EK COMPOSER, DO COMPOSER, TEEN COMPOSER!! (LUCKNOW CENTRAL – Music Review)

Music Album Details
♪ Music by: Arjunna Harjaie, Rochak Kohli, Tanishk Bagchi, Sukhwinder Singh & Mychael Danna
♪ Lyrics by: Kumaar, Adheesh Verma & Sukhwinder Singh
♪ Music Label: T-Series
♪ Music Released On: 18th August 2017
♪ Movie Releases On: 15th September 2017

Lucknow Central Album Cover

 

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

To buy this album on iTunes CLICK HERE


Lucknow Central is a Bollywood drama film, starring Farhan Akhtar, Gippy Grewal, Inaamulhaq, Deepak Dobriyal , Diana Penty, Rajesh Sharma and Ronit Roy. The film has been directed by Ranjit Tiwari, and produced by Viacom18 Motion Pictures, Monisha Advani, Madhu C. Bhojwani and Nikkhil Advani. The plotline of this film closely resembles that of recently released ‘Qaidi Band’, and it is obviously a coincidence of the worst case. There is a difference though. The music here, is done by multiple composers. Leading the way is youngster Arjunna Harjaie, with three songs, and after he impressed so much in ‘Titoo MBA’, I cant wait to hear what he did here. Tanishk Bagchi has two songs too, and one is a remake, because he is the remake specialist according to T-Series. Guest composer Rochak Kohli presents one song in the album. All three of these composers have proved their mettle in the past, and it goes without saying that when it is an Advani production, the film is bound to have good if not great music. Also, I think Farhan Akhtar himself looks into the music of his films, and so it is bound to be great. Comparisons between this film and ‘Qaidi Band’ are sure to happen, but I noticed ‘Qaidi Band’ relied much more on the music, and this will rely much more on plot points. It reflects even in the number of songs — that film had nine, while this one has five and one version. So let’s see if this album supports the film!


1. Kaavaan Kaavaan

Singer ~ Divya Kumar, Chorus ~ Shivek, Anubhav, Aditya, Shubham, Umesh, Veljon, Vishal and Sarthak From Asm Academy, Original Composition by ~ Sukhwinder Singh & Mychael Danna, Music Recreated by ~ Arjunna Harjaie, Original Lyrics by ~ Sukhwinder Singh, New Lyrics by ~ Kumaar

When Bollywood starts remaking songs from Hollywood movies (doesn’t matter that the song is Hindi, though) you would think things are finally messed up for real. However, it is a pleasant surprise when the remake actually turns out to be good, and quite innovative. Arjuna Harjai (now spelling his name as Arjunna Harjaie) returns after a year and a half, after the song from ‘Do Lafzon Ki Kahani’ last year, and gets the opportunity to recreate this quite popular Punjabi number ‘Ajj Mera Jee Karda’ (Monsoon Wedding). The original had been composed jointly by Sukhwinder Singh and the film’s composer Mychael Danna. Now this remake is quite a good one. The composition has been kept intact for most of the song, with Arjunna having composed a new prelude to the song, with a haunting tune that immediately gets you interested. The original composition is good, and the “Kaavaan Kaavaan” portions, which I found irritating in the original, actually sound good here. The thing that makes this remake worthwhile though, is the amazing music. Arjunna equips a booming dhol rhythm (Vishal Dande), that has the required effect on the listener, making him or her groove to it happily. The shehnaai gives a wonderful traditional feel to the song. Strings and dafli have been used occasionally to infuse a strain of pathos through the song, and especially the antara (incorporated from the original itself) is beautiful, both in tune and its arrangements. The numerous tempo changes would normally be very confusing to a listener, but here, Arjunna manages them so seamlessly, it is unbelievable. As for the vocals, Divya Kumar steps into Sukhwinder Singh’s shoes without a problem, but because he does so, it evokes memories of Divya’s own ‘Jee Karda’ (Badlapur) in the first line of the song. 😄 And then a layman can easily say, “Hey! It’s a copy!” Because he wouldn’t know that ‘Ajj Mera Jee Karda’ came before ‘Jee Karda’. But I commend the makers for firmly sticking with Divya’s voice anyway, since he has sung amazingly — the Punjabi-ness comes across beautifully through his voice, and he especially does the emotional portions very nicely. Kumaar’s additional lyrics are good too, adding on Sukhwinder’s original. An apt remake, with an amazing rhythm, and changes that do not disrupt the original song’s integrity.

Rating: 4/5

 

2. Meer-E-Kaarwaan

Singers ~ Amit Mishra & Neeti Mohan, Music by ~ Rochak Kohli, Lyrics by ~ Adheesh Verma

Rochak Kohli enters the soundtrack next, with his sole song, which happens to be a wonderful Sufi duet, with, again, a strain of pathos running through it. The composer doesn’t usually get to do such songs, but he did impress us with the amazingly soothing ‘Rozana’ (Naam Shabana) earlier this year, so it is no surprise that he ended up composing this one so well. The composition is so fresh, and quite like the Pritam school of alternative rock, it mixes Sufi sounds with a templated rock rhythm. Without the Sufi, the rock would’ve sounded incomplete, and vice versa. So it is like a beautiful combination that couldn’t be avoided. The antara is beautiful, and I must mention Neeti here, because she has sung her antara splendidly, and it is a delight to hear her in that whispery voice of hers. Her co-singer, Amit Mishra, builds on where Pritam left him off in ‘Bulleya’ (Ae Dil Hai Mushkil), and here, he makes an effort to remain soft and not as energetic as he was there, and the result is excellent. The arrangements are rich as well, the dholaks providing the authentic Sufi touch, while the amazing guitar work (Keba Jeremiah) and strokes (Tapas Roy) are one of the highlights of the song. The choruses at the end and in the second interlude, have been composed beautifully. Also, there’s a pause after the second interlude, where one thinks the song ends, but it seems Rochak has more to give us! The lyrics by Adheesh Verma are great too! A song that wonderfully mixes elements of Pritam and Shankar-Ehsaan-Loy styles of composition, and a beautiful Sufi-Rock arrangement!

Rating: 4.5/5

 

3. Teen Kabootar

Singers ~ Mohit Chauhan & Divya Kumar, Additional Vocals ~ Aflatunes, Music by ~ Arjunna Harjaie, Lyrics by ~ Kumaar, Rap Written & Performed by ~ Raftaar

Arjunna returns to the album with his second song, this time, a fun a cappella number full of onomatopoeia. The beginning itself gets your interest peaked and you listen closely right from the beginning, where the singers do an innovative sargam, that sounds excellent. The composition by Arjunna, yet again, resembles the style of a cappella that Shankar-Ehsaan-Loy are well-known for, and they have succeeded with it in songs like ‘Maston Ka Jhund’ (Bhaag Milkha Bhaag). The composition doesn’t appeal to you at once though. It is the various vocal rhythms and sound effects that help you to find it appealing. The vocalists do an amazing job. Mohit’s metallic voice is the perfect choice for the song, and when he goes seamlessly from low to high notes, it sounds wonderful! Divya usually takes the high octaves and does so here as well. These lead singers definitely do well, but the backing vocalists also provide a very fun element to the song! The interlude where they sing “Chaaku Chaaku Leke Jaa..” is so fun to listen to! Even Raftaar’s rap adds an element of fun to the song. About the arrangements, whatever I say will be less. Amazing percussions (Taufiq Qureshi’s Mumbai Stamp) and guitar work makes the song appealing to listen to, and as mentioned before, Arjunna’s amazing use of the a cappella style in a desi way makes this song sound very unconventional. Kumaar’s situational lyrics too are clever and serve the purpose well. This song might be Arjunna’s ticket to many more Bollywood films which need quirky music!!

Rating: 4/5

 

4. Rangdaari

Singer ~ Arijit Singh, Backing Vocals by ~ Arjunna Harjaie, Music by ~ Arjunna Harjaie, Lyrics by ~ Kumaar

Arijit Singh has started to get songs in every film yet again; there was a kind of low phase intermittently. The only difference is that before, it used to appear right at the beginning of soundtracks. Now it has changed. And in this album too, we see an Arijit Singh song popping up as the fourth song on the soundtrack. The composition is amazingly beautiful. Arjunna Harjaie composes a wonderful Sufi tune, which is familiar to the ears, but soothing nonetheless. The hookline is something you’ve heard time and again, but still works its magic to soothe you down. Especially that line “tu laagey mujhe dushman si..” has been composed very beautifully. The antaras are beautiful, and the whole structure of the song reminds me of the recently released ‘Bairaagi’ (Bareilly Ki Barfi) which sadly, didn’t work for me as well as this. Arjunna decorates his magical composition with stellar musical instruments. First of all, he gives the genuine Sufi touch with the dholaks (Aanchal Goud), which sound wonderful and very earthy. But it is the interlude, in which he introduces a wonderful flute piece (Shubham Shirule), accompanied by a MIND-BLOWING sargam by Arijit (or is it Arjunna?). And it is then that the song gives off beautiful Rahmanish vibes, but also gets its own place in your heart. The Duff rhythms do sound too heard-before, but they’re ignorable due to the wonderful things Arjunna has added besides that. The ethnic strings sound amazing here, and as always, Tapas Roy has done magic with them. The vocals by Arijit are top-notch, but it is his everyday composition and he aces it as was expected. The lyrics are very impressive here as well. A beautiful Sufi song, with a familiar sound, but still impressed me because of its innocence!

Rating: 4.5/5

 

5. Kaavaan Kaavaan (Remix)

Singers ~ Sukhwinder Singh & Renesa, Original Music by ~ Sukhwinder Singh & Mychael Danna, Music Recreated by ~ Tanishk Bagchi, Original Lyrics by ~ Sukhwinder Singh, New Lyrics by ~ Kumaar

So ‘Kaavaan Kaavaan’, the opening track of the album, gets a ‘Remix’, or so T-Series calls it. But this isn’t the remix of Arjunna Harjaie’s song. It is the remix of the original song from ‘Monsoon Wedding’, done by Tanishk Bagchi, the third composer of the album. Also, I wouldn’t call it a remix at all, since it might just be another remake of the song by Tanishk, but Arjunna’s must have gotten chosen as the main version. This one is merely Tanishk’s original take on this song. That having been said, I can say Tanishk has worked very hard on this one. He tries to add digital beats wherever possible to make the song sound fresh, but some places it just doesn’t work, especially after the Indian arrangements that led the Arjunna version. Not that Tanishk hasn’t added dhols and all, but the emotion of the song doesn’t come across as well in this one. For a dance track though, this is better. Tanishk also ropes in Sukhwinder himself to re-dub the song, and that’s definitely a plus point. Renesa does the female portions of the song, and she sounds awesome. What bugged me was the hookline, where I found the backing vocalists too loud. A more zesty remake, but not more effective.

Rating: 3.5/5

 

6. Baaki Rab Pe Chhod De

Singers ~ Brijesh Shandilya, Vayu, Tanishk Bagchi & Arman Hasan, Music by ~ Tanishk Bagchi, Lyrics by ~ Kumaar

Tanishk’s second song serves as the caboose for this album, closing the album on a very lively and bright note. I say this because right from the beginning of the song, you know it is going to lift your spirits. It starts quite similarly to ‘Raula’ (Jab Harry Met Sejal), with lively plucked strings. The composition is fun to listen to, too, but gets slightly disjointed in the latter parts. It starts off brilliantly though, and the hookline is delightful. The arrangements here too, are mainly digital beats, but this time they succeed in remaking the song livelier. Tanishk’s trademark liveliness comes across well through this song, and it is a thing to wonder, why he spends time in doing some remakes. The singers do justice to the song, the lead singer, Brijesh doing an exceptionally good job. Little Arman Hasan, who we heard in ‘Kankad’ (Shubh Mangal Saavdhan), singing alongside his father Raja Hasan, does well too. Vayu has probably done some backing vocals, so I couldn’t really place him in the song! Kumaar’s lyrics, are amazing. He writes some amazingly positive lines in this one too, taking the support of various scientific inventors like Thomas Edison and Graham Bell. Lively song, but could’ve been slightly better!

Rating: 4/5


Lucknow Central is one of those rare multicomposer albums that is a delight to listen to. Well, I guess when each composer knows what he is best at, and delivers the best of whatever he is best at, with the proper supervision by the director and producer, the multicomposer album can also turn out well. Ek Composer, Do Composer, Teen Composer, But No Sign That This Album is Multicomposer!!

 

Total Points Scored by This Album: 4 + 4.5 + 4 + 4.5 + 3.5 + 4 = 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: Rangdaari = Meer-E-Kaarwaan > Kaavaan Kaavaan = Baaki Rab Pe Chhod De = Teen Kabootar > Kaavaan Kaavaan (Remix)

 

Remake Counter:
No. Of Remakes: 31 (from previous albums) + 02 {counting both different takes on ‘Ajj Mera Jee Karda’} = 33

 

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

Advertisements

TWO GENTLEMEN WHO HARDLY EVER DISAPPOINT!! (A GENTLEMAN – Music Review)

Music Album Details
♪ Music by: Sachin-Jigar
♪ Lyrics by: Vayu, Priya Saraiya & Raftaar
♪ Music Label: T-Series
♪ Music Released On: 17th August 2017
♪ Movie Releases On: 25th August 2017

A Gentleman Album Cover

 

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

To buy this album on iTunes CLICK HERE


A Gentleman is an upcoming Bollywood action comedy, starring Sidharth Malhotra, Jacqueline Fernandez, Suniel Shetty and Darshan Kumar in lead roles. The film is directed by Raj Nidimoru & Krishna DK and produced by Fox Star Studios. The film features Sidharth Malhotra in a double role, one being Sundar Susheel, and the other ‘Risky’. Hence the tagline of the film, ‘Sundar Susheel Risky’. The music of the film is given by the go-to music composers for Raj & DK, Sachin-Jigar. Going by the music of ‘Shor In The City’, ‘Go Goa Gone’, and ‘Happy Ending’, I’m sure this one’s also going to be a treat for people who love quirky music, and the genre of action comedy would give amazing song situations as well! Sachin-Jigar’s discography this year boasts of as many as seven film albums (with ‘Hindi Medium’ being a multicomposer one), and this one is the third to release. ‘Meri Pyaari Bindu’ remained my favourite album of the year until Pritam’s gigantic ‘Jab Harry Met Sejal’ released. I can just hope that this one follows suit and becomes another favourite of mine this year!


1. Disco Disco

Singers ~ Benny Dayal & Shirley Setia, Lyrics by ~ Vayu

“Aaja ve hila denge hum aaj angana,
tere naal karke beat drop nachna,
Dil disco disco bole saari raat SAJNA!!” 

– Vayu

Sachin-Jigar’s third album of the year starts off with a very filmy disco song. Is filmy bad or good? Let’s find out. The composition is very catchy, especially the cross line that goes “Aaja Ve Hila Denge Hum Aaj Anganaa“. That part sounds so much like a retro number. The hookline is a typical Bollywood fare, but still manages to hook the listeners. I, for one, found this song more instantly appealing than any of the others on the album (because they took time to grow). The mukhda and antara follow suit, and don’t let the interest of the listener waiver. The major reason you are hooked to the song till the end, must be the short duration. Sachin-Jigar keep the song at a crisp 2:47, neither too long nor too short. The arrangements are great: the disco-esque feel comes out through the nice bass,drums and guitars, and a totally unexpected tumbi (Tapas Roy). The tumbi is what actually makes the song sound very experimental. It gets a nice solo portion in the interlude and towards the end. The vocals are entertaining; Can Benny Dayal ever disappoint in a club number? I love how he pronounces “sajna” as “sajjena“! Sachin-Jigar help Shirley Setia get her first Bollywood song, and despite everything against her on social media, she really handles the song well, and Sachin-Jigar with their genius thoughts, know how to use her voice to the best effect — in a club song! However, she does mumble a bit in the antara, but I guess the song called for that. Vayu’s lyrics are the usual Hinglish lyrics of Bollywood, but work quite well in the filmy song. A totally filmy disco song!

Rating: 4/5

 

2. Baat Ban Jaaye

Singers ~ Siddharth Basrur & Priya Saraiya, Lyrics by ~ Priya Saraiya

“Hum dono aur yeh saari raat, sharaabi ho jaaye toh,
Band ho kamre mein hum do, aur chaabi kahin kho jaaye toh!
Toh baat ban jaaye!!” 

– Priya Saraiya

Here onwards in the album, things get a bit more Sachin-Jigar-ish, in that you take more time to get accustomed to the song and like it. The time may be two listens, three listens or even more, but the song is actually are wonderful once you listen to them, with close attention to the music. This one here, is a beach party number, and again, it has a bit of a retro touch. It starts off with a very contemporary vibe, the composition flowing like a romantic song. However, it takes an unexpected turn in the cross line (“hum dono aur yeh saari raat“) where, if you pay close attention to the music, a retro vibe kicks in. The composition for the hookline is a trademark Sachin-Jigar one, and makes you groove instantly, especially the hoots after the words “baat ban jaaye” have been sung. The antara is where the song loses pace and we lose interest; that composition is quite heard-before. Luckily enough, this song is short too, which makes the cross line come back soon enough. The arrangements are fantastic here, and suit as a beach party number. Acoustic guitars start the song off, giving the freshness to the song, as a beach number should be. The retro vibe I talked about consists of amazing guitars played in a retro manner. The digital beats are more heavy in this song, and quirky sounds decorate the song. The vocals are good, Siddharth Basrur leading the way in getting the listeners hooked. However, Priya Saraiya seems a bit too much autotuned here, and it loses the charm of her actual voice. Her lyrics too, are an ordinary fare, but suit the situation well, especially the hookline. A party song that seems ordinary, but will grow!

Rating: 4/5

 

3. Chandralekha

Singers ~ Vishal Dadlani & Jonita Gandhi, Lyrics by ~ Vayu

“Maari tuney aisi entry, hil gayi poori country,
Mere dil pe dent permanent pad gayi, nazrein jo mili,
Hadd se bhi zyaada cute tu, mere karmon ka fruit tu,
Koi hai gagan mein toh heaven jahaan se aakar tu giri!”

– Vayu

The next song throws us back into the years, with a characteristic rock and roll/hard rock vibe to it. It slightly resembles what Sachin-Jigar had done in ‘Yeh Jawaani Teri’ (Meri Pyaari Bindu), but in a more Westernized manner. The composition again, takes time to grow, and till then all you can really focus on is the music. The guitars and drums are groovy as expected in a rock and roll song, but of course, Sachin-Jigar add a surprise element every time, and here, it is that sensuous saxophone, which sounds amazing every time it plays. The composition is good too, and like I said, it just takes time for you to catch on. The hookline is the mukhda, making it very short yet again. Two antaras follow, and also an interlude by Jonita. I loved the effect Sachin-Jigar have given to the last line of each antara — “Mud Mud Ke Na Dekha“, and “mujhe ek bhi paise ka”. There’s another amazing saxophone solo in the interlude before Jonita’s portions, and that’s even more impressive. The characteristic piano played in that retro manner, is mind blowing too. The vocals are amazing. I mean, how can Vishal Dadlani fail to crank up the energy? His husky voice is all you need to make this song entertaining. Jonita gets a very small part to sing, which is more like an interlude, but she nails it, in the traditional ‘Bollywood girl’ ‘I’m-Not-Interested’ manner. Vayu’s lyrics are fun as well, and kudos to him for using a name like Chandralekha for the girl, and also to Sachin-Jigar for fitting it into the tune so perfectly! A retro rock song that is really stress-busting!

Rating: 4/5

 

4. Laagi Na Choote

Singers ~ Arijit Singh & Shreya Ghoshal, Lyrics by ~ Priya Saraiya

“Iss tarah chaahun tujhe,
Chaahun bhi toh tujhse main,
Ik pal ko bhi door na reh sakun..
Chaahe judaa,tere mere, raaste hain magar,
Aa main manzilein jod doon!
Rishta sa hai yeh, judne lagaa jo,
Chahoon kabhi na yeh toote!
Laagi na choote… Laagi na choote!”

– Priya Saraiya

After three upbeat numbers, and after much thought about whether the album does indeed have a soft and mellow number or not, here pops up a romantic song. Actually, this song was the last to release, so the makers successfully kept the romantic song a secret till the very end. The song falls into the category of ‘Slow Poison’ romantic songs — as you can tell, the song does take time to grow again! However, this time, the amount of time it takes is relatively less, thanks to the amazing composition! It has shades of Sachin-Jigar’s own ‘Thoda Thoda’ (Jayantabhai Ki Luv Story), but is way more intense. The mukhda is very trademark Sachin-Jigar, and the way the female portions are composed in the lower octave, is also, very characteristic of Sachin-Jigar’s previous works. It increases the magic manifold. The hook is something you just can’t forget soon! It has been made to stun us, and stun it does! The flow of the song is just so powerful, you are attentive till the end. Again, a short duration helps that to happen; your attention doesn’t wander somewhere in the middle. The arrangements are minimal and digital beats make up most of the background of the song. But the piano at the beginning and throughout is just so captivating, that you can’t dislike it. The guitar in the interlude also sounds unconventional. As for the vocals, Arijit and Shreya always make a good pair, and this time, Arijit takes the high portions while Shreya quite expertly handles the low portions, a role we see her taking up quite rarely. Well, Sachin-Jigar even made Rekha Bhardwaj (who is know for her beautifully high-pitched voice) to take up an amazing low-pitched voice in ‘Mileya Mileya’ (Happy Ending) and ‘Judaai’ (Badlapur), so I guess it’s just an innate trick that they use! Priya Saraiya’s lyrics are good too, and she keeps them simple and sweet, avoiding heavy philosophical ideas. A beautiful romantic song, with nothing new, but really has you hooked!

Rating: 5/5

 

5. Bandook Meri Laila

Singers ~ Ash King & Jigar Saraiya, Rap Performed by ~ Sidharth Malhotra & Raftaar, Lyrics by ~ Vayu, Rap Written by ~ Raftaar

“Aaye haaye haaye, yeh goli daayein baayein jaaye,
Har disha mein yeh visphot kardi ae,
Jaaye jaaye jaaye, jiya na jaaye jaaye jaaye,
Meri jaan pe yun chot kardi ae,
Seene mein tuney, bullet utaari toh,
Udey jugnu haan, udey jugnu,
Le gayi dil ko, kudi tu shikari,
Bana Majnu main, bana Majnu!
Bandook meri Laila!”

– Vayu

Now this was the song everybody was waiting for ever since the motion poster of the film had released. It is described by the makers as an action song, and an action song it is! The song is probably some of the most addictive stuff to have released in the recent years. The hook has had everyone grooving to it for a long time. I don’t know why, maybe because of high expectations, the song seemed very flat the first time I heard it. However, with every subsequent listen, it grew more and more. The composition is addictive; the mukhda is awesome, and the hookline is world-famous now. The rest of the song is mostly rap. Now, about the rap. The rap by Sidharth Malhotra seems very odd, and it seems like a publicity stunt. Earlier this year, Sachin-Jigar made Parineeti sing a ghazal ‘Maana Ke Hum Yaar Nahin’ (Meri Pyaari Bindu), and she aced it. However, here Sidharth seems a bit dull, and when Raftaar performs his rap, you can tell the huge difference between both of them. Of course, Raftaar is a professional rapper and that’s the reason, and I feel he should’ve gotten to sing the entire rap. The ‘Ban meri Laila‘ hooks are very addictive, and the way they sing ‘Laila!!‘ after that line is amazing! The arrangements are international sounding, and very impressive. It falls into the Tropical house genre which Pritam introduced earlier this year with the ‘Raabta’ title track. The EDM is highly impressive. It starts like a Chainsmokers track, and gets better than any Chainsmokers track as it progresses! The action theme is brought out amazingly through the arrangements. Ash King as the leading vocalist, does a fabulous job; it’s been a long time since we’ve heard him in such a groovy song! And Jigar Saraiya sounds great on the hookline. Vayu’s lyrics are fun and interesting as well. The song has a proper international touch to it, but it could’ve been better without Sidharth’s rap! 

Rating: 4/5


A Gentleman is yet another Sachin-Jigar album that doesn’t disappoint. It’s so tough to have an album in which all the songs have repeat value, and especially for an action film. Thankfully enough, Sachin-Jigar and Raj & DK always make a good team, and all of their albums together have been quirky and cool, not to mention catchy. And such albums are the ones that become chartbusters right away. After ‘Meri Pyaari Bindu’, Sachin-Jigar provide another wholesome album with ‘A Gentleman’! Sachin-Jigar are two gentlemen who hardly ever disappoint!!

 

Total Points Scored by This Album: 4 + 4 + 4 + 5 + 4 = 21

Album Percentage: 84%

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: Just listen to the album! 🙂

 

 

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

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

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

Raabta Album Cover

 

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

To buy this album on iTunes CLICK HERE


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


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

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

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

– Amitabh Bhattacharya

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

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

 

2. Raabta (Title Track)

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

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

– Irshad Kamil

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

Rating: 4/5

 

3. Sadda Move

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

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

– Irshad Kamil & Amitabh Bhattacharya

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

Rating: 3/5

 

4. Lambiyaan Si Judaiyaan

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

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

– Amitabh Bhattacharya

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

Rating: 2/5

 

5. Main Tera Boyfriend

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

Na Na Na Na!

– J-Star & Jitendra Raghuvanshi

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

Rating: 3.5/5

 

6. Darasal

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

“Inkaar mein jo chhupa hai woh ikraar ho!”

– Irshad Kamil

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

Rating: 4.5/5


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

 

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

Album Percentage: 71.43%

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

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

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

 

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

 

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

A BEHEN WHO CAN’T DANCE, BUT CAN ONLY ROMANCE! (BEHEN HOGI TERI – Music Review)

Music Album Details
♪ Music by: Kaushik-Akash-Guddu for JAM8, Rishi Rich, Jaidev Kumar, Amjad-Nadeem, Yash Narvekar & R.D. Burman
♪ Lyrics by: Bipin Das, Yash Narvekar, Amit Dhanani, Late Anand Bakshi, Sonu Saggu, Rohit Sharma, Parry G & Raftaar
♪ Music Label: Zee Music Company
♪ Music Released On: 23rd May 2017
♪ Movie Releases On: 9th June 2017

Behen Hogi Teri Album Cover

 

 

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

To buy this album on iTunes CLICK HERE


Behen Hogi Teri is an upcoming Bollywood romantic comedy starring Shruti Hassan, Rajkummar Rao, Gautam Gulati and Gulshan Grover in lead roles. The film is directed by Ajay K. Pannalal and produced by Tony D’Souza, Amul Vikas Mohan and Nitin Upadhyaya. The film’s slogan is “All Indians are NOT Brothers and Sisters!” Well, going by the trailer and this slogan thingy, it seems like a quirky and light hearted romantic comedy, but you know Bollywood, they can add drama into anything and everything. The music of the film, as expected is by multiple composers, including Pritam’s A&R venture JAM8 (Kaushik-Akash-Guddu this time), Rishi Rich, Amjad-Nadeem (after a long time, huh!), Jaidev Kumar and Yash Narvekar. Out of these composers, none, I repeat none, have given anything outstanding in the past, so one can just hope that some miracle occurs and they give us great music for this film. Expectations are moderate, but hoping for the best, let’s explore the music of ‘Behen Hogi Teri’.


1. Jai Maa

Singers ~ Sahil Solanki, Jyotica Tangri & Parry G, Original Composition by ~ Prem Hardeep & Badshah, Music Recreated by ~ Jaidev Kumar, Lyrics by ~ Sonu Saggu, Rap Lyrics by ~ Parry G

Wow. So now the music industry has started remaking remakes. ‘Kala Chashma’ (Baar Baar Dekho), which was a quite banal remake by Badshah, of the Punjabi pop number ‘Kala Chashma’ by Prem Hardeep, itself, now gets remade into a mata-ki-chowki song. Jaidev Kumar, who had earlier remade ‘Subha Hone Na De’ (Desi Boyz) into a similar satirical devotional song, ‘O Meri Mata’ in ‘Bajatey Raho’, takes the same composition that Badshah had made. Nothing changed in the tune, and that’s why it would make the public even crazier. The arrangements seem more toned down and not as harsh and shrill as they were in the original (I mean the original remake). I guess they added the dhols here specially for the jagraata setting. And they’ve, quite to my immense pleasure, gotten rid of the EDM at the end, and the shouting ladies and breaking glasses from the ‘Baar Baar Dekho’ song. Vocals here sound good and aptly funny as per the Goddess prayer setting. Sahil Solanki sounds much better than Amar Arshi, the original singer of both the original and Badshah’s remake. A rapper called Parry G {I don’t know why these people like to write a single letter after a weird nickname; we are going to meet another one later in the album!} reprises Badshah’s “sadkon pe chale jab ladkon ke dilon mein tu aag laga de baby firrrreeeeee” with a rap that sounds much more pleasant. Jyotica Tangri is a nice replacement for Neha Kakkar, but with less of an edge in her voice. The replacement lyrics by Sonu Saggu are quite funny too, but not something that will make you “ROFL” or “LOL” either. Interesting how the remake of a remake turns out to be better than the original remake. Let’s start remaking remakes now. P.S. I hope a certain music company doesn’t read that or else we will be over-flooded with ‘Baby Doll’ remakes. (Then again, aren’t we already over flooded by them!)

Rating: 3/5

 

2. Tera Hoke Rahoon

Singer ~ Arijit Singh, Music by ~ Kaushik-Akash-Guddu (KAG for JAM8), Lyrics by ~ Bipin Das

Next up, we get a dulcet melody from Pritam’s A&R company, JAM8. This time, the composers of the two songs in ‘1920 London’, Kaushik-Akash, are joined by someone calling himself Guddu, thus making it a trio. And this way, they produce a song that I will remember as one of the best (and the best till now) from any composer for JAM8. The composition, for once, doesn’t sound like a Pritam composition; for once the composers working behind the JAM8 label do not try to emulate Pritam’s late 2000s style of composition. In fact, the composition kind of reminded me of Bobby-Imran’s songs in ‘Badmaashiyan’, or some of Jeet Gannguli’s works. The free flow of the hookline makes it instantly likeable, and the mukhda and antara has a calm, soothing but haunting touch to it, something I’m always ready for if it isn’t too maudlin. The arrangements are fabulous; they just add to the haunting characteristic of the song. The guitar has been played in such a subtle manner, in the beginning, that it is impossible to not be sucked in right away. And when the orchestra sets in, the song just gets many times better. The electronic tabla adds to the serenity, while that wonderful flute interlude is something you shouldn’t miss. In the antara guitars have been played in a wonderful play-stop-play-stop manner that is so comforting. And the tabla doesn’t stop either! Arijit, the first choice for any composer associated with Pritam, and Pritam himself, renders the mellow composition with such ease, in the voice of his that I love, as opposed to that droning voice he uses in sleepy songs. The way he sings the “uff tak na yaara karoon”, is so beautiful! Bipin Das (newcomer?) writes lyrics that are instantly lovable. The first time JAM8 do something that doesn’t resemble their mentor’s work heavily, and it turns out to be a success. 

Rating: 4.5/5

 

3. Jaanu

Singers ~ Juggy D, Shivi & Raftaar, Original Composition by ~ R.D. Burman, Music Recreated by ~ Rishi Rich, Lyrics by ~ Late Anand Bakshi, Rap Written by ~ Raftaar

So after the remake of a remake, we get a remake of another classic, in fact, one of my favourite songs by R.D. Burman. The likeable, sweet and fun-to-listen-to classic gets a makeover and now it looks horrendous. Rishi Rich seems to have struck a big deal in Bollywood after his long hiatus, because after he returned in ‘Half Girlfriend’, with a mediocre title song, he gets to do another (though horrible) song here. The man makes sure that somebody says “This is a Rishi Rich refix” before the song starts, and that is so annoying! We have the credits in front of us and we can read your name there. I know here are some music listeners out there who don’t care about who made a song, and they will continue not caring, so even if you say your name there, they wouldn’t care. And then comes the cliché of saying the names of the singer (Juggy D) and the rapper (Raftaar). And what I don’t understand is, why not say the name of the female artiste! Hasn’t she contributed anything to the song? They did the same thing in ‘High Heels’ from ‘Ki & Ka’ and they repeat it here. If anything, Shivi is shining in this song amongst the hackneyed renditions of the male artist and Raftaar. Oh by the way, Juggy D. 😄 Another artist naming himself like that. Rishi Rich has kept the composition intact, fortunately. But what he does instead, is even more unfortunate. He breaks up the hookline, making it sound like a cassette that is stuck at one point. And then it stops to make way for a weirdly-placed techno music piece. And then it proceeds and ends. How boring. There are so many raps in the song, it is hard to concentrate on the actual song. And Raftaar raps so oddly. Just to keep the “Behen” theme intact, he adds so many lines about sisters, that were so unnecessary. And now for thr vocals. Juggy D can’t sing at all. The proof? If someone isn’t able to sing the nuance in the word “Hindustan” in this song, he or she is definitely not a good singer. Shivi barely manages to sing that part, but does much better than her co-singers, making her stand out even with a mediocre performance. Of course, they don’t match the singing calibre of the legendary combination of Kishore Kumar, Mohammed Rafi, Asha Bhosle & Usha Mangeshkar from the original song. The arrangements are irritating club sounds, EDM thrown here and there. But I enjoyed the parts with the Spanish guitars, and the strings incorporated from the old song. A horrible remake of a song that deserved a much better remake, or no remake!

Rating: 1/5

 

4. Teri Yaadon Mein / Teri Yaadon Mein (Reprise Version)

Singers ~ Yasser Desai, Pawni Pandey & Yash Narvekar / Yash Narvekar & Sukriti Kakar, Music Composed by ~ Yash Narvekar, Music Produced by ~ Rishi Rich, Lyrics by ~ Yash Narvekar & Amit Dhanani

Rishi Rich comes back for the next song too, but this time, things are different. This time, the song is a romantic song. And this time, Rishi Rich has only produced the song. Rishi Rich gives a composing break to someone I’ve seen many times in the singer category in various Amaal Mallik, Meet Bros. and even Rishi Rich songs, Yash Narvekar. He gets to compose the tune. And I must say, it is quite a commendable tune! Yes,  does follow the usual Bollywood romance template, with its tune, but it manages to engage the listeners. However, the listener does lose interest in some places. The hookline is very typical, but still, it managed to garner my interest. The antara too, follows the same pattern. What really engages the listeners, though, is Rishi Rich’s beats and arrangements. In the first version, Rishi employs a nice and groovy beat, a hip-hop beat in a romantic song, which at first elicits a weird reaction from the listener, but it sets in perfectly after a couple of listens. Especially the tablas which Rishi has added occasionally, are amazing. The second version, the Reprise, takes a more templated route, with guitars and piano taking the lead, making for a more calm listen. A harmonium too pops up later on, quite oddly. The piano interlude in that version is a must-hear. The vocals are good in both versions. While Yasser, sounding as similar to Arijit as ever, and Pawni Pandey stir up a nice chemistry in the first version, the essence of the song only reaches us in the Reprise because the voices of Yash & Sukriti haven’t been touched. Programming ruins the feel of the voices in the first version. However, I loved Yash’s backing vocals in the first song, that sound like tabla bols. Yash & Amit Dhanani together write a song that is full of typical lines and phrases, like the song title itself. Experimental, but works to some extent. The Reprise version fares better!

Rating: 3.5/5 for Original Version, 4/5 for Reprise Version

 

5. Tenu Na Bol Pawaan / Tenu Na Bol Pawaan (Reprise Version)

Singers ~ Yasser Desai & Jyotica Tangri / Asees Kaur, Music by ~ Amjad-Nadeem, Lyrics by ~ Rohit Sharma

Amjad-Nadeem, back in the composing scene after quite some time, have been roped in for the final song on the album. Amjad-Nadeem are usually known to meddle in typical romantic songs or horrendous massy item songs. This time around too, they have provided a typical romantic song, but that typicality is very enjoyable. The composition is sugary-sweet, something that is very rare from Amjad-Nadeem, who usually produce melodramatic sounding songs. The hookline is so heard-before, so clichéd, yet it manages to click with the listener. There is a high-pitched line that just makes you love the song even more. The antaraa are a bit less engaging, but still manage to keep the flow of the song intact. There are two versions to this song as well; one being a male version (with female humming in the background, hence the credit for Jyotica) and the other being a female version, which is kind of unplugged. The male version has heavenly instrumentation. It starts off with nice chimey sounds, followed by the sweetest flute portion I’ve heard in quite a while. The melody is structured on a simple guitar riff that, though it is very simple and typical, engages the listener. Strings join in later, bringing the third dimension to the song, and how! The second version is, as I said before, unplugged, and has a nice acoustic guitar riff playing in the background, and nothing else. The minimalistic feel of it, makes it even more appealing. Vocals are perfect in both versions. This is no doubt, Yasser’s best performance ever, and he sounds so different than usual here! Jyotica does the humming in Yasser’s version. Asees Kaur, on the other hand, renders her unplugged version with such a beautiful aura around her, that it is mesmerizing. Though her track is longer by one minute than Yasser’s, it makes for a good calm listen. The lyrics by Rohit Sharma (I don’t know whether he’s the Sharma who composed the songs of ‘Anaarkali of Aaraah’ or any other one. He’s definitely not the cricketer, right?) are sweet too. A song full of sweet things. Sweetness lies in simplicity after all.

Rating: 4.5/5 for the Original Version, 4.5/5 for the Reprise Version


Behen Hogi Teri is an unexpectedly cool multicomposer album! Going by the composers’ names, I was least expecting such a good album. However, it seems like all the composers have pitched in to provide their best. For a romantic comedy, a good album is a must, and fortunately, this album delivers as expected, if not less than expected. Yes, one song is very bad, but the others make up for it. And since the finance theme predominates the album, maybe that’s why they managed to wrench out such good songs from the music directors. An album predominantly made of romantic songs, but still works fine!

 

Total Points Scored by This Album: 3 + 4.5 + 1 + 3.5 + 4 + 4.5 + 4.5 = 25

Album Percentage: 71.43%

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

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

Recommended Listening Order: Tera Hoke Rahoon = Tenu Na Bol Pawaan = Tenu Na Bol Pawaan (Reprise) > Teri Yaadon Mein (Reprise) > Teri Yaadon Mein > Jai Maa > Jaanu

 

Remake Counter
No. of Remakes: 12 (from previous albums) + 02 = 14

 

Which is your favourite song from Behen Hogi Teri? Please vote for it below! Thanks!

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

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

Commando 2 Album Cover

Commando 2 Album Cover

 

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

To but this album on iTunes CLICK HERE


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


1. Hare Krishna Hare Ram

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

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

– Sameer Anjaan

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

Rating: 2.5/5

 

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

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

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

– Aatish Kapadia

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

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

 

3. Seedha Saadha / Seedha Saadha (Reprise Version)

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

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

– Kumaar

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

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

 

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

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

Commando, commando, commando, commando!” :p

– Kumaar

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

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


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

 

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

Album Percentage: 50% (How convenient!) 

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

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

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

 

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

 

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

JOLLY GOOD ALBUM!! (JOLLY LL.B 2 – Music Review)

Music Album Details
♪ Music by: Manj Musik, Nilesh Patel, Chirantan Bhatt, Meet Bros. & Vishal Khurana
♪ Lyrics by: Manj Musik, Raftaar, Junaid Wasi, Shabbir Ahmed & Earl Edgar
♪ Music Label: T-Series
♪ Music Released On: 13th January 2017
♪ Movie Releases On: 10th February 2017

Jolly LL.B 2 Album Cover

Jolly LL.B 2 Album Cover

 

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

To buy this album on iTunes CLICK HERE


Jolly LL.B 2 is an upcoming comedy courtroom drama starring Akshay Kumar, Annu Kapoor, Saurabh Shukla and Huma Qureshi in prominent roles. The film has been directed by Subhash Kapoor, who earlier directed ‘Phas Gaye Re Obama’, ‘Jolly LLB’ and ‘Guddu Rangeela’, and produced by Fox Star Studios. The film revolves around the story of a small-time lawyer Jagdishwar Mishra a.k.a. Jolly, who earns a living by fighting small cases. In his desires to become a full-fledged lawyer though, Jolly ends up committing a mistake that could just as well destroy his career as a lawyer. The film deals with how Jolly gets himself out of this predicament. The film is the sequel to 2013 sleeper hit ‘Jolly LLB’. While the earlier film had a music album which can hardly be counted as one of Krsna’s best works, or even good works, as it was as middling a fare as your everyday T-Series multicomposer album, the sequel has an album which is just that — your everyday T-Series multicomposer album. And as it almost always is, there is one song composed by one team of composers. Manj Musik, who has the full support of Akshay Kumar now, what with him composing for Akshay in ‘Gabbar is Back’ and ‘Singh is Bliing’ in 2015, gets the first song. Helping him is Nilesh Patel, who has been credited as “Co-Composer”! Expectations are not too high but not zero either, as he has given good songs in the past, but just messed up a couple of times, thus earning my anger. Next up is Chirrantan Bhatt, another composer whose Bollywood career is strongly backed by Akshay. He gave hits for Akshay in both ‘Boss’ (2013) and in ‘Gabbar is Back’ (2015). This time too, he is back to perhaps give yet another path breaking romantic song. Meet Bros. feature as the third composers on board, and their association with Akshay has started long ago in 2012 when they scored the beautiful ‘Mere Nishaan’ in ‘OMG – Oh My God!’ After that, they went on to score for Akshay in so many films like ‘Boss’ (2013), ‘Baby’ (2015) and ‘Singh is Bliing’ (2015). But that was when Anjjan too was a part of the team. After the split with Anjjan, this is Meet Bros’ first song for Akshay; hopefully, it is just as good. And lastly is one-album old, Vishal Khurana who debuted last February with the stellar album to ‘Neerja’. Thankful that he has got another project finally, (after like ages!) I hope he takes good advantage of it and gives a great song. So let’s see what this multicomposer assortment has in store for us! Because Akshay Kumar and multicomposer have this very nice relationship which more often than always, impresses me! (Take any of the albums mentioned above for example!)


1. Go Pagal

Singers ~ Raftaar & Nindy Kaur, Additional Vocals ~ Girish Nakod & Manj Musik, Music by ~ Manj Musik, Co-composed by ~ Nilesh Patel, Lyrics by ~ Raftaar & Manj Musik

(I didn’t find any lyrics worth mentioning here!)

The album starts with the song I was least excited to hear — a Holi song titled ‘Go Pagal’. Okay, so Manj Musik has given some pretty good songs in the past, but only sticking to one kind of songs — fast, update rap songs (with the exception of the awesome ‘Aaja Mahi’ from ‘Singh Is Bliing’) As such, all his songs sound almost the same and you can really predict what’s going to come next in each song. This song too falls into the same category, but it goes a bit too overboard with the craziness. The composition is a typical Manj composition, though there are some nice folksy lines in the middle, (‘Bheegi bheegi lage lovely lovely…‘) which I suspect are composed by the co-composer Nilesh Patel. Anyway, the composition is quite all round the place and it is kind of hard to grasp on to. And that hookline is just yuck! I was fine till it played. It was such an abrupt end to the flow of the song, that it spoiled all the fun, or whatever fun was there. Also, it is quite similar in sructure to ‘Let’s Nacho’ (Kapoor & Sons) where they ‘say’ the hookline, not sing it, and then some weird tune plays in some very annoyingly high digitized pitch. And what’s worse, the person who says ‘Go Pagal’ here (That’d be Raftaar, I guess) sounds like he’s burping it. It sounds eww. In some places, the composition resembles ‘Tamanche Pe Disco’ (Bullett Raja). The arrangements are very mediocre, though that nice rapid dholak beat is something for which I would listen to the song over and over again, despite everything. And that chipmunk voice that says ‘Goli Re’ in the mukhda is just so cute! Every other thing regarding arrangements is strictly banal. It sounds like it has been thrown out of 2013 and should’ve been in ‘Jolly LLB’, but it forecasted that Akshay Kumar would star in the sequel, which is why it is here for us to get troubled by it. The vocals sound like robots have done it. Raftaar tries to sing charmingly, but how can he? He has to carry the entire song on his shoulders, and though he does quite well, it just sounds very monotonous. And Nindy Kaur in her part initially sounds as if she’s so shy, she can’t sing at all. (She’s trying to sound naughty, but it sounds shy…) Her voice sounds as robotic as ever. The lyrics (Raftaar and Manj) are as banal as possible. A Holi song has never been so trashily written in the history of Bollywood, I guess. Okay, maybe ‘Ang Se Ang Lagana’ from ‘Darr’ is an exception, but in recent times they’ve all been very well-written and fun. Though the makers might think this is fun too, it isn’t. A mediocre start to the album, and a disappointment from Manj and his team.

Rating: 2.5/5

 

2. Bawara Mann

Singers ~ Jubin Nautiyal & Neeti Mohan, Aalap by ~ Rheek Chakraborty, Music by ~ Chirrantan Bhatt, Lyrics by ~ Junaid Wasi

“Bawra Mann raah taake tarse re, Naina bhi malhar banke barse re!
Aadhe se, adhoore se, bin tere hum huye, feeka lagey, mujhko saara jahaan!”

– Junaid Wasi

Chirrantan Bhatt, another composer that Akshay Kumar seems to be backing these days, enters the soundtrack, with his song. Usually, the composer impresses us with nice Bhatt-ish melodies. This time though, he follows the path of one of his earlier songs, ‘Coffee Peetey Peetey’ from ‘Gabbar Is Back’, and presents a breezy, feel-good melody that could not have sounded better. Previously, ‘Coffee Peetey Peetey’ was my favourite song by him, but now I have to say, that it is this one. The composition is, as I said before, very breezy and happy-go-lucky. And I just love it when such songs come out. The mukhda starts off right away with the hookline, a wonderful tune with a light touch to it. It’s as if Chirrantan is saying, “Want to cut down on fat in your musical diet? Well then, listen to this song, with 80% less musical fat than other songs out there!” The antara goes into a nice and soothing low scale, as opposed to the cute high pitch of the mukhda. The composition kind of reminded me of Pritam’s ‘I’m Sorry Par Tumse Pyaar Ho Gaya’ (Shaadi Ke Side/Effects), in that it is a toned down version of the peppy and breezy composition of that song. Arrangements are fantastic, with the ukulele (Shomu Seal) and guitars (Shomu Seal & Sanjoy Das) really winning your heart by the end of the song, and giving the song its quirkiness. Piano notes occasionally bring the sobriety to the song, while wonderrrrrrful harmonicas throughout the song provide that heavenly touch, accompanied by a wonderful vocal choir. The vocals by both singers are fabulous as well. Jubin, who has already sung so many songs this year, ranging from mediocre to beautiful, has emerged as the superstar of the beginning of the year with another fantabulous rendition from his side. Neeti, on the other hand, only strengthens her charming image by singing the second antara, with as much expertise as possible. Her characteristic feathery voice elevates her portions to other levels. Junaid Wasi, who returns to writing lyrics after like four-and-a-half years (His last was in Chirrantan Bhatt’s album ‘1920: Evil Returns’) writes a splendid poetry-like piece. Hindustani classical terminology meets modern romance in his writing, and it actually proves to be a nice and pleasant fusion. This is where the album starts, in my opinion!

Rating: 5/5

 

3. Jolly Good Fellow

Singers ~ Meet Brothers, Additional Vocals by ~ Purnima Solanki, Sanchita Sakat, Rap by ~ Shabbir Ahmed, English Rap by ~ Earl Edgar, Music by ~ Meet Bros., Lyrics by ~ Shabbir Ahmed, English Rap Written by ~ Earl Edgar

“Hello, how are you, mera Naam hai Jolly,
Manaane jashn nikli yaaron ki toli..
Bada colourful sa swag hai mera…
Karun jab use apni meethi si boli..
Nature mera hai cool, baaton mein banadoon fool,
Gopiyan bhi line mein hai karte Hi hello!
He’s a Jolly Good Fellow, He’s a Jolly Good Fellow,
Jai kanhaiyalaal ki, bolte chalo!”

– Shabbir Ahmed

What made me freak out even before starting the song was that the folk song ‘He’s A Jolly Good Fellow’ had been recreated! I mean if Bollywood can’t handle its own classics’ recreations, how will a British song be recreated well enough!! But then, the first note of the song played and all my worst doubts disappeared into thin air. The song starts with this uber-cool, smooth flute portion, played to the tune of the nursery rhyme! And from that moment on, you are hooked completely! The Meet Bros. have done an appreciable job in successfully recreating a Western song to suit the Indian music standards. A suitable “Chinta Ta Chita Chita” (Rowdy Rathore) based rhythm makes its way into the song and surprisingly provides an apt background beat for the English folk song. Of course, the duo has added their own composition for the mukhda and antara, and I can’t really say it is bad! The mukhda starts off the song well, showcasing the main character of the movie as a very sacrosanct person, and I must say, the tune is quite sanctimonious-sounding too. I mean, in Janmashtami, you will hear such tunes everywhere in India. The sound effects included by the duo are probably the most enjoyable I’ve heard in recent times. Yes, the sound of the song is very generic and heard-before. But I don’t really have any qualms in liking something that is likeable even though it has been heard before. The arrangements are booming and fun, with the aforementioned beats really infusing a lot of fun into the song. Different instruments, and especially the flute that plays occasionally, sound awesome. Whistles and the like make for nice “roadside attractions”. The vocals are good too,and the Meet Brothers sound at ease rendering the spunky song. The female backing vocalists provide nice entertainment with their cute inputs. Meanwhile the two rappers, (Shabbir Ahmed in Hindi and Earl Edgar in English) do not fare as well, with their commonplace rap. Shabbir, rapping to his own words, sounds confused. You can barely hear what he is saying. That being said, his lyrics are quite decent! It is a perfect character introduction song, and the incorporation of the “Jolly Good Fellow” phrase followed by “jai Kanhaiya laal ki, bolte chalo” is so interesting! It is a theme song that is quite entertaining. Might be irritating for some, but interesting for most!

Rating: 3/5

 

4. O Re Rangreza (Qawaali)

Singers ~ Sukhwinder Singh, Murtuza Mustafa & Qadir Mustafa, Music by ~ Vishal Khurana, Lyrics by ~ Junaid Wasi

{I do not know why T-Series is always so adamant on writing “Qawaali” in the title of their songs! I think this is like the third time they’ve done this, and once, the song wasn’t even a Qawwali! I think we are quite competent to make out whether a song is a Qawwali or not, and if they want to continue this, I advise them to write in brackets stuff like “Romantic Song” or “Dumb Party Song” too, why only Qawwali?}

“Rooh ne arzi lagaayi hai, Sahi kadam chala maula,
Mann ko ainth ke baati kar, tera charaag jala maula!”

– Junaid Wasi

Bollywood hasn’t churned out a single satisfying Qawwali as far as I can remember, after Tanishk Bagchi’s splendid rock-qawwali ‘Allah Hu Allah’s (Sarbjit). Now here comes another proper Qawwali, by which I mean a Qawwali without any unnecessary Bollywood elements. The young and talented composer Vishal Khurana (‘Neerja’ fame) has been roped in to compose this Qawwali, and going by the innovative work he did in ‘Neerja’, I was expecting a very, very impressive Qawwali. Unfortunately, I got quite a regular and ordinary one. The composition is good, and suits the situation (one of those situations that often arrive in Bollywood films where the protagonist has lost all hopes and has to leave it all up to God, and then a Qawwali or Bhajan plays) but goes awfully slow. It is not something that one would find themselves listening to too much. Because of these drawbacks, I expect the song to gain momentum only after the movie released, but the prospects of that are less too, because Qawwali isn’t a genre that finds many takers in today’s world. (Though I get fascinated and mesmerized by a good one, when it comes!) Anyway, that’s that in the composition. The “Mushkil kusha o re noor-e-khuda…” hook, though, is very beautifully composed, as are the antaras, slow speed notwithstanding. The arrangements follow a mesmerizing Roopak taal, with the tablas sounding spectacular, as does the Bulbultarang or Indian banjo. Vocals, thankfully, help the listener ignore the slow pace of the song, as Sukhwinder pours  his entire soul into the rendition, sounding very soulful in the process. Supported ably by the Mustafa brothers, he provides a nice, relaxing ambience with his voice. However, the main reason I would listen to this song again, even before the movie releases, is the spectacular writing by Junaid Wasi. He impressed in the romantic song and now impresses in a spiritual one as well. The line I’ve “showcased” is just one of the portions out of the many splendid lines in the song. A déjà-vu inducing Qawwali as far as the composition and arrangements go, but vocals and lyrics make this one an exemplary piece of art.

Rating: 4/5


Jolly LL.B 2 turns out to be quite a good album, if you judge it as a multicomposer album, which it is. Akshay Kumar almost always impresses whenever his music albums are scored by multiple composers. (Glaring exception being ‘Housefull 3′) The six individuals (counting Nilesh Patel and two Meet Brothers) come together to make an album that is definitely not perfect, but functional as a feel-good (or shall I say feel-jolly?) album, that will propagate the buzz of the movie before release. Yes, Manj and Meet Brothers’ songs could’ve been better, but they are still partially enjoyable. And I must say, this album is better than the album by Krsna to the first instalment of the franchise! A jolly jolly album! 😛

 

Total Points Scored by This Album: 2.5 + 5 + 3 + 4 = 14.5

Album Percentage: 72.5%

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: Bawara Mann > O Re Rangreza (Qawaali) > Jolly Good Fellow > Go Pagal

 

Remake Counter
No. of Remakes: 04 (from previous albums) + 00 = 04

 

Which is your favourite song from Jolly LL.B 2? Please vote for it below! Thanks!

‘KAABIL’ OF BEING FORGOTTEN! (KAABIL – Music Review)

Music Album Details
♪ Music by: Rajesh Roshan & Gourov-Roshin
♪ Lyrics by: Nasir Faraaz, Manoj Muntashir, Anjaan, Anand Bakshi, Kumaar & Raftaar
♪ Music Label: T-Series
♪ Music Released On: 22nd December 2016
♪ Movie Releases On: 26th January 2017

Kaabil Album Cover

Kaabil Album Cover

 

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

To buy this album on iTunes CLICK HERE


Kaabil is an upcoming Bollywood action/romantic film starring Hrithik Roshan, Yami Gautam and Ronit Roy. The movie is directed by Sanjay Gupta, and produced by Rakesh Roshan. The movie is about two blind people who fall in love (God knows how…). And then dishoom dishoom happens and then it probably ends happily. Moving on to the music. The music has been composed by yesteryear hitmaker Rajesh Roshan, who has given quite a number of great songs in the olden days, but seems to have lost his charm with his last outing, ‘Krrish 3’. I mean, I don’t even know how it is possible that his music in ‘Kites’ (2010) sounded so much with the music of the time, and so modern and all, while three years later in 2013, when ‘Krrish 3’ released, his music sounded dated. You would think that’s impossible! Well, all we can hope is that he has composed great tracks for this album. Again, as always, T-Series gives us a shock by adding a composer duo in the music directors panel for the album. The duo is Gourov-Roshin, the go-tos for remaking and spoiling old songs. This time they have been given charge of two of Rajesh Roshan’s hits from the 70s and 80s respectively — ‘Dil Kya Kare’ (Julie) and ‘Sara Zamaana’ (Yaarana). So technically, Rajesh Roshan has composed the songs. Smart. Expectations are a bit more than zero, and given that the songs to be remade are of such a high standing, the remakes have to be good or else T-Series wouldn’t have added them.. or at least that’s what I think.. 😛 Anyway, since I have such less expectations from the first album of 2017 to release, I’m just diving into it very cautiously and sceptically.

Note: Before you start off, you might want to check out the new rating scheme with effect from 2017..


1. Kaabil Hoon / Kaabil Hoon (Sad Version)

Singers ~ Jubin Nautiyal & Palak Muchhal / Jubin Nautiyal, Music by ~ Rajesh Roshan, Lyrics by ~ Nasir Faraaz

“Tere mere sapne sabhi, band aankhon ke taale mein hain,
Chaabi kahaan dhoondhe bataa, woh Chaand ke pyaale mein hai,
Phir bhi sapne kar dikhaaon Sach toh kehna bas yehi…
Main tere kaabil hoon ya, tere kaabil nahi!”

– Nasir Faraaz

So this was the first song of 2017 to release, releasing in early December or so. You’d think that the makers had some reason behind releasing the song so early, but after hearing the song, you understand that the only reason was to get the songs released and aside, so the makers can concentrate on other ‘important’ stuff, like getting bad reviews. Veteran Rajesh Roshan offers nothing new in terms of composition. One might argue that he just tried to compose in his trademark style, and I agree, but it just doesn’t suit in today’s times. The mukhda is quite bland, but you start liking it after you hear the dreary hookline. And what’s more, it plays four times throughout the song! (Not the hookline, but the WHOLE mukhda!) The antaras are two very ear-splittingly high-pitched stanzas that irritate more than pacify. Look Mr. Roshan (and I hope you aren’t reading this..), we really appreciate you bringing forth the music of yore, but at least modernize it like Vishal Bhardwaj & Sanjay Leela Bhansali do! Yes, after a few listens, it gets listenable, but that’s only because we are so much rooted to our beautiful 90s music. 🙂 The arrangements are as typical and predictable as typicality and predictability can get. I don’t know if music programmer Abhijit Vaghani has chosen the beats (or maybe arranger Dhrubajit Gogoi), but whatever it is, it sounds like a desperate attempt to modernize the stale composition, by adding beats similar to Major Lazer and Justin Bieber’s pop single ‘Cold Water’. The dafli makes the arrangements sound sooooooo old-school. And whoever has arranged the song, has put in a mishmash of synth sounds as if his life depended on it, and horns wherever they shouldn’t have been. That guitar riff which the song starts off with resembles that hook tune of the aforementioned ‘Cold Water’ so much. And same with the trumpet. And the first time Jubin sings “Chaabi kahaan dhoondhe bataa…”, there is an unexpected outburst of noise that wasn’t required. However, in the first antara’s beginning, there is a nice trademark Rajesh Roshan percussion, which pleases the ears. The composer ditches his recent regulars for such songs, Sonu Nigam and Shreya Ghoshal, to bring in two supposedly ‘modern’ voices, Jubin Nautiyal & Palak Muchhal, but Mr. Roshan! Songs don’t sound modern because of singers! You need a modern tune for that…! Jubin sounds suppressed for some reason, and drawls out the lines like he’s bored, making you miss Arijit’s voice for once. And Palak is hands down off tune. Everything she sings is way too high-pitched for her to carry off perfectly, and her voice comes across as cheap. Especially when she sings the hookline after the first antara. And both of their voices have been kept raw, as they were recorded, making it sound more like a scratch version of the song. And at the end, the singers are made to sing “la la la…” and “hey hey hey...”, as if they are from the 80s! Nasir Faraaz’s lyrics ooze of the 90s! What is “Tere Naam ko hi pukaarke, khanakengi meri choodiyaan“??? I highly doubt she’s wearing bangles in the song.. unless the second antara is shot at their wedding. In the sad version, Rajesh Roshan slows down the pace so much that it is tough to discern that it is the same song. Not that it sounds any better though. The arrangements there are minimal except for some strings. And it is just one and a half minutes long, so it is clearly made only for the background score. The lyrics have been tweaked too, with no better result. A song that would’ve created waves, had it been included in ‘Krrish’! Heck, even the ‘Krrish’ album sounds better!

Ratings: 2/5 for Original Version, 1.5/5 for Sad Version

 

2. Haseeno Ka Deewana

Singer ~ Payal Dev, Rap By ~ Raftaar, Original Composition by ~ Rajesh Roshan, Music Recreated by ~ Gourov-Roshin, Original Lyrics by ~ Anjaan, New Lyrics by ~ Kumaar, Rap Written by ~ Raftaar

“Sara zamaana, haseeno ka deewana,
Zamaana kahe phir kyun, bura hai dil lagaana!”

– Anjaan

Before the song released, I was having a tough time wondering how Rajesh Roshan would remake his own old song! And then it hit me, and my worst fears came true. T-Series had conveniently handed over Rajesh Roshan’s two old songs in the album to Gourov-Roshin! Unfortunately, there was no choice for us listeners but to hope the song would be remade well. The result, however, is atrocious. Gourov-Roshin follow the path they paved for themselves when they remade ‘Kaate Nahin Katte’ (Mr. India) in ‘Force 2’. They spoil this song, ‘Sara Zamaana’ (Yaarana) as well and present in front of us a bad mix of noises and horrendous singing. The mukhda and antara have been recomposed, and they sound horrible, nothing else. Even the original hook, which could’ve been the best part of the song, is spoiled by singing which is supposed to sound cool. The arrangements are nothing but a lot of unbearable noises, supposed to be club sounds. I don’t know if they want the clubbers to enjoy or die of some undiscovered ear disease. Random techno sounds grace the whole song, and it just sounds BAD! Payal Dev sings in her ‘Veerappan’ voice — an extremely harsh, cutting voice that does nothing but grate your eardrums. I don’t know what she’s up to.. on one side she sings gems like ‘Ab Tohe Jaane Na Dungi’ (Bajirao Mastani) and on the other hand, bleats out songs like this. She also mauls the hookline, the hookline that anybody raised in a Bollywoodish background has grown up listening. And the last straw is when she sings the antara. (“Yeh kaaauuuuun keh raha hai..”) Raftaar, after his successful stint in ‘Dangal’s ‘Dhaakad’, reverts to his original form, and delivers a rap that proves that it was a mistake that he bagged ‘Dhaakad’. The lyrics by Kumaar are just your normal Bollywood item song fare, with the lady praising her flaws. And the boy agrees, somehow. Now that everyone must have heard it, I can’t even tell you to skip it. A horrific remake.

Rating: 1/5 (and that’s being generous)

 

3. Kuch Din

Singer ~ Jubin Nautiyal, Music by ~ Rajesh Roshan, Lyrics by ~ Manoj Muntashir

“Aksar ataa pataa mera, rehta nahin, rehta nahin,
Koi nishaan mera kahin milta nahin, milta nahin,
Dhoondha gaya, jab bhi mujhe, tere gali mein mila..
Kuch din, se mujhe, teri aadat ho gayi hai,
Kuch din se meri, tu zaroorat ho gayi hai!”

– Manoj Muntashir

The next song is a romantic song, with a lulling melody. It starts off well enough, with dreamy music on the piano and something like a church organ. But then Jubin starts singing and you realise the blaring problem in the song — Bad recording. The vocals might be good, but bad recording and mixing help to steal all credit from Jubin. The voice is all muffled; even songs recorded in the 1970s sound better! The composition is better this time, because of that lilt in the melody. Again, it is a signature Roshan tune, and reminds you of the beautiful music of ‘Kaho Naa Pyaar Hai’. The mukhda plunges right into the hookline, and succeeds in the mission of soothing you. The antaras are a nice extension to the already nice tune. At least it pleases the ears. The high notes in the composition are pleasant this time, and the composition as a whole is hummable. Arrangements are nice and soothing, but muffled due to that flawed recording. Strings and brass instruments bring a nice 90s flavour to the song. Again, Roshan takes the help of techno beats, but this time it is a bit toned down, and hence doesn’t bother much. The second interlude has a nice guitar portion, which sounds good in spite of being a bit dated. Jubin, as mentioned before, sings well here, adhering to Roshan’s tune loyally, and evoking memory of Abhijeet’s songs with Shah Rukh Khan, at places. As mentioned above, that recording spoils the feel. Manoj Muntashir’s lyrics are good, but nothing extraordinary. He sticks to the 90s style of lyrics-writing. A good, pleasant melody, with good vocals and arrangements, is spoiled by the bad recording and sound mixing!

Rating: 3/5

 

4. Mon Amour

Singer ~ Vishal Dadlani, Music by ~ Rajesh Roshan, Lyrics by ~ Manoj Muntashir

“Kadam se kadam jo miley, toh phir saath hum tum chale,
Chale saath hum tum jahaan, wahi pe baney qaafiley!
Mon Amour!!”

– Manoj Muntashir

Rajesh Roshan’s last song on the album takes the form of an upbeat Latino-flavoured song, that’ll surely get you up and dancing. The song starts off with a nice intro, taking the one of the repeating lines from the song having Vishal Dadlani sing it in a slow tempo, and it serves as a good buildup for the upbeat song that follows. The composition by Roshan this time too, is enjoyable. The hookline starts off the song, when the intro is over, and gets you ready for a nice dance song. The mukhda is what Vishal had sung in the intro, and it has a nice Spanish flavour to it, carried out very efficiently by Roshan. The antaras are as enjoyable as can be. They don’t seem like antaras, more like continuations of the mukhda, giving the effect that the whole song is a single stanza. All I can say is that they have been composed wonderfully. In the process, Rajesh Roshan tries to make a ‘Senorita’ (Zindagi Na Milegi Dobara) for this album, and succeeds to an extent. The arrangements remain loyal to the Latino flavour of the song, with guitars leading the way for some time, before handing over first command to the trumpets, which infuse life into the song after that short introduction is over. Percussion is topnotch, and it gives the Salsa feel very nicely. The xylophone that comes in the antara’s last line is so playfully awesome! I like how the title of the song stands alone in the song, with nothing to support it. It makes the song progress seamlessly from line to line. Vishal’s energy seems a bit diluted here, but nevertheless, the song sounds quite energetic still. Recording seems a problem here too, but it is ignorable because of the song being good. Manoj Muntashir’s lyrics here, are probably the only moderate lyrics on the album — not too old-fashioned (‘Kaabil Hoon’ and ‘Kuch Din’) and not toooooo modern (‘Haseeno Ka Deewana’). They are enjoyable though, making use of sounds like ‘Da ra di da ra’ and ‘Baila baila’ to make it sound more Latino-flavoured! A nice upbeat number, but I’m not sure whether it will be promoted enough to create an impact on the public!

Rating: 3.5/5

 

5. Kisi Se Pyar Ho Jaye

Singer ~ Jubin Nautiyal, Original Composition by ~ Rajesh Roshan, Muusic Recreated by ~ Gourov-Roshin, Original Lyrics by ~ Anand Bakshi, New Lyrics by ~ Kumaar

“Oonchi oonchi deewaron si, iss duniya ki rasmein,
Na kuchh tere bas mein jaana, na kuchh mere bas mein!”

– Anand Bakshi

Another remake. Once again, a Rajesh Roshan melody of the golden era, and again, remade by Gourov-Roshin. This time, Roshan’s beautiful melody from ‘Julie’, ‘Dil Kya Kare’. Expectations were zero, and maybe that’s why I was pleasantly surprised by this one! The main reason I liked it was that the composers have tried to retain the flavour of the original, and not tried to change everything. The mukhda has been changed, and that’s about it. This tracks starts with a nice modern touch, similar to so many (good) English songs you hear nowadays, to such an extent that that person singing ‘Woah’ or whatever at the beginning sounds like Justin Bieber. :\ Is this soundtrack inspired by Bieber or what? Anyway, the new mukhda is a nice addition to the song, it just takes time to get used to it. The hookline follows the new mukhda, and the mukhda of the old song (“Oonchi oonchi deewaron si…”) takes the form of the first antara, as it is (except the ‘Na kuchh mere bas mein Julie‘ is changed to ‘Na kuchh mere bas mein jaana‘) and the hookline returns, bridged to the antara by one of the lines of the new mukhda. The first antara of the old song appears as the second antara in this track, and it sounds good in Jubin’s voice! And this time, the programming is good too! The duo’s arrangements are pleasant, surprisingly, and they don’t bombard the ears with a fusillade of unwanted noises. Instead, they’re quite calm club beats. Now these are club beats! Piano graces the second interlude with its presence, to a great effect. The finger snaps are intriguing throughout the song. However, what I missed is that drum which Rajesh Roshan had added in the background of the old song (which he has also used in the title track of this album, if I’m right). Jubin perfectly takes over from Kishore Kumar, but of course the original always is better. Now that we have to deal with it though, I must say Jubin has done a good job. He sings the “oonchi oonchi..” part exceptionally well. I don’t know whether it is autotune or not, but here, his high notes sound good. At least it doesn’t sound like a scratch version. The additional lyrics are quite functional, if not great. I’m still in love with the original ones! 😍 A pleasant redux. That’s a remake for you. I think Gourov-Roshin are better at romantic songs (except ‘Maahi Ve’ from ‘Wajah Tum Ho’) than idiotic item numbers that are remakes.

Rating: 3.5/5 


In Kaabil, Rajesh Roshan actually delivers better than his last ‘Krrish 3’. Out of three songs, two are pleasant and sound much better than what he had offered in his last album. Gourov-Roshin with their two remakes of his old songs, do a mediocre job in one, and better in the second. However, as a whole, the albums seems extremely dated and behind its time. Had the album released somewhere around 2005 or so, the songs might’ve gained more momentum and more hearts. But now, it just seems like another average album. A middling start to 2017!

 

Total Points of the Album: 2 + 1.5 + 1 + 3 + 3.5 + 3.5 = 14.5

Album Percentage: 48.33%

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

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

Recommended Listening Order: Mon Amour = Kisi Se Pyar Ho Jaye > Kuch Din > Kaabil Hoon > Kaabil Hoon (Sad Version) > Haseeno Ka Deewana

 

ALERT! ANOTHER NEW SECTION!

Here is a remake counter, counting the number of remakes this year. :p Just for fun. 😉

Number of Remakes: 02

 

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