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

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

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Sanju Album Cover

Listen to the songs: Saavn

Buy the songs: iTunes


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


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

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

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

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

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

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


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

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

Album Percentage: 74.17%

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

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

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

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

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WON’T BECOME AS PHAMOUS AS IT DESERVES! (PHAMOUS – Music Review)

Music Album Details
♪ Music by: Sundeep Gosswami, Surya Vishwakarma & Krsna Solo
♪ Lyrics by: Puneet Sharma & Naveen Tyagi
♪ Music Label: T-Series
♪ Music Released On: 18th May 2018
♪ Movie Released On: 1st June 2018

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Phamous Album Cover

Listen to the songs: Saavn

Buy the songs: iTunes


Phamous is a Bollywood action comedy starring Jimmy Shergill, Pankaj Tripathi, Shriya Saran, Jackie Shroff, Mahie Gill and Kay Kay Menon. The film is directed by Karan Lalit Bhutani and produced by Raj Khatri. The film has music composed by Krsna Solo, Sundeep Gosswami and Surya Vishwakarma. The latter two composers are debutants, while Krsna is a well known name, from whom we expect great music. Let’s see whether our expectations are met!


Krsna gets to open the album with the the electrifying desi rock number that Bandook is. The film is situated in the Chambal region of Madhya Pradesh, so a full-on gangster track was expected, but what wasn’t expected was that Krsna would produce a twist in the tale with the addition of the electrifying rock elements. Right from the opening ad-lib by Vishal Dadlani, followed by the entry of those rock guitars, you know that you would love the rock in this song. And of course, with the powerhouse that Vishal is, the composer can rest assured that his song will be rendered beautifully and with the right amount of spunk. Puneet Sharma’s lyrics are perfect, calling the gun as the daughter of iron! The composition too, is really catchy, and it doesn’t sound forced, and especially doesn’t sound like the composer has made some extra effort to make the tune match the rock. The grunge in Vishal’s voice, the energy of the guitars, the energetic percussions and the catchy tune, all fit in place to make an effective gangster theme song for the Chambal region.

Sundeep Gosswami and Surya Vishwakarma collaborate to produce the sweet romantic number Dil Beparwah, a song which, surprisingly, marks the first duet of Jubin Nautiyal and Jonita Gandhi! The mandolin with which the song starts instantly sucks you in, with a strong oriental touch, and when Jubin starts off, instantly evoking memory of Sonu Johan’s such romantic songs, you get goosebumps. Rather, I did. Sundeep-Surya’s tune is strong, arrangements are sweet, and that’s why the vocal prowess of Jubin and Jonita seems to have magnified. Yes, the music is quite standard of an affair and nothing too innovative,but sometimes it’s really soothing to hear such a simple romantic song, especially when the arrangements and vocals are spot on like this. Jonita especially sounds great. Naveen Tyagi’s lyrics describe the feelings of young romance really well, and I really loved the second interlude where the composing duo adds beautiful mandolins. The second antara sounds like an unnecessary add-on though, making the song too long for no reason. Anyway, it’s one of the better romantic songs we have got in a long time.

The dance number Titri sees Sundeep go solo, and the song he creates is like a rustic answer to Pritam’s ‘Tukur Tukur’ (Dilwale). Again, Sundeep does a great job with the quirky and rustic ethnic strings, which sucks you in right from the beginning. The backing vocals by him are just as fun, accompanied by quirky rabaabs and harmoniums, not to mention the wonderfully quirky sound effects. The singer Priyanka Negi debuts, I believe, with this song, and it is truly one of the strongest debuts this year! She owns the song and how! I also commend the lyricist Puneet Sharma for presenting a song of this genre without making the lyrics vulgar or anything. Last year, Gaurav Dagaonkar gave us ‘Aye Saiyan’ (Babumoshai Bandookbaaz) which was a similar song, but a recreation. As such, this stands out because of it being original, yet providing a similarly quirky and rustic touch. The composition of course, is catchy, and everyone who hears it is sure to groove along until it is over. Fortunately the song isn’t short.


The album to this film is surprisingly great, with three songs that do two things right — fit well with the script and setting of the film, and are catchy as standalone tracks as well. Sadly, the album won’t become as Phamous as I think it deserves!!

Total Points Scored by This Album: 8.5 + 8 + 8 = 24.5

Album Percentage: 81.67%

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

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

Recommended Listening Order: Bandook > Dil Beparwah = Titri

 

Which is your favourite Song From Phamous? Please vote for it below! Thanks!☺️

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

November 2017 Round-Up #1

NOVEMBER 2017 ROUND-UP #1

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

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



♦ Intense & Intriguing, Ittefaq Se: ITTEFAQ Music Review

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

Listen to the song: Saavn
Buy the song: iTunes


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


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

 

Total Points Scored by This Song: 3.5 

Song Percentage: 70%

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

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

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


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

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

Listen to the album: Saavn
Buy the album: iTunes


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


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

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

Album Percentage: 60%

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

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

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

 



♦ Cute Little Ribbon: RIBBON Music Review

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

Listen to the songs: Saavn
Buy the songs: iTunes


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


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

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

Album Percentage: 75%

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

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

Recommended Listening Order: Charkha Ghoom Raha Hai > Har Mod Par Umeed Hai



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

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

Listen to the songs: Saavn
Buy the songs: iTunes


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


Bappi Lahiri clearly has lost his Music Ratan!

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

Album Percentage: 32.5% 

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

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

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



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

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

Listen to the songs: Saavn
Buy the songs: iTunes


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


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

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

Album Percentage: 67.27%

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

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

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

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

 



♦ Raunchy Diaries: JULIE 2 Music Review

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

Listen to the songs: Saavn
Buy the songs: iTunes


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


An album that you will automatically avoid.

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

Album Percentage: 50%

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

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

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



 

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

MULTICOMPOSERS KI KHATTI-MEETHI BARFI!! (BAREILLY KI BARFI – Music Review)

Music Album Details
♪ Music by: Tanishk Bagchi, Arko Pravo Mukherjee, Tanishk-Vayu, Samira Koppikar & Sameer Uddin
♪ Lyrics by: Shabbir Ahmed, Pravesh Mallick, Arko Pravo Mukherjee, Tanishk-Vayu, Puneet Sharma & Akshay Verma
♪ Music Label: Zee Music Company
♪ Music Released On: 11th August 2017
♪ Movie Releases On: 18th August 2017

Bareilly Ki Barfi Album Cover

 

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

To buy this album on iTunes CLICK HERE


Bareilly Ki Barfi is an upcoming Bollywood rom-com, starring Kriti Sanon, Ayushmann Khurrana, and Rajkummar Rao in lead roles. The film is directed by ‘Nil Battey Sannata’ fame Ashwiny Iyer Tiwari, and produced by Nitesh Tiwari and Shreyas Jain. The movie revolves around the Mishra family, who are in search for a suitable groom for their daughter, played by Sanon. The complexities and pressure of getting married is too much for Bitti, Sanon’s character, and she decides to run away. On the run, she finds a book, ‘Bareilly Ki Barfi’ at the train station, and picks it up, only to realise that the female protagonist thinks a lot like her! Thus she embarks on a quest to look for this someone who thinks so much like her. The story seems very content-driven, but that’s not to stop it from having some good music; in fact, most content-driven films have better music than others! Ashwiny Iyer Tiwari’s first film, ‘Nil Battey Sannata’, had an awesome album completely composed by a newcomer duo, Rohan-Vinayak. This time, the makers go for the multicomposer route. Tanishk Bagchi, Tanishk-Vayu, Arko Pravo Mukherjee, Samira Koppikar and Sameer Uddin are composing the music for this film. As I am expecting an overall good album, and since every name is a known name (even Sameer Uddin, who is the one who had done those remixes in ‘Bluffmaster’ long ago) I don’t think I need to say what I expect from each of them individually! So let’s help ourselves to this ‘Barfi’!


1. Sweety Tera Drama

Singers ~ Dev Negi, Pawni Pandey & Shraddha Pandit, Music by ~ Tanishk Bagchi, Lyrics by ~ Shabbir Ahmed, Rap Written and Performed by ~ Pravesh Mallick

An aptly U.P. flavoured start to the album, the first song is a fun and upbeat dance number, along the lines of ‘Badrinath Ki Dulhania’s title song. Coincidentally, the man behind it is Tanishk, the composer of that song. The composition is very fun and enjoyable, and the composer has kept it relevantly short; such songs are least enjoyable if they ramble on for four minutes and longer. The shortness gives it a crisp feel, and leaves you wanting more. There is one mukhda and one antara, both composed entertainingly. The arrangements too resemble those of ‘Badrinath Ki Dulhania’ title song, with the dholaks (Naveen Sharma), harmoniums and bulbultarang (Pradip Pandit) and quirky digital beats. The star music is amazing, especially that sarangi bit by Sangeet, that is so easy to miss! Tanishk adds very fun sound effects like that rap by Pravesh Mallick, then a random but funny “Myujik” that just plays anytime. His digital instrumentation is fun as well. The song has been sung by three singers and the rapper. The rapper, as stated before, brings out the U.P. flavour very well, and begins on a promising note. Dev Negi is his usual fun self, while Pawni and Shraddha, the two female vocalists, with two lines each, make a difference even with the little scope! Shabbir Ahmed’s lyrics are fun too! A fun dance number that strives to be simple but sweet!

Rating: 4/5

 

2. Nazm Nazm / Nazm Nazm (feat. Ayushmann Khurrana) / Nazm Nazm (feat. Sumedha Karmahe)

Singers ~ Arko Pravo Mukherjee / Ayushmann Khurrana / Sumedha Karmahe, Music by ~ Arko Pravo Mukherjee, Lyrics by ~ Arko Pravo Mukherjee

Arko steps forth to present his song, and as is the requisite whenever Arko composes for a multicomposer album nowadays, he gets to do the romantic song of the album. Well, since he is so good at making these, it seems logical. This song here, is yet another example of his romantic song composing skills. The composition is charming, but there is one small drawback, and that is that it takes a long time to grow. It consists of many twists and turns, and isn’t instantly hooking like most of his other songs. The second antara is particularly beautiful. The hookline manages to get the audience charmed. The lyrics though, are beautiful, and are another instance of how beautiful Arko himself writes!! The song appears in three versions, though, and one does feel that it is one too many. Arko doesn’t sing this song as well as he sang ‘Kaari Kaari’ (Dobaara), ‘Dariya’ (Baar Baar Dekho) or ‘Saathi Rey’ (Kapoor & Sons), and thus, his version comes across as slightly boring. The arrangements in this version also resemble ‘Tere Sang Yaara’ (Rustom) with those extra sugary Duff rhythms and synthesizer tune (Keys by Aditya Dev). It reduces the likability a bit. Ayushmann increases the ear-friendliness of the song with his trademark charming voice, and renders it with ease. His style of rounding the vowels makes the song sound so much like he has composed it himself. The variations he takes on many notes, which Arko had not, makes the song sound more layered. The arrangements too, get more Ayushmann-ish, with acoustic guitars (Krishna Pradhan), but the Arko-ness is retained with the amazing piano notes. Thankfully, the Duff rhythms are done away with. The last version happens to be a female version; a version I personally feel was least required. So Zee Music releases videos of singers singing covers of hit songs, and I almost know that this version will be used as that. Not to take it away from Sumedha though; she sings beautifully! Arko arranges this one with a soothing flute, but nothing else really stands out! A romantic song that features so many times, we have no choice but to love it!

Rating: 4/5 for Arko’s Version, 4.5/5 for Ayushmann’s Version, 3.5/5 for Sumedha’s Version

 

3. Twist Kamariya

Singers ~ Harshdeep Kaur, Yasser Desai, Tanishk Bagchi & Altamash, Music by ~ Tanishk-Vayu, Lyrics by ~ Tanishk-Vayu

The next song has Tanishk coming back together with his partner with which he debuted, Vayu. They keep coming back together occasionally, and it is quite fun. Though their last song ‘Beat It Bijuriya’ could’ve been better, this one is a real treat. The composition is very simple, and if it were not for the amazingly quirky beats and arrangements, the song would not have sounded half as good. Of course, a very templated dhol rhythm accompanies the song, but a very quirky digital sound also comes along with that and everything sounds so innovative. The interlude is amazing, with the dhols and shehnaai. Rock guitars are really electrifying in the antara. The hookline, the way it is sung, is so cool. The pause between ‘Twist’ and ‘Kamariya’ really makes the difference. Im probably hearing Harshdeep Kaur in this zany avatar for the first time. I mean, she has sung upbeat numbers, but not so crazily funny! Tanishk-Vayu’s lyrics are a clever mix of Bhojpuri and Hindi and English. A song that calls for loud whistles and cheers in the theatre! U.P. folk meets techno music!

Rating: 4/5

 

4. Bairaagi / Bairaagi (Samira Koppikar Version)

Singers ~ Arijit Singh / Samira Koppikar, Music by ~ Samira Koppikar,  Lyrics by ~ Puneet Sharma

Samira Koppikar, who really pleasantly surprised me with her song in ‘Dobaara’ earlier this year, jumps onto the album next, with a melancholic song that is sung by –obviously — Arijit! The song is good, I can’t take that away from it. But somewhere the composition evokes so many memories of previous Arijit songs that were composed on the same rock lounge-ish template. It actually sounds like a Pritam song when that beautiful backing chorus comes in, and that’s probably the best effect of the song. The composition too, is beautiful, and hits the heart straight. I just don’t think I would listen to it a lot. The vocals are, obviously spot-on. What can be expected when it is Arijit? Fortunately, there’s another version, possibly for the music lovers. Samira sings this one, and it starts with a heavenly chorus by her. She sings in beautifully, and is first of all supported by a wonderfully soothing folksy string instrument, evoking memories of ‘Sahiba’ (Phillauri). Later that Punjabi feel is increased, when a nice dholak-led rhythm sets in. This version is definitely better than Arijit’s. The lyrics by Puneet Sharma are aptly romantic and melancholic at the same time. The word ‘bairaag‘ is a word I don’t think I’ve heard in a Bollywood song after ‘Laal Ishq’ (Ram-Leela)! Beautiful song, but might not stay with me for long.

Rating: 3.5/5 for Arijit’s Version, 4/5 for Samira’s Version

 

5. Badass Babua

Singers ~ Abhishek Nailwal, Neha Bhasin & Sameer Uddin, Music by ~ Sameer Uddin, Lyrics by ~ Akshay Verma

A relatively newer addition to the album (as the composer Sameer Uddin wasn’t credited in the trailer or first poster of the film), this one is a funky “gangsta” song, probably made for Rajkummar’s character in the movie. The U.P. vagabond and rowdy feel is brought out with entertaining lyrics rendered with spunk by Abhishek Nailwal and the composer himself. The gangster feels are brought out by the rap, the techno beats and the overbearing sinister tone. The composition is catchy, but again, not a very lasting tune. The arrangements are more of what the song might be remembered for, if at all. The vocals are fine, and obviously the male singers have done an amazing job, or else, it wouldn’t have sounded so much like a gangster song full of attitude. Neha Bhasin is sidelined unfortunately, and reminds me of Ambili’s portions in ‘Hum Hain Bank Chor’ (Bank Chor). Entertaining, but not everlasting.

Rating: 3/5


Bareilly Ki Barfi is a relatively good multicomposer album. I think these days, the quality of multicomposer albums is definitely increasing, because makers now know the formula for it. You obviously need two upbeat numbers to increase the album’s hit status, and of course, a romantic song, a sad song (preferably by Arijit) and then a couple of versions. Zee seems to have mastered the formula, and they produce another album like ‘Behen Hogi Teri’, which is a mix of styles from different composers, yet comes together as a united album. With a mixed variety of songs, these multiple composers have come up with a nice, khatti-meethi Barfi!

 

Total Points Scored by This Album: 4 + 4 + 4.5 + 3.5 + 4 + 3.5 + 4 + 3 = 31

Album Percentage: 76.25%

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

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

Recommended Listening Order: Nazm Nazm (Ayushmann Khurrana) > Twist Kamariya = Sweety Tera Drama = Nazm Nazm = Bairaagi (Samira Koppikar) > Bairaagi = Nazm Nazm (Sumedha Karmahe) > Badass Babua

 

Which is your favourite song from Bareilly Ki Barfi? Please vote for it below! Thanks! 🙂

ANU NOT ZORDAAR! (INDU SARKAR – Music Review)

Music Album Details
♪ Music by: Anu Malik & Aziz Nazan
♪ Lyrics by: Puneet Sharma, Sanjay Chhel & Aziz Nazan
♪ Music Label: Saregama
♪ Music Released On: Not Yet Released as an album!
♪ Movie Released On: 21st July 2017

Indu Sarkar

 

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


Indu Sarkar is a Bollywood historical / political thriller film, starring Kirti Kulhari, Neil Nitin Mukesh, Tota Roy Chowdhury and Anupam Kher. The film is directed by Madhur Bhandarkar and produced by Bharat Shah. It is set in the Emergency period in India, from 1975 to 1977. The film has opened to mixed reviews, and while some are praising the hard-hitting nature of the storyline, others are putting it down for its melodrama. Anyway, I, being a music reviewer, am spared from giving any views on the movie which I haven’t even watched, and don’t intend to either. I am focusing on the music. The most influential composer of the 90s, Mr. Anu Malik, has scored the soundtrack for the film. He did well in earlier this year’s ‘Begum Jaan’ so I’m expecting the same here as well! Saregama, the music company, after releasing four songs as singles, hasn’t released all songs in a single album, so I’m assuming this is the album, with four songs. Let’s see how Mr. Malik has composed for this!


1. Chadhta Sooraj Dheere Dheere

Singer ~ Mujtaba Aziz Naza, Composition & Lyrics by ~ Aziz Nazan, Music Recreated by ~ Anu Malik

Aziz Nazan’s famous Qawwali gets remade by Anu Malik, and sounds quite bleak and dull. The composition is good (no new composition by Malik) but the nine-minutes length makes it sound tedious. The vocals (by Aziz Nazan’s son) are good, and so are the lyrics. Anu remakes it with apt arrangements for a Qawwali, and also rock elements. Duration bogs this one down!
Rating: 2/5

 

2. Yeh Awaaz Hai

Singer ~ Monali Thakur, Lyrics by ~ Puneet Sharma

A sweet and sugary composition, evoking memories of ‘Lag Jaa Gale’ and ‘Salaam’ (from Anu Malik’s own ‘Umrao Jaan’ album), again too high in duration — eight minutes. Monali’s voice makes things sound bright, and the lyrics are beautiful and meaningful. The arrangements also resemble ‘Aazadiyan’ (Begum Jaan). A song resembling many other songs, but good in its place.
Rating: 3/5

 

3. Dilli Ki Raat

Singers ~ Bappi Lahiri & Anmol Malik, Lyrics by ~ Puneet Sharma

At first, I thought this was composed by Bappi, but the Panchamda vibe made me check again, and it was by Anu himself. The composition is terrible, and so are the vocals (especially Anmol’s), but the R.D. Burman vibe in the arrangements makes it bearable (only for a one time listen). The lyrics disappoint. SKIP!
Rating: 1/5

 

4. Yeh Pal

Singer ~ Amruta Fadnavis, Lyrics by ~ Sanjay Chhel

This song is slightly better in its composition; a soothing romantic waltzy song. The vocalist should’ve been Alka Yagnik or Asha Bhosle, but Amruta Fadnavis tries hard to do well. The arrangements are soothing, with the guitars and strings making it all the more soothing. The mandolin and accordion are outstanding too. The whistle makes it sound a lot like Anu’s trademark 90s songs. Sanjay’s lyrics portray love as a trap. A good song; but the vocals could have been better!
Rating: 3.5/5


Indu Sarkar is an album that Anu Malik seems to have scored very half-heartedly. Earlier this year, his fabulous score for “Begum Jaan” stunned me, and then this dull soundtrack after that, is very odd. The best song too, suffers of bad vocals. Anu Not zordaar!!

 

Total Points Scored by This Album: 2 + 3 + 1 + 3.5 = 9.5

Album Percentage: 47.5%

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: Yeh Pal > Yeh Awaaz Hai > Chadhta Sooraj Dheere Dheere > Dilli Ki Raat

 

Remake Counter:
No. Of Remakes: 21 (from previous albums) + 01 (from Indu Sarkar) = 22

 

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

EACH SONG, DOBAARA! (DOBAARA – Music Review)

Music Album Details
♪ Music by: Arko Pravo Mukherjee, Samira Koppikar, D. Wunder & Macks Wolf
♪ Lyrics by: Arko Pravo Mukherjee, Puneet Sharma, D. Wunder & Tasha Tah
♪ Music Label: Zee Music Company
♪ Music Released On: 24th May 2017
♪ Movie Releases On: 2nd June 2017

Dobaara Album Cover

 

 

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

To buy this album on iTunes CLICK HERE


Dobaara is an upcoming Bollywood horror film, starring Huma Qureshi, Saqib Saleem, Adil Hussain, Lisa Ray and Rhea Chakraborty in crucial roles. The film has been directed by Prawaal Raman and produced by the director along with Ishaan Saksena, Vikram Khakhar and Sunil Shah. It is an official remake of the 2013 Hollywood horror film ‘Oculus’, which is considered to be one of the scariest movies of all time. So horror films in Bollywood have been very miserably made, with people flying around so pathetically that it looks hilarious. For once, I feel that this is going to be a well-made horror film in Bollywood. Of course, another thing typical of Bollywood horror films is that they have romantic songs. For ‘Dobaara’, the music has been composed by Arko Pravo Mukherjee, Samira Koppikar, D. Wunder and Macks Wolf. Well, I know nothing about the latter two names, so I can’t speak about them, but I am expecting a lot from the first two names — Arko and Samira. Arko has been giving great songs for the whole of the last year and I don’t think he wants to stop now, so expecting good, creative songs from him. Meanwhile, Samira has vanished from composing after her amazing debut more than two years ago, with ‘Maati ka Palang’ (NH10). And she’s back now. Again, expecting a good song from her. So let’s see exactly how haunting the music of ‘Dobaara’ is!


1. Kaari Kaari / Kaari Kaari (Reprise Version)

Singers ~ Arko Pravo Mukherjee & Asees Kaur / Arko Pravo Mukherjee & Payal Dev, Music by ~ Arko Pravo Mukherjee, Lyrics by ~ Arko Pravo Mukherjee

“Maazi ko maazi rehne de, ankhiyon se nadiyaan behne de,
Toote inn waqt ke tukdon ko, rab ki farmaaish sehne de,
Shaakhon se kaliyaan tooti hai, jab se tu khud se yun roothi hai,
Zara dekh gaur se, oh saaiyaan, aks yeh tera, tu hi hai!”

– Arko Pravo Mukherjee

The song with which Arko starts off the album, reassures me yet again, that he is going to give amazing songs for this album. A beautiful, and by beautiful I mean extremely beautiful and more than that too, semiclassical melody is what the album starts with, and Arko can bask in the success of the song as it will reach many a listener’s hearts. The composition is a semiclassical melody that instantly hooks you, and Arko has structured it in a way that Bollywood songs usually aren’t. For example, after the mukhda, there’s a short stanza that doesn’t fall into any category and it goes “Tere jaisa hi dikhta hai, aks tera..” That stanza is bliss! The antara is just as soothing as the mukhda, while the hookline (which is subtly hidden within the Mukhda/antara) is just outstanding. As in all classical tunes, this one has intricate nuances, and the vocalists carry them out well. The song, featuring in two version, gets everything right in both versions. The arrangements are slightly different in each version. The first version has a beautiful, acoustic setting, with the guitar riff sounding mind blowing. Piano starts it off with a wonderful female voice programmed so as to enchant you right at the beginning! But the guitar riff that sets in once the melody starts, is just so simple and down-to-earth, that it is tough to dislike! The slide guitars + snaps combo in the interlude is wonderful as well. The Reprise takes the more classical route, and it starts off in a different way altogether. The guitar riff has been scrapped from this, and replaced by digital beats, along with something sounding like a Chinese xylophone. The arrangements of this one were a major throwback to ‘Ab Tohe Jaane Na Dungi’ (Bajirao Mastani), and how coincident that Payal Dev has sung that one too. This one has an amazing aalaap in the interlude, and it is entrancing. Of course, no Arko song is completed without at least one guitar strum or riff, and he brings the guitar into play in the antara. The vocals are flawless in both versions. Asees in her version, gives her career best performance, and it sends chills down the spine listening to her perfecting each and every note, especially the nuances in the hookline. Payal, on the other hand, gives a more classically-toned rendition, which is probably why I remember the ‘Bajirao Mastani’ song. The thing to note is when she suddenly goes high in one of the hooklines towards the end. That was splendid! Arko, with his deep voice, enters in the antara, but complements the two ladies well in their respective songs. He writes the lyrics as well, and gives an aptly romantic, and soulful piece. A mind-blowing classical-based song, but kept extremely simple, all the better to win hearts with! 💜

Rating: 5/5 for Original, 5/5 for Reprise

 

2. Humdard / Humdard (Alt. Version)

Singers ~ Jyotica Tangri / Neha Pandey & Parry G, Music by ~ Arko Pravo Mukherjee, Lyrics by ~ Arko Pravo Mukherjee, Rap in Alt. Version Written by ~ Parry G

 “Takleef hogi, bechain honge, yeh raaste hain pathreeley,
Woh Zindagi ki, kahaani kaisi, ke bin lade hi jo jee le!”

– Arko Pravo Mukherjee

The next song by Arko, is highly disappointing. It is supposed to be some kind of sad song, but it barely manages to get the emotion right. The composition is more like a club song where a lady is sitting and singing a song while the main characters are sitting in the bar trying to forget their breakup. The beginning itself is so abrupt and odd, that it is tough to go on trying to like the song. The antara is good compared to the rest of the song, though. The arrangements are mostly digital beats that irritate mostly, and remind one of the songs from the ‘Saansein’ (2016) album. However, there’s a nice portion on strings that is mildly entertaining. Both versions have basically the same arrangements, but they differ in the vocal department. And both singers, I must say, fail to fit the bill here, and both of their renditions turn out to be least satisfying. The first version has Jyotica Tangri trying to be Neha Kakkar again, but even Neha Kakkar wouldn’t have sounded great in this song. Maybe Sonu Kakkar. And in the Alternate Version, newcomer Neha Pandey doesn’t impress at all, unfortunately; she suddenly changes vocal tones and that sounds very weird. And a quite impressive rapid rap by Parry G, who impressed even in ‘Jai Maa’ (Behen Hogi Teri), also features in the second version. I must say he sounds a lot like Yo Yo Honey Singh. The lyrics by Arko, are the saving grace of the song. They are actually good, and deserved a better composition to accompany them! A disaapointment from Arko after that brilliant song.

Rating: 1/5 for the Original, 1.5/5 for the Alternate Version

 

3. Ab Raat (Version 1) / Ab Raat (Version 2)

Singers ~ Arijit Singh / Samira Koppikar & Jonathan Rebeiro, Music by ~ Samira Koppikar, Lyrics by ~ Puneet Sharma

“Dard dard andhera, zakhm si chaandni, Dhul jaayegi dhoop mein,
Sard haathon ka ghera, shehar ki berukhi, kho jaayegi goonj mein,
Parindon ki azaanein, gungunaati raah bhi, kehti hain aankhein choomke,
Bas, Abb raat guzarne waali hai, abb raat guzarne waali hai,
Abb raat guzarne waali hai, bas raat guzarne waali hai!”

– Puneet Sharma

At first, I thought this song is a remake of the old song ‘Ab Raat Guzarne Waali Hai’ (Awara), because the lyrics of the hook are the same, but it apparently isn’t, because this song has been released by Zee and not Saregama. 😂 Anyway, Samira steps in with her song, and even this song features twice. (The makers are really taking the title ‘Dobaara’ very seriously, huh?) However, I have no complaints with this song featuring twice. The song is a very, very soulful composition that gives you goosebumps. It is songs like this that must be added into horror films and not useless romantic songs. Samira’s composition is haunting to the core, very apt for the situation. The mukhda starts a bit slowly, but as soon as the hookline plays for the first time, you start getting intrigued and immerse yourself into the song. The first antara has an amazing tune, as does the second one, which is more like a Pritam-ish conclusion, rather than an antara. The arrangements by Samira, are yet another example of how to impress with the most used and most clichéd template ever. She employs a very effective soft rock arrangement to the first version, and it provides the required strength to the composition, which would sound sleepy without it. The drums, acoustic guitars and rock guitars complement each other very well, and it provides such a BEAUTIFUL ambience, spellbinding indeed. A Version 2 has been given a more acoustic treatment till the hookline starts, with the Acoustic guitar prominent. However, instead of making it plain and boring with only the guitar, Samira adds in a bit of this and a bit of that to make it sound better. A heart-rending flute has been employed in various places, and especially the interlude’s flute portion is something not to miss. Samira still doesn’t resist to add the drums here either, though. So this version sounds more like a Lounge Version, due to the combination of the flute, acoustic guitars and drums. Vocals are again flawless in both versions, Arijit at his soulful best, and Samira singing in a very different voice than she has in her other songs. She keeps it high-pitched, unlike the low pitch she uses in many of her songs. She has a co-singer named Jonathan Rebeiro, who has given a couple of words here and there as backing vocals. Last but definitely not the least, can we admire the lyrics here? The song is such a soulful song, but behind that tune are the genius words of Puneet Sharma, who writes less frequently, but has written some amazing songs for ‘Revolver Rani’ (2014; also the first album I ever reviewed!!) and songs for albums like ‘Cute Kameena’ (2016), ‘Mr. Joe B. Carvalho’ (2014) and ‘Aurangzeb’ (2013). But here, he gives another amazing piece of writing, which I just instantly fell for. The song is about waiting for the dark times to pass, and as they say, “This too shall pass”. A ravishing song!

Rating: 4.5/5 for Version 1, 5/5 for Version 2

 

4. Malang

Singers ~ Tasha Tah & D. Wunder, Music by ~ D. Wunder & Macks Wolf, Lyrics by ~ D. Wunder & Tasha Tah

“Malang Malang Maiiiiiiiiiiinnnnnnn” 🐏

– D Wunder

This next song makes me recheck whether I’m actually listening to the ‘Dobaara’ album anymore or not. A generic Punjabi club number on the lines of Dr. Zeus’ songs is what makes up the “grand” finale to this album. The composition is so irritating at places, but catchy in some places. The hookline has the lead female singer bleating like a sheep, “Maiiiiiiiiiiinnnnnnn”. That part is so irritating. The arrangements are typical club beats, but they aren’t so engaging. The vocals are execrable, and I’ve given an example up above. The English parts of the song are enjoyable though. But that’s like a “One in a million” good part, to quote the song. The Punjabi parts are so irritating, you forget to like anything else. Lyrics? What lyrics? Appalling.

Rating: 0.5/5


Dobaara is an album that depends on the Reprise versions to propel it. Three out of the four songs have another reprise, so that we hear it again. Thankfully, all these reprises are either better than or equal in comparison with the original songs, so I’m not complaining. Arko strikes gold, and what shiny gold, in the first song of his, but disappoints with the next one. Meanwhile, Samira Koppikar gets her guest composition extremely well, in both versions. Whoever D Wunder & Macks Wolf are, I hope they aren’t looking at Bollywood for a career. An album that gets a much higher rating than it would have, thanks to reprises, which made us hear the songs “dobaara”!

 

Total Points Scored by This Album: 5 + 5 + 1 + 1.5 + 4.5 + 5 + 0.5 = 22.5

Album Percentage: 64.29%

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

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

Recommended Listening Order: Kaari Kaari = Kaari Kaari (Reprise) = Ab Raat (Version 2) > Ab Raat (Version 1) > Humdard (Alt. Version) > Humdard > Malang

 

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

‘LETHAL’ SOUNDTRACK! (TAMANCHEY – Music Review)

Music Album Details
♪ Music by:- Krsna, Ikka Singh, Intense, Arko Pravo Mukherjee & R.D. Burman
♪ Lyrics by:- Puneet Sharma, Ikka Singh, Krsna, Arko Pravo Mukherjee & Anjaan
♪ Music Label:- Zee Music Company
♪ Music Released On:- 29th September 2014
♪ Movie Released On:- 10th October 2014

Tamanchey Album Cover

Tamanchey Album Cover

 

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

To buy this album on iTunes CLICK HERE


Tamanchey is a Bollywood romantic crime film, that released on 10th October 2014. It stars newcomer Nikhil Dwivedi and Richa Chadda in the lead roles. The film has been directed by Navneet Behal, and produced by Suryaveer Singh Bhullar. The music of the film is composed by three people, with Krsna having two songs, Ikka Singh and Arko Pravo Mukherjee with one song each. Krsna had impressed in his debut album, ‘Tanu Weds Manu’, but didn’t impress as much in his second album, ‘Jolly LLB’. Anyways, I was expecting pretty good stuff from him. Ikka I didn’t know about at all, so the question of whether I had any expectations from him doesn’t arise at all. Whereas Arko, well, let’s just say I was expecting tremendously good music from this guy, who has been impressing since his debut in ‘Jism 2’. So let’s see how fruitful the hard work of these three composers was in order to create a ‘lethal’ (killer 😛 ) soundtrack!


1. Pyaar Mein Dil Pe Maar De Goli
Singers ~ Bappi Lahiri, Kishore Kumar, Asha Bhosle & Luv O’ Trigger, Music by ~ Original Music by R.D. Burman, New Music by Krsna, Lyrics by ~ Original Lyrics by Anjaan , New Lyrics by Puneet Sharma

The classic dance song (and one of my favourites too) from ‘Mahaan’ gets a makeover in this song, and I have to say, it has been remade quite well! The song has even been used as the tagline of the film. The song kicks off with the original song, and then takes a sudden turn, quite abruptly changing into the new composition by Krsna. At first it seems a bit weird (the tune) but that’s probably just because we’re so familiar with the old song. With subsequent listens, it keeps growing more and more. Bappi Lahiri has used his famous and unique voice to give a very nice 80s effect, and more than him, Krsna has to be applauded for his wonderful composition around the hookline of the old song. The disco sounds which he has kept in the song have given it a characteristic 80s feel, though the old song is clearly 70s, and no wonder Krsna has chosen Bappida to do the singing honours. The song is like a mixture of R.D. Burman and Bappi Lahiri style of composition! The trumpets and guitars make the song very energetic and lively, and so do the bongos, giving it the required R.D. Burman feel. The rap (which hardly lasts for ten seconds) by Luv O’ Trigger wasn’t quite required, and is just average. Krsna has come up with a catchy, energetic remake of the classic hit! But more credit to Panchamda for making the original song in the first place! It has to be a #5StarHotelSong!!

 

2. In Da Club
Singer ~ Ikka Singh, Music by ~ Ikka Singh & Intense, Lyrics by ~ Ikka Singh

A club song, which has the characteristics of a folkish dance song. Seriously, the makers have added a club song which has been sung in a very folkish accent! Ikka Singh seems to be a long-lost brother of Yo Yo Honey Singh. 😛 The same cheapness is evident in this song as was there in Honey Singh’s party songs. The arrangements are nothing special, in fact, I would say they are too loud. The hookline is supposedly ‘catchy’, but I would only call it catchy if catchy here means ‘to catch you and half-kill you’. 😛 The rap is cheap, the lyrics are cheap, the vocals are cheap and above all, the composition is the king of cheap! Even though it is just 3 minutes odd long, it seems way longer than that, because infinite number of such songs have released and all have the same cheapness quotient in them! Thumbs down!!

 

3. Dildara / Dildara (Reprise)
Singers ~ Sonu Nigam / Arko Pravo Mukherjee, Music by ~ Arko Pravo Mukherjee, Lyrics by ~ Arko Pravo Mukherjee

Arko has been on a roll these days. After ‘Jism 2’, he gave us a wonderful and memorable song ‘Allah Waariyan’ in ‘Yaariyan’, then an addictive song ‘Aaj Phir’ in ‘Hate Story 2’. So when I saw his name in the credits, and Sonu’s name as the singer, I got very excited. The result is something very cute, sweet and beautiful. The composition is a very cute one and Sonu’s vocals are a cherry on top. The composition takes many twists and turns, all very unexpected, but all very beautiful. The tune itself is so catchy, that the lyrics are learnt very quickly. Once you start listening to the song, I guarantee you would listen to it again and again! The lyrics by Arko are also very nice. It seems as if the song was made for Sonu. Such a sweet composition needs a mellifluous voice to sing it. The instrumentation, mainly of guitars, is also very nice. The percussion created is also very effective and gives a catchy groove to the song. The trumpets also give a royal and grand feel to the song. Arko, in his version, however does not sound half as good as Sonu Nigam. His voice just doesn’t do justice to the beautiful composition, which is ironically, by himself. 😛 His voice is too rough and husky for the melodious composition. Better you listen to only Sonu’s version only, because it is a #5StarHotelSong!!

 

4. Khamakha (Mohit Version) / Khamakha (Krsna Version) / Khamakha (Reprise)
Singers ~ Mohit Chauhan / Krsna / Krsna, Music by ~ Krsna, Lyrics by ~ Krsna

As soon as it started, I got attracted towards the song because of the smooth, metallic voice of Mohit Chauhan humming a catchy tune. The tune is retro and complete with the snaps and guitar plucks. As ‘Dildara’ was made for Sonu Nigam, this one is definitely made for Mohit, as his attractive voice makes everything sound great. Not that the composition is bad! The composition is a catchy, sweet one, that has the capacity to be on everyone’s playlists for quite some time. The lyrics are perfect for the type of song that it is, where the boy is behind the girl to pay some attention to him. 😛 The harmonica interlude is something worth listening, and so are the whistle parts. With awesome singing, lyrics and composition, this song is a clear winner. Krsna’s version is also equally beautiful, minus the metallicness of Mohit. I had no idea that this guy could sing so well. Arijit would have done it great, but Krsna has done it good as well! Everything else is the same as Mohit’s version. The reprise fairs poorly, however, as it has the same lively song at a pace that is way too slow to enjoy anything that the song offers. It gets boring and will not interest you at all. Go for the two versions by Mohit and Krsna, but do not even try the reprise if you liked the originals! With great vocals, composition and lyrics, the original versions are #5StarHotelSong!!


Tamanchey surprisingly has some great songs! Whatever I didn’t expect, this album has it all! A romantic song by Sonu Nigam, another by Mohit and a great remake of an old classic hit! Barring ‘In Da Club’, all of the songs have repeat value, and even the calm songs are catchy in this album. Though some of the versions of the songs might bore you, the originals are great, and that’s what I’m mostly concerned about here! Tamanchey is an album from which I was expected nothing means ZERO and I got a pleasant surprise when this killer ‘lethal’ soundtrack came my way!!

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

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

 

Which is your favorite song from Tamanchey? Please vote for it below! 🙂

 

Next “dish”:- Sonali Cable, Chefs:- Mikey McCleary, Amjad-Nadeem, Daniel B. George & Raghav Sachar AND Super Nani, Chefs:- Harshit Saxena & Sanjeev-Darshan