Punch in this ‘Dishoom’ was lacking!!

 

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: Sau Tarah Ke > Ishqa > Toh Dishoom > Jaaneman Aah (Version 2) > Jaaneman Aah (Version 1) > Sau Tarah Ke (Revisited)

 

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