CRYBABYIEE WEDS NRI!! (SWEETIEE WEDS NRI – Music Review)

Music Album Details
♪ Music by: Arko Pravo Mukherjee, Jaidev Kumar, Palash Muchhal, Raaj Aashoo & Shah Jahan Ali
♪ Lyrics by: Arko Pravo Mukherjee, Dr. Devendra Kafir, Late Shyam Bhateja, Palak Muchhal, Shakeel Azmi & Banjara Rafi
♪ Music Label: T-Series
♪ Music Released On: 24th May 2017
♪ Movie Releases On: 2nd June 2017

Sweetiee Weds NRI Album Cover

 

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

To buy this album on iTunes CLICK HERE

{P.S. The song “Shiddat (Reprise)” is sung by Mohd. Irfan on Saavn and YouTube, and Sharad Patel on iTunes. Since the former is there on two sites, I will review that}


Sweetiee Weds NRI is an upcoming Bollywood rom-com, with the clichéd theme of a wedding. The film stars Himansh Kohli and Zoya Afroz in the lead roles, and is directed by Hasnain Hyderabadwala, and produced by Cyrus Dastur, Dhaval Patel, Sada Bhuvad, and Tariq Mohammed. I couldn’t care less about the plot of the film, so heading on towards the music front. We have a multicomposer album, as is the norm for T-Series, but it is shocking to not see any of the T-Series protégés working for the film. Except maybe Arko. Jaidev Kumar, Palash Muchhal, Raaj Aashoo and newcomer Shah Jahan Ali are the other composers for the film. Jaidev just gave us a better-than-the-original mata-ki-chowki recreation of Badshah’s ‘Kala Chashma’, and he gets one song here. Palash, back after doing nothing in films for three years, gets five songs all of a sudden in this film. Let me break the suspense. It is actually two songs, one of them having four versions. Raaj Aashoo, who has composed quite passable music before, gets a song and its reprise too, while Shah Jahan Ali, newcomer, gets one song too. Let me specify that even Arko has one song only. So with five composers and ten tracks, let’s see whether this grand wedding is just all quantity or has some substance too.


1. O Saathiya

Singers ~ Armaan Malik & Prakriti Kakar, Music by ~ Arko Pravo Mukherjee, Lyrics by ~ Arko Pravo Mukherjee

Thankfully, the first song is composed by the person whose song I was waiting for and at least expecting something from, Arko. And sure enough, the song is a pleasant and enjoyable listen. The composition is a breezy one, and starts off quite pleasantly. The soothing quality of the song continues as it progresses, and the  peak point of the song is the “Humrahi” hook, which is like fresh air. (Don’t watch that part in the video song though! 😂) There is no antara as such, the mukhda is repeated twice in the song, once by the male singer Armaan and the other time, by the female singer, Prakriti. That’s why the song ends up sounding shorter than it is, because the mukhda is repeated twice and that’s it. The arrangements are breezy as Arko’s arrangements usually are. The Acoustic guitars, and shakers and those digital beats in the hookline, giving a ballroom feel, are amazing. The interlude consists of a nice, feel-good, guitar piece, followed by a refreshing flute portion, which is in turn followed by a sweet piano piece. The vocalists carry the song out with ease, Prakriti sounding amazing with the nuanced singing. Armaan sings in that slightly uncomfortable low pitch which he rarely sings in, in the beginning, but gets better in the high pitched hookline. Arko’s lyrics are typical romantic song lyrics, but suit the ambience of the composition. A simple but sweet and effective song.

Rating: 4/5

 

2. Kudi Gujarat Di

Singers ~ Jasbir Jassi, Sonia Sharma, Akasa Singh & KD, Music by (Original and Recreation) ~ Jaidev Kumar, Original Lyrics by ~ Late Shyam Bhateja, New Lyrics by ~ Dr. Devendra Kafir, Rap Written by ~ KD

Jaidev Kumar steps in here, and with another remake, after his remake of ‘Kala Chashma’ in the recent ‘Behen Hogi Teri’. As we know, this music company’s latest fad is to remake hit Punjabi pop numbers of the 90s, and after they remade ‘Ishq Tera Tadpaave’ by Sukhbir, in ‘Hindi Medium’ last month, they choose ‘Dil Le Gayee’ by Jasbir Jassi to remake this month. And the ingenious naming system of T-Series starts again, naming this one ‘Kudi Gujarat Di’, which are just the words that appear right after ‘Dil le gayee’ in the song’s lyrics. However, I’m quite pleased with this remake. The main reason is that Jaidev Kumar, who had composed the original, which was in fact his debut, has recreated it. So he keeps the flavour of the song intact, and yet manages to add a pleasant club touch. The composition has been kept the same, and lyrics have been changed. Unlike the ‘Ishq Tera Tadpaave’ remix, this one actually is a remake. The arrangements have been changed to good club arrangements that are actually enjoyable. The techno sounds here, make the song more viable for today’s audience, who is only behind club songs. The vocals are great too, with Jasbir showing that he is still sounding as young as ever. The female singers, get very less scope, and I don’t even know which of them has sung what. A rap by someone called KD sounds very spoofish and amateurish. The new lyrics by Dr. Devendra Kafir, who wrote ‘Bolna’ (Kapoor & Sons) before this, are fun but typical. An enjoyable remake. 

Rating: 3.5/5

3. Musafir / Musafir (Reprise) / Musafir (Remix)

Singers ~ Atif Aslam & Palak Muchhal / Arijit Singh / Atif Aslam & Arijit Singh, Music by ~ Palash Muchhal, Lyrics by ~ Palak Muchhal

The next song witnesses Palash entering film music after a long time; his last release was ‘Amit Sahni Ki List’ in July 2014 if I’m not wrong. And this song, he provides in as many as three different versions. The composition is a very typical, Bhatt-ish composition that at first seems very bland and boring, but sounds better the next time. And when you start liking it, you start listening to it frequently, and after listening to it a lot, you start hating it. So like almost all Bhatt-ish songs, this song has a quite uninteresting life story. Jokes apart, Palash’s composition, though nothing innovative, provides temporary relief like Zandu Balm and sticks in your head for that short while as if it has been stuck with Fevicol. (There, I managed to put ‘Dabangg’ references in my review.) The mukhda is very typical, and so is the hookline, so much so that the first time I tried to listen to the song, I didn’t go past the hook. The antara is nothing great either. But despite all this, the song somehow manages to get in your head. So it’s like a Rohit Shetty film — not perfect, but manages to get you watching ahead. The arrangements must be the reason we are able to go forward. Both actual versions (not counting the remix for now) have different arrangements. While the Atif Aslam version has a clichéd-to-the-core acoustic guitar setting with occasional electronic tabla beats, the Arijit Singh version has better arrangements, starting off with a flute, and progressing with a more unplugged-ish acoustic background, piano and guitars. The flute really impressed throughout the song, and Palash isn’t stingy with the use of the flute. Atif’s diction is very irritating in his version, and when he says “Gira” for “Ghira”,Batakta for “Bhatakta“, and “Dikka” for “Dikha“, you can’t help but cringe. Palak joins him to repeat the mukhda at the end of the song. Arijit goes solo in his version, and he rectifies all of Atif’s diction mistakes. However, Palash makes another mistake here, which is making Arijit sing the repeated mukhda at the end, making the song seem extra long. He could have stopped after the antara, or made Palak sing it for some respite from the overbearing drowsiness. The remix is a miserable attempt to quieten the two ever-at-war fan bases of Atif and Arijit, by cramming both into one song. But why would anyone want them to be together in a remix. And I can’t even say how sappy the vocal programming sounds when Palash uses it on Atif, making him sound like a goat. The beats are typical remix beats that make your ears explode. The lyrics by Palak are suitable for the song, but again, very typical and nothing innovative. I don’t even know whether I like this one or not, so I’ll say it’s somewhere in the middle.

Rating: 2.5/5 for Musafir, 3/5 for Musafir Reprise, 0.5/5 for Musafir Remix

 

4. Wedding

Singers ~ Shahid Mallya & Palak Muchhal, Music by ~ Palash Muchhal, Lyrics by ~ Palak Muchhal

Palash’s second song is the wedding song of the album, very uncreatively titled “Wedding”. The composition is something that totally belongs to an Indian animated film for children. Come on, even children’s songs are composed more thoughtfully than this. The “Saiyaan Oh Saiyaan” refrain by Palak is very cheesy. Some of it is way too sweet to digest, and the lack of usual Punjabi arrangements, makes it even more bland. Instead, Palash uses weird-sounding techno sounds that make it sound very over-the-top. And of course, the typical brass band, which is also, unfortunately, digital. A weird EDM-ish interlude tries to makes things “cool”. Palash tries to bring in a folksy feel to the song by roping in Shahid Mallya to sing it, but he sounds so uninterested, it comes out through his singing. And the lines he’s made to sing! 😵 Palak sounds too, too, sweet, like the syrup in Gulabjamun if someone adds too much sugar. Her lyrics too, are straight out of a fairy tale; the cringeworthy Hinglish takes a toll on you by the time the song ends. When EDM and an overly sweet melody spoil everything.

Rating: 1.5/5 

 

5. Shiddat / Shiddat (Reprise)

Singers ~ Armaan Malik / Mohd. Irfan, Additional Vocals by ~ Priyanka Negi, Seepi Jha & Bhuvan Ahuja, Music by ~ Raaj Aashoo, Lyrics by ~ Shakeel Azmi

With Raaj Aashoo’s song, things take an even more downhill turn. Totally overloaded by a very overbearing melancholic sound, the song exhausts you by the time it is over. The composition is something even the Bhatts would shy away from nowadays. What’s more, the song spans for over five minutes, something utterly unbearable. And two versions. So it sadly has eleven minutes of unmerited footage in this already long album. The arrangements are typical digital beats that would be a rage if it were 2007 right now. The vocalists in neither version could keep the interest of the listener in place, till the end. Armaan, trying to be K.K., disappoints like never before. On the other hand, Mohd. Irfan in his version sings in a voice that defies the beauty of his real, silky smooth voice. The female backing vocalists are irritating throughout. I would rather not talk about the unstylish lyrics. Welcome to 2007.

Rating: 1/5 for Shiddat, 1/5 for Shiddat Reprise

 

6. Zindagi Bana Loon

Singer ~ Palak Muchhal, Music by ~ Shah Jahan Ali, Lyrics by ~ Banjara Rafi

Newcomer Shah Jahan Ali comes into Bollywood with this song, and brings yet another old-fashioned, slow-paced song into the album, much to the dislike of the audience. The tune is so complicated, with so many pauses in random places, and no indication as to whether it is a happy romantic or a sad romantic song, that you just forget about it after you hear it once. Shah Jahan Ali must have been feeling like Roop Kumar Rathod felt while composing ‘Agar Tum Mil Jao’ (Zeher), or M.M. Kreem while composing ‘Jaadu Hai Nasha Hai’ (Jism), because the song is like a wannabe version of those. The slow pace doesn’t help either. Neither do the arrangements. The guitars are played so typically, the lack of innovation makes you go crazy. Palak tries to bring nuances like Shreya Ghoshal into her singing, succeeding at none of them. She sings in such an unnaturally high-pitched voice, it even surpasses the cheesiness of ‘Kaabil Hoon’ (Kaabil). The lyrics of the song are cringeworthy again. Another staid composition.

Rating: 1.5/5

 

7. Kinara

Singer ~ Palak Muchhal, Music by ~ Palash Muchhal, Lyrics by ~ Palak Muchhal

Finally the album comes to an end. But waiting right at the end for us, is another version of ‘Musafir’ by Palash Muchhal. This time it has been disguised under another name, ‘Kinara’ because the word ‘Musafir‘ doesn’t come in the new lyrics. But it is a version of ‘Musafir’. This album has so many versions of ‘Musafir’, which means tourist. As if the album is a tourist destination! The composition and lyrics are much the same, except one line in the hook, where the lyrics have been changed. The arrangements comprise an overtly sentimental combination of violin, piano and jingle bells. Palak tries again to imitate Shreya, when she does her Female Versions, like the one of “Sunn Raha Hai” (Aashiqui 2) and that of “Hasi” (Hamari Adhuri Kahani). Even Palash tries to imitate the arrangements of the former, with those jingles and the occasional tabla. Clearly, the makers were under the false impression that the public would love ‘Musafir’ so much that they would hover around long enough to wait for a mediocre female version. 

Rating: 1.5/5 


It looks like the album of Sweetiee Weds NRI was finalized years ago. Dated melodies, arrangements that originated sometime before the dinosaurs, and a tracklist trying to imitate ‘Aashiqui 2’ with vocals that sound bland to say the least and the same vocalists used over and over again, this album isn’t really as good as the makers made it out to be when they were promoting it. Instead of Sweetiee Weds NRI, the name should’ve been Crybabyiee (you can throw a few more e’s in there if you want) Weds NRI!!

 

Total Points Scored by This Album: 4 + 3.5 + 2.5 + 3 + 0.5 + 1.5 + 1 + 1 + 1.5 + 1.5 = 

Album Percentage: 40%

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:  O Saathiya > Kudi Gujarat Di > Musafir (Reprise) > Musafir > Wedding = Zindagi Bana Loon = Kinara > Shiddat = Shiddat (Reprise) > Musafir (Remix)

 

Remake Counter:
No. Of Remakes: 14 (from previous albums) + 01 (from Sweetiee Weds NRI) = 15

 

Which is your favourite song from Sweetiee Weds NRI? Please vote for it below! Thanks! 🙂

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SOUTH MEETS NORTH! (TUTAK TUTAK TUTIYA – Music Review)

Music Album Details
♪ Music by: Sajid-Wajid, Vishal Mishra, Gurinder Seagal, Dr. Bal Sidhu, Raaj Aashoo & Music MG
♪ Lyrics by: Irfan Kamal, Danish Sabri, Manoj Yadav, Pranav Vatsa, Shabbir Ahmed, Dr. Bal Sidhu, Lil Golu, Malkit Singh, Veer Rahimpuri & Music MG
♪ Music Label: T-Series
♪ Music Released On: 19th September 2016
♪ Movie Released On: 7th October 2016

Tutak Tutak Tutiya Album Cover

Tutak Tutak Tutiya Album Cover

 

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

To buy this album on iTunes CLICK HERE


Tutak Tutak Tutiya is a trilingual horror comedy film, made as ‘Devi’ in Tamil and ‘Abhinetri’ in Telugu, starring Tamannaah Bhatia, Prabhudeva and Sonu Sood in lead roles, and Amy Jackson in a special appearance. The movie is directed by Vijay, and produced by Sonu Sood. The movie opened to mixed to positive reviews in all three languages, while the film’s music was creating a wave among masses, and I was writing my exams. 😛 So, heading directly towards the music. The music for the Telugu and Tamil films has been given by Sajid-Wajid and newcomer, Vishal Mishra, each having composed two songs each. These four songs have been included in the Hindi album, along with a bonus of three more songs that will cater to the Hindi audiences and increase the buzz of the movie in Punjab. 😛 They are all either Punjabi songs or by Punjabi artists, and added just to attract the Hindi audience. These songs are composed by Gurinder Seagal, who gave that great non-film single, ‘GF BF’ earlier this year. He has remade one of Dr. Bal Sidhu’s wedding numbers, ‘Rail Gaddi’. The next song is a remake of Malkit Singh’s ‘Tutak Tutak Tutiya’, also the namesake of this album, and that has been recreated by Raaj Aashoo. Lastly, Music MG comes with an original club number, which I’m not excited for. Let’s jump into this ‘Tutak Tutak Tutiya’!


1. Rail Gaddi
Singers ~ Navraj Hans, Swati Sharma & Lil Golu, Original Composition by ~ Dr. Bal Sidhu, Music Recreated by ~ Gurinder Seagal, Original Lyrics by ~ Dr. Bal Sidhu, New Lyrics by ~ Shabbir Ahmed, Rap by ~ Lil Golu

The first track on the album is one that will really get those Hindi audiences attracted to the film like bears are attracted to honey. A remake of the hit Punjabi track ‘Rail Gaddi’, this one has already made people go crazy around the nation. As you guys know and must be thinking now, I do not like many of these remakes of Punjabi pop numbers. However, this one is different! The composition, which I found out was originally by Kuljit Bhamrah, but T-Series have credited Dr. Bal Sidhu, is good and catchy, and even Gurinder’s new additions are not bad, though a bit generic. The most generic it gets is in the antara, where the song sounds like a direct lift-off from the antara of the ‘Housefull 3’ song ‘Malamaal’. Or maybe all Punjabi songs sound the same to me. Anyway, the song starts with a hilarious dialogue said in a funny style, and then the quintessential tumbi makes its presence felt by playing the hookline tune. Navraj Hans’ programmed voice sounds good, and also sounds like Vishal Dadlani at places. I appreciate that Gurinder trued to get a big singer to sing the song, but the heavy programming done on his voice could’ve been cut down upon, especially after he sang with such finesse, that rock song ‘Raj Karega Khalsa’ in ‘A Flying Jatt’. Swati Sharma barely gets any scope to sing anything in the first antara, as she gets just one line, which sounds very bad. However, the second antara is all hers, and she spoils whatever fun the song was giving you by singing that. Again, the programming kills her voice, and makes it sound ridiculous. Lil Golu is back, without Yo Yo Honey Singh this time, and his rap might make you faint. He has a rap before both antaras, and both of them are ridiculously stupid. The hookline is definitely the best part of the song, and when the hookline is the best part of a REMADE song, you know things are wrong. However, the arrangements do help to make this one an enjoyable club song. Gurinder, who I think is very good at club beats (after hearing ‘GF BF’ that is) has made the pacy club beats overshadow his run-of-the-mill composition. The great electronic shehnaais really entertain. Shabbir Ahmed’s lyrics are the usual random stuff that people ignore due to the pacy beats, so even I’m ignoring those. 😛 Quite entertaining and enjoyable, but a remake that could’ve been better in terms of vocals and composition. Not lyrics because this is the maximum level of IQ that I expect from such songs!

 

2. Chal Maar
Singer ~ Wajid, Music by ~ Sajid-Wajid, Lyrics by ~ Irfan Kamal

Sajid-Wajid enter the album for the second song, which is also the first song of the album that is from the Tamil/Telugu versions. And I understand why Prabhudeva must’ve chosen this song for the film! Last October, Sajid-Wajid and Prabhudeva had given us a treat called ‘Cinema Dekhe Mamma’ (Singh Is Bliing), which was a complete desi tune with desi music. This time too, though Prabhudeva isn’t the director here, Sajid-Wajid, two of his favourites, give a song that is at par with that one. The first time you listen to the song, you’ll be like ‘Where am I? Why am I even listening to this?” But after some listens (if you give it time, that is) the composition starts to unfold its magic. The upbeat, very desi composition starts growing on you, and finally, grabs you completely. That shehnaai-like loop just intrigues you and it plays so many times, that you just start loving it! Of course, Sajid-Wajid are experts in giving this kind of music. 😀 But this time, it just worked too well. The composition too, seems average at first, especially the line before the hookline (“Bheja hai kamar pe…. Bend it like Beckham baby!”) and the hookline itself, which consists of only two words, Chal and Maar, seemingly shouted out randomly. The line just before that though, is so sweet and attractive! It goes “Chakhne de, haaye chakhne de, tere ishq ka zaayaka”. Sajid-Wajid have composed that line so beautifully, I die every time I hear it! 😀 The antara, though it could’ve been better, does its job of keeping you glued. What is the reason? The arrangements, of course! You all know how I praise Sajid-Wajid so much for their amazing arrangements every time, and this time too, they have stunned with their magnificent percussion, the slow South-Indian style rhythms and the AMAZING brass band. Of course though, that shehnaai loop (which is actually played on a melodica) is supposed to be the USP of the song, and it definitely is for me! The guitars are wonderful as well. The Tamil and Telugu versions of the song have been sung by Benny Dayal and Nakash Aziz respectively, and at first I was frustrated because we got stuck with Wajid. However, after hearing the song, I can happily say that Wajid, one of the composers, has rendered the song very nicely. He sounds youthful as well as cool! When he sings that sweet line that I pointed out, I just start to sing along. He sings that line so nicely! 😀 And he sings the hook phrase with such attitude, that I concluded that he was the perfect choice for the song. Irfan Kamal’s lyrics too, are ignorable. Very enjoyable, and a perfect song for Prabhudeva to show off his moves onscreen! Hats off to Sajid-Wajid yet again for the arrangements! #5StarHotelSong!!

 

3. Tutak Tutak Tutiya
Singers ~ Malkit Singh, Kanika Kapoor & Sonu Sood, Original Composition by ~ Malkit Singh, Music Recreated by ~ Raaj Aashoo, Original Lyrics by ~ Veer Rahimpuri, New Lyrics by ~ Malkit Singh & Shabbir Ahmed

Yet another remake we have on the album. This one serves as the title track. This one is a remake of Malkit’s 80s hit, ‘Tutak Tutak Tutiya’, and Raaj Aashoo has got the chance to recreate this one. And he seizes the opportunity and makes gold of it. The song starts again, with the representative of Punjabi songs, tumbi, followed by dhadd and a wonderful flute that just makes you feel happy. The composition of the mukhda is basically the same as that of the original, with the first line revamped by Raaj Aashoo. The song mostly follows the same composition of the hookline, and it is a very strong and effective tune. Especially the “Haye Jamaalo!” The antara is short and catchy as well, and definitely a new addition. After that, the hookline takes over once again, until the song ends. The arrangements are basically insane club beats, along with mad flutes winning your heart, and EDM that makes you wanna dance. The vocals are good, with Malkit Singh having re-recorded the song with the new lyrics that he, along with Shabbir Ahmed, has written. Kanika Kapoor gets a very small scope to open up, but her portions sound cute as always. Sonu Sood does a rap portion that is entertaining for all that it’s worth. Raaj Aashoo also makes the vocalists sing “Tutak tutak” in the background at the beginning, and that effect is so cool! 😀 The lyrics are average again, and meant for fun. A foot-tapping remake of a classic pop song, with Raaj Aashoo’s flute standing high above everything else! #5StarHotelSong!!

 

4. Love The Way You Dance
Singers ~ Jazzy B, Sonu Sood & Millind Gaba, Music by ~ Music MG (Millind Gaba), Lyrics by ~ Music MG (Millind Gaba)

The way this song starts, your mind suddenly cries out “West!” 😛 The shameless aping of the West that happens in so many Bollywood club songs, is evident in this song as well. And guess what? Millind Gaba is back, after his epic fails in Bollywood, from that ‘Welcome Back’ title song, to the most recent ‘Housefull 3’ song ‘Malamaal’. The composition, I admit, is quite decent, as it tries to keep you hooked. However, it just doesn’t work out. The club beats are a direct lift of Millind Baba’s own ‘Welcome Back’ title song. Also, the hookline is so pathetically composed, that whatever you feel about the start of the song, all evaporates because of the hookline. The generic composition has nothing to offer in terms of variation or innovation. This Music MG has a unidimensional thought and composition style. The vocals by Jazzy B are just irritating, and the overdone Punjabi lyrics by Millind are too much to handle. Sonu Sood’s rap sounds horrifying. Of course, this is a horror comeda, isn’t it! 😀 Terrible attempt to ape the West!

 

5. Chalte Chalte
Singer ~ Arijit Singh, Music by ~ Vishal Mishra, Lyrics by ~ Manoj Yadav

The next song marks the entry of another composer into the album, this time, a debutant – Vishal Mishra. Now this is the same Vishal Mishra who sang a song in ‘Shorgul’ as well. He steps into composing with this film, and with such a composition, you know he didn’t just foray into composing just for the sake of it! The composition is extremely pleasing and calming, as well as groovy at the same time. The mukhda has the power of pulling you in instantly, and the hookline is so, so cute, that you just cat ignore it. What’s more, it doesn’t force itself on you, and rather, plays on its own will, and you don’t even get to know. The antara is just a continuation of the sweetness. Both the times it plays, you are reminded of those sweet songs where the boy is just preoccupied with thoughts of some girl he’s seen somewhere in the middle of nowhere, that always play in Bollywood films. One of them is ‘I Love You’ (Bodyguard), and this song reminded me a lot of that, as well as the recent ‘Purza Purza’ (Akira). Vishal’s decision to get Arijit to sing this song turns out to be a very efficient one. Arijit, with sweetness ozzing out of his voice, delivers it with the same cuteness as it was meant to be delivered. His high notes leave you stunned, while he is, as it is, a master at low notes. The arrangements are awesome as well, with a cool jazzy touch to them. The guitars throughout provide a foot-tapping rhythm, while electronic beats are at their best in the song. A rock guitar interlude steals the show when it plays, even though it plays for about less than 10 seconds. Manoj Yadav’s lyrics are the first good lyrics in the album, and they do suit the romance theme, as well as give you some good words for your ears to chew on. Trippy! #5StarHotelSong!!

 

6. Suku Suku
Singer ~ Shivranjani Singh, Music by ~ Sajid-Wajid, Lyrics by ~ Danish Sabri

The next song turns out to be Sajid-Wajid’s second and last song in the album, and it starts with very, very impressive hip-hop beats through which they really prove their mettle at making music of so many different styles yet again. The impressive introduction, though, gives way to something that just falls downhill until the antara. The mukhda is such a weakly composed one, that I’m surprised Sajid-Wajid couldn’t get a better opening line to such a wonderfully opened song. The tune sounds sappy and something that goes in very low status movies. I mean, what is “Dance karle aiissaaaa, Sridevi jaiiiisaaaa!”!? The hookline too, is not impressive at all. However, the antara is composed so nicely and sweetly, in a pleasant desi tune, that you wonder how the duo could get this tune after such a bland opening. The composers have paid too much attention, as always, to giving a very great auditory experience to the listeners. The arrangements are just mind-blowing. With very cool EDM and techno beats, the composers score high with the arrangements. A very entertaining and professional African percussion piece plays in one of the interludes, and that is just not to be missed. Backing vocalists going “Yeah!” at random places also qualifies as good Western-styled arrangements. 😛 And the composers have aced that as well. The vocals by Shivranjani Singh, who seems to have become the composer duo’s favourite now for item songs, instead of Mamta Sharma, sings the composition well, but the texture she gives to her voice, makes her sound drunk like always. (Like she sounded in ‘Lalla Lalla Lori’ from ‘Welcome 2 Karachi’) She sings that antara very cutely though. 😀 And the hookline, sounds very obnoxious in her voice. WHAT IS A SUKU SUKU?! HOW DO YOU DANCE LIKE A SUKU SUKU?? These are the questions I would like to ask Danish Sabri, who, when the time comes, very nicely gives only backing vocals to Qawwali-esque songs, but when it comes to writing, writes all this ‘Suku’ stuff. :/ At least write something we understand? How do you expect us to dance like a Suku Suku if we don’t know what a Suku Suku is? Is that some new species discovered by you, Mr. Danish Sabri? Please enlighten us then! This song is suitable only for Suku Sukus. Barring the splendid arrangements, and the composition for the antara, this song is a Suku Suku!

 

7. Ranga Re
Singer ~ Shreya Ghoshal, Music by ~ Vishal Mishra, Lyrics by ~ Pranav Vatsa

For the grand finale of the album, we have a very dulcet melody to mellow things down after all that Suku Suku. Vishal Mishra is back to give this grand finale to the album. The composition is a very peaceful and soulful one, with touches of classical oriental Asian music. The melody is something that seems to be the only one on the abum that has been planned out before and made in a good amount of time, as it has turned out rather perfect. The mukhda has the low notes appealoung to you and luring you into the song, while the hookline takes things to a more lively scale, and it ends up chilling you with its majestic qualities. The antaras are just as beautiful, and deserve to be paid more attention, if you ask me. On a whole, the composition is very scintillating. In some places, it has shades of ‘Sapna Jahan’ (Brothers) and in others it also coincidentally sounds like ‘Rangaa Re’ (Fitoor). The arrangements are sparkling. First, we have mellow piano, along with flute (Varad Kathaurka) and a wonderful entrancing rhythm in the background. After that, things elevate to an all-out rock song, with guitars, both electric and acoustic (both by Vaibhav Pani) leading the way. In the interludes, Vishal Mishra weaves magic with the instrumentation. The first interlude has a dulcet flute solo, ranging from low to high notes. In the second, things are exactly opposite, with a lively and charismatic rock guitar giving a very electrifying performance. Vocals by Shreya Ghoshal are beautiful, but definitely not her best. At places, I thought she was singing like Shilpa Rao too! 😀 There is a particular part in the song where I loved her variations, and that is the last time she sings the word ‘Banjaaaraaa’, at 4:55 minutes into the song. Pranav Vatsa’s lyrics are good, and inspirational. A grand finale indeed! The only matured composition on the album, and sung by the Nightingale. #5StarHotelSong!!


Tutak Tutak Tutiya gives whatever it has promised, with songs catering to both masses and classes (with Vishal Mishra catering to the classes and the rest to the masses :P) The seven songs compiled for the Hindi version of the film are a great mix of the North Indian and South Indian flavour. Though Vishal Mishra’s songs sound more like Bollywood songs, the fact that they were originally for the Southern versions of the film, makes you look at it from a whole new light. The two remakes have been done good, and revamped so that the new generation will like them, with the title track faring slightly better. The four tracks that are also in the Tamil & Telugu versions of the album, are good, with ‘Suku Suku’ being the only disappointing one, but that one too has amazing arrangements. At the end though, it is Vishal Mishra who creates the most magic in the album, with both his songs working perfectly, and I’m sure, instrumental for the film. A perfect comedy film album, with a good mix of South and North India!

 

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: Ranga Re > Chal Maar > Tutak Tutak Tutiya > Chalte Chalte > Rail Gaddi > Suku Suku > Love The Way You Dance

 

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