How clever, how innovative and how unconventional! In keeping with the unconventional theme of this movie, the music company Eros Music (who before this, have never disappointed me in releasing music on time!) have thought of a very innovative music release strategy i.e, to not release the album as a “full album” even after the movie has released! Wow!! How nice! One of the composers of the album, Vayu Srivastava, (@purevayu on Twitter) though was kind enough to assure me that this was the last song; so going ahead with the review!

UPDATE (5th September 2017): Eros Now has now released the full OST, and it does indeed, only have five songs.

Music Album Details
♪ Music by: Tanishk-Vayu
♪ Lyrics by: Tanishk-Vayu
♪ Music Label: Eros Music
♪ Music Released On: 5th September 2017
♪ Movie Released On: 1st September 2017

Shubh Mangal Saavdhan Album Cover


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

To buy this album on iTunes CLICK HERE

Shubh Mangal Saavdhan is a Bollywood film, starring Ayushmann Khurrana and Bhumi Pednekar in the lead roles, directed by debutant R.S. Prasanna and produced by Aanand L. Rai and Krishika Lulla. The film revolves around the film’s leading man, who suffers from ‘erectile dysfunction’, what he calls a ‘Gent’s Problem’. The madness and mayhem that follows in the already engaged to be married couple’s life is the premise of the story. (Because the adults have found out as well!) So the theme is quirky and the film has been getting RAVE reviews, but there was no sign of the music album, even after the film had released! Eros Music seems to be following a certain promotional strategy, and I must say, it’s the worst promotional strategy ever, where the promotion carries on even after film release! At least Sony Music releases the album 11-12 hours before the film, leaving the music lovers satisfied! This irresponsible type of music release where the music released after the movie, is just plain weird. Anyway, the music album happens to be fast-coming-to-the-top composer duo Tanishk-Vayu’s first solo album, in which they’ve composed all songs, and even written all the songs! And whatever I’ve heard of Tanishk-Vayu’s music, it is always quirky and zany, and a brilliant mix of Indian and Western sounds, so I’m sure that they would provide amazing music for this film, about the wedding of two people from small middle-class families in Delhi! Let’s dive in and see how sumptuous their wedding feast turns out to be!

1. Rocket Saiyyan

Singers ~ Ritu Pathak, Brijesh Shandilya & Tanishk Bagchi

“Duniya palat doonga, tu na lena tension,
Tere hi liye hai meri sagli attention,
Dekho na baby dil ki wire ke length ko,
Chhukar dekho pyaar waale current ko!
Baatein kare phenke gulaab, hamare saiyyan,
Aisi velocity janaab, phawware saiyyan,
Rocket hamare saiyyan!!”

Tanishk-Vayu start their first solo album, with a quirky romantic song, with the peppiness quotient very high. The song is a quirky take on the quintessential Indian Wedding songs, and the duo’s small experiments all throughout the song make it so appealing. The composition, for one, is so crazy and zany, it appeals instantly, to people who are open to loving weird stuff, and I’m one of them! Right from the beginning, the duo uses quirky sounds to catch the attention of the listener, and it works in a weird way. The actual composition is very simple, and in some places I could tell they’re just trying to be overtly crazy and weird, but it just works so well, you don’t have time to think about it. The song has a mukhda and an antara, the mukhda by the female singer, while the antara is by the male. Both have the same, crazy kind of tune, and the hookline is very catchy, as it should be. However, it might just be reduced to a “Comedy” song. There is a certain quality in the arrangements as well — the quirk creeps into the music too, and alongside the usual wedding percussion, we get funny sounds like babies crying, and other computerised noises, that just act as nice attractions throughout the short song. The use of the shehnaai (Seems digital) in the interlude produces quite a humorous effect. The vocals are good for the type of song it is — Ritu Pathak, returning to sing after a long, long time, manages it very well, and a bit off tune too, producing a good, imperfect effect that suits the song very well. Brijesh Shandilya, the composers’ favourite, also does an amazing job, but has a very little portion. The lyrics by the duo too, are funny and cute. A song that might irritate a lot of people, but the quirk is what you have to look out for!

Rating: 4/5


2. Kanha / Kanha (Unplugged)

Singers ~ Shashaa Tirupati / Ayushmann Khurrana

“Roke mohe, toke mohe, kaate re dagar o re Yamuna ke tatt ki,
Laaj nahi, kaaj nahi, maare jo kankariya, toh phoote mori matki,
Vaak chatur bharmaave, prem jaar arjhaave,
Jo bhi kare, kare sab quick, quick, quick, quick!
Kahun main piya ji thoda karlo sabar par na, maane na,
Kanha, maane na!”

This next song happens to be Tanishk-Vayu’s most straightforward song of their career, conforming the most to conventional standards than any of their other songs that have all been quirky! Of course, that was called for here, since they had to compose a thumri, and you can’t really mess with thumris. They have a particular fixed structure, and a way of making them. That being said, the duo does a wonderful job in making their first semi-classical song, and they win half the battle with the strong composition itself! The composition is so free-flowing, like so many of the Radha-Krishna songs of Bollywood. I can just predict that this will make its place in the list of Great Bollywood Krishna songs. The hookline is just so sweet, and instantly likeable, and the composition of the entire thumri has a very tangible Rahman touch to it; it is impossible to dislike that. It freshens your mind up instantly, as good Indian classical music always does. The song is presented to us in two versions — one by a professional, and a female version, as conventional thumris usually are. That version is sung by the awesome Shashaa Tirupati, who uses her sweet voice to melt your heart singing the thumri. She’s getting really good classical based numbers in the Rahman camp as well this year, and now she gets to sing this one, which almost sounds as if it’s a spawn of the Rahman songs. The duo give the female version a beautiful, traditional arrangement, with amazing tablas, sarod, and awe-inspiring flute solos. It is a delight to the ears, and the richness of the music just can’t be forgotten for a long time. It starts so richly too, with the background vocalists singing a nice vocal rhythm, alongside the playful combo of the santoor and flute! But even with all the conventional-ness of the arrangements, the duo tries something unconventional, and adds drumbeats every time before the hookline, and that’s what makes the song even more interesting! The second version is by the leading man of the film, Ayushmann Khurrana, who seems to be singing at least one song in every film of his nowadays. Of course, since he can sing so well, he aces the song, but I never knew he could sing classical this well. Of course, it doesn’t sound professional, but it is good enough! The duo decorate this one with a beautiful guitar riff (Tapas Roy) and a nice loop on the ukulele that’s so captivating! So while one version is completely semiclassical, the other one follows a more “Unplugged” (as it is named) route, with the guitar playing the lead role. Last but definitely not the least, the lyrics of both versions are beautiful. I commend the duo for using traditional words like “sakhi“, “laaj“, “panghat“, “badra“, and making it sound more rooted. And on the other hand, the duo uses English words, creating a fun contrast. The Radha-Krishna story has been kept intact, and the romance of the protagonists uses that as a backdrop, and it is so beautiful to listen to! Kudos to Tanishk-Vayu for a wholesome semiclassical number, in two delightful versions!!

Rating: 5/5 for Shashaa’s Version, 4.5/5 for Ayushmann’s Version


3. Laddoo

Singer ~ Mika Singh

“Boli aisi ke, tamatar bhi mangayein toh lage jaise mushaayaron mein
Baitha sunn raha hoon usko!
Aankhein aisi ke, milaayein jab nigaahein, ye nigaahein dagmagayein,
Kuch samajh mein bhi na aaye dil ko!
Ho, jab se mohabbat uthi, seene mein ghus gayi Gupti,
Iss dil ke laddoo bant gaye!”

The duo bring back the quirkiness and unconventional quality of the album with this song, a romantic song sung by Mika! Now, before we start complaining about how Mika isn’t suitable for romantic songs, I would like to remind you about “440 Volt” (Sultan) last year, which was a romantic song that wouldn’t have sounded half as good if Mika hadn’t sung it. This time, Tanishk-Vayu compose a very quirky number and rope Mika in to sing it. The composition is again, a very desi composition, that will appeal to your sense if you love traditional tunes with an innate quirk. The mukhda is amazing, the antaras make sure you don’t make your attention wander elsewhere, but the hookline is the best part — it is so short and simple, as if they’re stating an obvious fact, “Iss Dil Ke Laddoo Bant Gaye!” and it’s over as soon as it starts. That’s the best part of this hookline; it doesn’t hover around for long and waste your time. The arrangements are very beautiful — a very traditional beat of manjeeras and dholaks among rich guitar riffs sounds very interesting, and never before heard. The shehnaai-like sounds are also very fun to listen to. The manjeeras give the song a very unconventional and traditional rhythm, and that is what made me listen very closely to the arrangements in the first place! Towards the end we get a fun shehnaai portion, and it seems to be a sweet conclusion to the fun-filled romantic song. The vocals by Mika are surprisingly amazing; the duo seem to have done a good job in giving him the right brief, and so he doesn’t eat up many of his words here! The way he sings the hook is a way nobody else could’ve done it! Tanishk-Vayu’s lyrics are fun as well, and the comedy element is intact even in this song. The quirkiest romantic song I’ve heard in a while!!!

Rating: 4.5/5


4. Kankad

Singers ~ Raja Hasan, Shashaa Tirupati, Rajnigandha Shekhawat & Arman Hasan

“Mere liye tu Ram na Ranjha, utna bahut hai, jitna sanjha,
Chhote bade sab tere, sapne hain mere abb,
Mere wale sapne toh, sach mein hain mere abb,
Tu jo rahega toh, saath dega toh, Rab se kya mangungi main,
Sab kuch toh paa lungi main,
Dil yeh kahin ladkhadaye agar toh thaam le na please!
Kankad bhi kabhi koi aa nahi sakta tere mere beech!!”

The duo wind up the album with a wedding song, but again, it is a very traditional wedding song, and full of emotion! The composition is very heavy on emotion as well; and it focuses on the emotion much more than it does on the enjoyment factor! At the end it basically just freshens your mind and makes you feel good. The makers had kept this song hidden until even after the movie was released, but I don’t understand why, because it was such a beautiful number!! The composition showcases Tanishk-Vayu’s versatility, and they prove that they can compose emotional numbers just as well as those upbeat comic numbers. The hookline especially is steeped with emotion — you can just feel the emotion through the earphones as it plays. The arrangements too, represent some of the duo’s most rich arrangements in terms of folk instruments and traditional sounds. The quintessential wedding chorus starts the song off, with a tumbi sound, and your interest is peaked right there. The dholaks, dafli, strings and a surprise element of the shehnaai in the interlude all provide an amazingly rich arrangement, at the same time keeping things very enjoyable and danceable on! The whole composition and arrangements have a very distinct Rahmanish touch to them! The vocals are beautiful, with Raja Hasan (after a long time, yo!) taking care of the male portions well, keeping the emotion intact. However, he could have been better in certain places.  The female singer, Shashaa Tirupati, has a very small part, but still manages to steal the lightning, as that part has been composed so thoughtfully by the composers, and it is full of tangible emotion. The various backing vocalists like the small child singing at the end, provide a nice “grand Indian wedding” feel to the song. But still, the lyrics which are so full of emotion, do not make you feel as if it is a conventional Bollywood wedding song; it is just too sweet for that! The lyrics are what make you realise the true meaning of the song, and I salute the makers for making this emotional song against the backdrop of the wedding. Last month we saw an emotional song against the backdrop of the Holi festival, ‘Gori Tu Latth Maar’ (Toilet: Ek Prem Katha), and this time, Tanishk-Vayu follow the same template, to make another beautiful wedding song full of love and emotion! A commendable job, to create an emotional wedding song! Not your everyday Bollywood Wedding song!! This ends the album on a very high note!!

Rating: 5/5

Shubh Mangal Saavdhan really proved how talented Tanishk-Vayu are. Usually, they appear in multicomposer albums where they hardly get enough scope to show their talent in composing for an entire movie, with a particular theme running throughout the movie. Here, when they get the chance finally, they make great use of the opportunity and provide us with an enjoyable album full of quirky music, and also some emotional music. Their method of fusing quirky sounds with traditional desi beats and tunes, really is the hallmark of their music, and it is what makes their music light, fluffy and a delectable treat to listen to! Thank you, Tanishk and Vayu, for treating us to such a delicious wedding feast of an album!!


Total Points Scored by This Album: 4 + 5 + 4.5 + 4.5 + 5 = 23

Album Percentage: 92%

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: Kanha = Kankad > Laddoo = Kanha (Unplugged) > Rocket Saiyyan


Which is your favourite song from Shubh Mangal Saavdhan? Please vote for it below! Thanks! 🙂


Music Album Details
♪ Music by: Amaal Mallik, Tanishk Bagchi, Akhil Sachdeva & Bappi Lahiri
♪ Lyrics by: Shabbir Ahmed, Kumaar, Akhil Sachdeva, Indeevar, Ikka & Badshah
♪ Music Label: T-Series
♪ Music Released On: 14th February 2017
♪ Movie Releases On: 10th March 2017

Badrinath Ki Dulhania Album Cover

Badrinath Ki Dulhania Album Cover


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

To buy this album on iTunes CLICK HERE

Badrinath Ki Dulhania is an upcoming Bollywood rom-com starring Alia Bhatt and Varun Dhawan. The film is directed by Shashank Khaitan and produced by Karan Johar, Hiroo Yash Johar and Apoorva Mehta. So we had a film in 2014 named ‘Humpty Sharma ki Dulhania’, which was a bit of a sleeper hit, and the cast and crew behind it happens to be the same that is behind this one. But according to the makers, it has no connection to the film except that the director, the producers and even the actors, are exactly the same. This film continues the ‘Dulhania’ franchise (If we can call it a franchise with just two films) in U.P., contrary to the setting in Punjab in the first film. Anyway, over to the musical department. Karan Johar has always delivered back-to-back hit soundtracks, and this should be no exception. I still feel guilty that I misjudged the ‘Humpty Sharma Ki Dulhania’ album terribly when it released. After a month or so, it started growing amazingly. And now I love it. So I’ll be careful this time around not to make that mistake again. Here, we get a trio of composers, starting with Bollywood’s newest hit-machine, Amaal Mallik, who has composed two songs. Next up is a newcomer named Akhil Sachdeva, with one song, which hopefully is strong enough to bag him a debutant award this year, and lastly is young talent Tanishk Bagchi, who has been composing for so many multicomposer albums here and there that I’ve lost track. Both Amaal and Tanishk have delivered good songs in the past, and with Karan Johar both have a hit record, so I can’t expect anything more than catchiness (sticking to the rowdy look of the movie’s posters and all) in their tunes. As for Akhil, I hope he has something great in hand! So let’s jump right into this soundtrack!

1. Aashiq Surrender Hua

Singers ~ Amaal Mallik & Shreya Ghoshal, Music by ~ Amaal Mallik, Lyrics by ~ Shabbir Ahmed

“Arey bhagyawaan, maan bhi jaa, ladna befizool hai,
Pyaar dikhe na kya, aankhon mein padi dhool hai?
Pyaar dikhe na kya, aankhon mein padi dhool hai!!
Taj Mahal banvaana Shah Jahan ki bhool hai,
Uske paas paisa, apne haathon mein toh phool hai!
Tune gusse mein phone mera kaata toh aashiq surrender hua!”

– Shabbir Ahmed

The rowdiness starts from the very first song. And who better to get the catchiness in that rowdiness right than Amaal Mallik, who I believe is following Pritam’s footsteps in this regard? The song is an enjoyable chhed-chhad number, the type of which Bollywood’s music records of the past abound in. But very few fit the bill and actually get everything in the right place. And though this one isn’t PERFECT, it definitely gets you grooving. Amaal’s composition doesn’t rely on complicated turns and meanders for it to get famous. Instead, it takes a very heard-before but enjoyable tune, and carries it forward to make a song that impresses with its simplicity and innocence! The tune is of a type we Indians love to dance to; play it in any wedding and people will dance like crazy even if they don’t know it! And the song will propagate just like that! People will play it somewhere, it will catch on to someone else, and then to someone else, and someone else and someone else. Like a viral fever, but a good one. :p The antaras have been composed very playfully and one cannot miss that overlying South Indian flavour that the beats infuse into the song. That brings us to the arrangements. The aforementioned beats are full of heavy percussion (Dipesh Verma and team) following a kuthu rhythm, which has been laid down by Dipesh Verma, Keyur Barve and Omkar Salunkhe. As of that was not enough, the composer decides to let his assistant Krish Trivedi go all-out with the whistles. The noises with which the song starts off are just so instantly gripping! The occasional brass instruments really bring an Indian-wedding touch to the song. Other digital beats really decorate the song, which would otherwise sound like a recording from a wedding at a village. The song aptly ends with that quintessential ‘play-the-hookline-on-brass-instruments’ trick. Vocals are perfectly enjoyable and help the song to get through to the listener. The composer himself takes the mic and sings the song very efficaciously and mischievously. But of course, nobody sings such songs as well as Shreya Ghoshal, who was a great decision for it, considering that she isn’t getting too many songs like this these days! In her short one-stanza cameo, she does very well, while Amaal carries the rest of the song on his shoulders! Shabbir Ahmed’s lyrics are a clever kind of rowdy, and at least they’re decipherable and their meaning comes out clearly! Rowdy but classy!

Rating: 4/5


2. Roke Na Ruke Naina

Singer ~ Arijit Singh, Music by ~ Amaal Mallik, Lyrics by ~ Kumaar

“Haathon ki lakeerein do, milti jahaan hain,
Jisko pata hai bata de, jagah woh kahaan hai..
Ishq mein jaane kaisi yeh bebasi hai,
Dhadkanon se milkar bhi dil tanha hai,
Doori main mitaaoon kaise, jaane na manaaoon kaise, tu bataa?
Roke Na ruke naina, teri ore hai inhe rehna..”

– Kumaar

Next up is a pathos-filled romantic song composed by Amaal. And Amaal has composed this one in one of my favourite styles of composition for sad songs — rustic and earthy. Quite recently we heard ‘Naina’ from Pritam’s ‘Dangal’. Quite similar to that in that the song is a sad song with a traditional tune and traditional instruments. The song starts with a heart-rending sarangi piece, and gets to your heart right away. The composition by Amaal has to be one of his maturest compositions in this genre. The mukhda does a nice job in making the ambience damp and melancholic. The soothing piece is followed by an ethereal hookline, something that isn’t blurted out by the singer and forced onto the listener, but proceeds quite calmly. The antaras have yet some more beautiful notes strung together to make a heard-before but engaging stanza. Amaal treads over both high and low octaves with the antaras, and that one odd line in the antara which is made of high notes, just finds its way directly to your heart. The arrangements do half of Amaal’s work in making listeners teary-eyed. Of course the aforementioned sarangi brings in the Indian part of the pathos, as do the wonderful tablas and the oh-so-majestic flute. But Amaal cleverly tops it with acoustic guitars (Ankur Mukherjee) and drums (Debashish Banerjee), in a kind of soft rock template. When the drums interrupt out of nowhere in the till-then very traditional arrangements, I just couldn’t help but remember ‘Kabira’ (Yeh Jawaani Hai Deewani). And then Amaal also puts to use nice oriental instruments like the mandolin (Tapas Roy) which sends chills down your spine when they play. The vocals are top-notch; Arijit infuses the rustic touch to them. He splendidly covers both low and high notes impeccably, as always. Kumaar has penned one of his finest lyrics for this song. A beautiful sad song, which excels in the instrumentation department!

Rating: 5/5


3. Humsafar

Singers ~ Akhil Sachdeva & Mansheel Gujral, Music by ~ Akhil Sachdeva, Lyrics by ~ Akhil Sachdeva

“Jitni haseen ye mulakatein hain, unse bhi pyari teri baatein hain
Baaton mein teri jo kho jaate hain, aaun na hosh mein main kabhi
Baahon mein hai teri zindagi, haaye
Sun mere humsafar, kya tujhe itni si bhi khabar?”

– Akhil Sachdeva

The new composer Akhil Sachdeva enters the album next, with his sole song, a romantic ballad, the type of which we haven’t not heard before in Bollywood. The composition follows the familiar template of Pakistani romantic songs, but nevertheless manages to tug at your heartstrings. The song starts with a nice Punjabi couplet rendered by Mansheel Gujral in her strong voice. The mukhda itself gets you swaying to the song, and it actually makes you feel happy. The hookline here too, is quite subtle, but you still get that forced feel. The antara is soothing, with its low notes, again, making you fall in love with them. But overall, there is nothing innovative in the composition. It kills with its simplicity. The arrangements are basically acoustic guitar (Veljon) riffs and digital beats that don’t really leave any scope for anything else. However, the newcomer adds a wonderful harmonica that magically uplifts the mood whenever it plays. The vocals by the composer are fine, not excellent. At places he sounds a lot like Atif Aslam, but doesn’t get the prolonged notes as right as Atif does. Also, his pronunciation needs a lot of improvement. He needs to work on his ‘jh’ sounds, which come across as ‘zzzzh’. I say this not in a demeaning manner though. On a whole, his rendition is soulful. Mansheel has more of a backing vocalist role here, but stuns in her parts. Akhil himself has written the lyrics here, and he uses all the possible Bollywood romance clichés in one song — ‘sunn mere humsafar’, ‘baahon mein teri kho jaate hain’, ‘tujhe maan loonga khuda‘ and whatnot. Nevertheless, the song makes for a good listen.

Rating: 4/5


4. Badri Ki Dulhania (Title Track)

Singers ~ Dev Negi, Neha Kakkar, Monali Thakur & Ikka, Additional Vocals ~ Rajnigandha Shekhawat, Music by ~ Tanishk Bagchi, Lyrics by ~ Shabbir Ahmed, Rap By ~ Ikka

“Khelan kyun na jaaye, tu hori re rasiya,
Khelan kyun na jaaye, tu hori re rasiya,
Poochhe hain tohe saari guiyaan kahaan hai Badri Ki Dulhania?”

– Shabbir Ahmed

And Tanishk makes a grand entry with the next song, which happens to be the title song of the movie. The song is an enjoyable one with a folksy rhythm and whose upbeat tempo makes you dance and sing along. The song starts with a wonderful folksy line, composed playfully. After that and a rap, Tanishk’s mukhda to the song begins, and it has all the required spunk for a successful Bollywood dance track. And then when we come to the hookline, he cleverly incorporates the tune of the folk number ‘Chalat Musafir’ to Shabbir Ahmed’s lyrics. (Or maybe Shabbir wrote it after he composed. Any which way, both of them went about it very cleverly!) The antara is a short stanza that efficiently carries forward the naughtiness and catchiness in the composition. Tanishk has to be commended for this composition, because I’ve never heard such a good song of this genre from him after ‘Banno’ (Tanu Weds Manu Returns) and that was what he composed with his friend Vayu. So hats off to him. The arrangements are amazing. The percussion (Dipesh Verma) is topnotch with a strong U.P. flavour to it, and the harmonium (Pradip Pandit) is another star of the song. The song is a holi song, and so the quintessential dhols (Deepak Bhatt) do the needful. The vocals are the strong point of the song. If someone doesn’t like the composition, they’ll fall in love with the song anyway, because of the vocals. Dev Negi, at his exuberant best, renders the male portions spot-on, while the three female vocalists all impress with their respective portions. Neha Kakkar, who takes the major chunk of the female portions, sounds cute, naughty and funny. The way she sings ‘muniya re muniya‘ is enough to melt your heart. Monali, whose ‘Cham Cham’ (Baaghi) is still on the majority of Indians’ playlists, and whose ‘Dhanak’ (Dhanak) is still on mine, renders the antara with ease, but doesn’t sound quite the innocent girl she always sounds, here! It is surprising that Neha sounds more innocent in this song! 😀 And when Neha takes over from Monali in the antara, I couldn’t even recognize Neha the first time I heard the song, and that’s saying something! The third lady vocalist is classical singer Rajnigandha Shekhawat, who sings the introductory folksy lines so beautifully, I’m in love with them. Ikka raps here, and his rap isn’t as irritating as it could have been. Maybe he toned it down a bit. He suits the rustic environment of the song, and doesn’t really rap anything odd. Shabbir Ahmed’s lyrics here are functional, if not good. An apt title song!

Rating: 4.5/5


5. Tamma Tamma Again

Singers ~ Bappi Lahiri & Anuradha Paudwal, Chorus ~ Dattatray Mestry, Archana Gore, Arun Ingle, Aparna Ullal, Mandar Apte, Mayuri Patwardhan, Nitin Karandikar, Deepti Rege, Voice-over ~ Ameen Sayani, Original Composition by ~ Bappi Lahiri, Music Recreated by ~ Tanishk Bagchi, Original Lyrics by ~ Indeevar, Rap by ~ Badshah

“Been bajaati hui…. NAAGIN!”

– Ameen Sayani

And Tanishk, with his second song, also closes the album, with another remake. If the previous song was a remake, then this one is definitely a remix. The makers have decided to rehash ‘Tamma Tamma’ (Thanedaar) for the movie. And thankfully, they retain the original track and just construct other additional around the sample. The composition by Bappi Lahiri (which was also ‘inspired’ by Mory Kante’s ‘Tama Tama’) was a rage in India when it released and the portion sampled in this song is the mukhda, hookline (obviously!) and one antara. Tanishk has rehashed this so well, I almost disliked it at first. He has used the song-break technique by stopping the song multiple times before actually getting to the hookline, something else which we hardly get to hear completely twice or thrice (or maybe more. I didn’t count!) But then, I realised that I had started liking the song. It happened spontaneously. One moment I was all about ‘Remakes are bad!’ and the next moment I was a freak dancing to a remake. Because it has been done very diligently, not to mention cleverly. Club beats have been added that really enhance the disco touch of the song, and the original voices have been muffled in such a way that actually does make the old song sound ‘old’! Tanishk has added very efficient beats to the hookline, like the electronic tabla. And the interlude, besides containing another interruption by Badshah, also contains a wonderful mandolin solo by Tapas Roy. The only tampering Tanishk has done with the original track is, he has added a new chorus to sing the hook, and it sounds pretty good too. Badshah’s rap does sound agitating at first, but Tanishk has enhanced that too with his nice electronic tabla beats. Ameen Sayani, the RJ of Binaca Geetmala, has done a voiceover, and the “been bajati hui naagin” part is particularly INSANE!!! Tapas Roy’s mandolin returns to play the hookline at the end of the song, and it sounds awesome then! An efficient remake!

Rating: 4/5

Badrinath Ki Dulhania is yet another feather in the cap of so many people. First of all, the composers, two relative youngsters doing so well in the competitive industry, Amaal and Tanishk, who have made two stellar songs each, and one newcomer, Akhil, who plays it safe in his debut. Next, the singers, who have really outdone themselves with their singing in this album! Dev Negi and Amaal Mallik for instance. After that, Karan Johar, because his productions always have enjoyable music, and he gets yet another successful album. Here is an album I would happily surrender my ears to. It is a kind of antidepressant album!


Total Points Scored by This Album: 4 + 5 + 4 + 4.5 + 4 = 21.5

Album Percentage: 86%

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: Roke na Ruke Naina > and then any order you like


Remake Counter
No. Of Remakes: 04 (from previous albums) + 02 (from Badrinath Ki Dulhania) = 06


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


Music Album Details
♪ Music by: Mikey McCleary & Joi Barua
♪ Lyrics by: Prasoon Joshi, Mikey McCleary & Joi Barua
♪ Music Label: Zee Music Company
♪ Music Released On: 2nd April 2015
♪ Movie Released On: 17th April 2015

Margarita With A Straw Album Cover

Margarita With A Straw Album Cover


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

To buy this album on iTunes CLICK HERE

Margarita With A Straw is an upcoming Bollywood film, starring Kalki Koechlin in the lead role and Revathy and Sayani Gupta in supporting roles. The film has been directed by Shonali Bose, and produced by Shonali Bose & Nilesh Maniyar under the banner of Viacom18 Motion Pictures. The plot revolves around the character of Laila played by Kalki, a girl who has cerebral palsy. The movie talks about the struggle she goes through, in doing the normal activities in her life. The film was screened at the Toronto International Film Festival (TIFF) as a part of the Contemporary World Cinema Programme on 8th September, 2014 and got great reviews from everywhere. The music of this film has been given by Mikey McCleary, and he went on to win the Asian Film Award for Best Music Composer, for his work in this very film! This assures us that there is light to be something special in the music, or else it wouldn’t have won such a prestigious award! One song in two versions is also composed by guest composer Joi Barua. Let’s have a look at exactly how great the music of “Margarita With A Straw” is!!

1. Dusokute / Dusokute (Duet)
Singers ~ Joi Barua / Joi Barua & Sharmistha Chatterjee, Music by ~ Joi Barua, Lyrics by ~ Prasoon Joshi & Joi Barua

So the album kicks off with our guest composer, Joi’s song. This song was actually a song from Joi’s first Assamese album ‘JOI’, and he had composed and written it in his college days. However, now, he debuts in Bollywood with the same song, rewritten with Hindi lyrics, and giving the song a wider section of the audience to appeal to. The song starts with Joi’s unique, husky voice, which is kind of the main attraction of the song and will definitely keep you listening. His voice is perfect for this type of rock song. The electric guitar tune playing throughout the song, is something that would appeal to everyone and it has been composed so expertly! Arrangements consist of the regular rock music arrangements like rock guitars and drums. Towards the end, we get to hear a wonderful display of the brass section, which has been appointed very creatively in a rock song! Kudos to Joi for that! The first version is really short at 2½ minutes, but for those begging for more (I guess that applies to every one of us) there is another version — the Duet. The duet version runs for almost 5 minutes, and is surely going to appeal to you, if you have been left wanting more after the solo version. The first 2½ minutes are exactly the same as the solo version (except some lyrics), but after that we see some great new things which sets us into wonder, why they made two versions, if both are the same till a certain point! So I’ll just describe what happens after till where we’ve heard in the solo version. Joi sings some great, energetic lines from where he stopped in that version. Sharmistha takes over, with her equally husky and magical voice, and gets an equally energetic and rockstar-ish part to sing, which she manages with ease. An interlude of brass instruments entertains us until Sharmistha comes back with the hookline, a bit too high-pitched and mismatching for her voice, but we manage to bear with it, because rock performances are never that perfect anyways, so it sounds natural. After Joi comes back, he ends the song brilliantly with the mukhda which he sings after calling it the end. Great trumpet parts do wonders towards the ending of the song as well. Prasoon Joshi has written great lyrics, youthful but romantic at the same time. The term ‘Dusokute’, suggested by Joi, means ‘in your eyes’ in Assamese. Prasoon’s Hindi lyrics sound great around this catchy phrase. I would advise you to hear the duet version, because of the creative additions! A rocking and addictive composition by Joi! #5StarHotelSong!!


2. Foreign Balamwa
Singer ~ Sonu Kakkar, Backing Vocals by ~ Keya Dutta, Shilpa Chadhdha, Sugandha Tamse, Sulbha Ninad Samang, Music by ~ Mikey McCleary, Lyrics by ~ Prasoon Joshi

Mikey McCleary enters the soundtrack with this song, and along with him, his characteristic quirk and liveliness evident in all his compositions, also enters. And the result of this quirk is a thoroughly enjoyable, groovy, catchy, weirdly attractive and highly addictive composition which you instantly develop a liking towards. Most of the credit for all this has to go to Mikey, who seems to have worked very hard to master such a desi, yet classy number — two very opposite things coexisting in one song. First of all, the composition is so lovable, yet lively, that the notion of lovable being calm can be strongly proved wrong by just one listen to this song. Sweetness overflowing from the song, yet a sense of craziness also equally overflowing. This song is the whole package. Mikey’s arrangements are truly to be appreciated. Without noticing them, you just cannot end the song! The Calypso-type arrangements complete with the trumpets (Ketan Sodha), the percussion, guitars and some additional extra techno beats not usually witnessed in Calypso, all make it very attractive and exciting indeed. Very well-arranged, and recorded, hence winning half the battle there itself. The other half, not totally in Mikey’s hands. On the vocals front, he has appointed Sonu Kakkar, who does her job fascinatingly! Her electrifying voice, once used strictly for item songs, has now got the classy (at least a bit!) status, thanks to the entry of her sister Neha to do the item songs now. 😂 Jokes apart, she carries out all the nuances perfectly, creating a great positive impact on the song there itself. Her sharp, distinct and electrifying vocals really do impress and increase the likability standards for the song. She really does justice to the composition by providing the perfect blend of rowdiness and class. The best part is her improvisation in the ending. Though she might not have been instructed, she puts on a great show which is a pleasure to hear! Backing vocalists also count a lot, as is witnessed in this song. They make a huge difference and take the song a long way! Prasoon’s lyrics are highly and unbelievably creative! You have to hear them to believe it! He has also mixed awesomely, gaanv-ki-chhori type lyrics and English words, thereby making it very, very entertaining to hear. After reading this persuasive essay of mine, you are bound to listen to this song, at least once! For me, please!? A perfect song to cheer you up! Kudos to Mikey for making such a grand entry into the soundtrack! 😊 #5StarHotelSong!!


3. Choone Chali Aasman
Singer ~ Rachel Varghese, Backing Vocals by ~ Mikey McCleary, Music by ~ Mikey McCleary, Lyrics by ~ Prasoon Joshi

For his second song, Mikey opts for the one-Bollywood-song old singer, Rachel Varghese, who had debuted with ‘Kya Karein’ from ‘NH10’ not long ago. This time, she gets an inspirational and much less dull song than the first one she sang, and she delivers it with great expertise. She has a distinct husky voice, and she uses it well, making it work in favourite if the song. Mikey’s choice as her to sing the song turns out to be perfect. Mikey’s composition is slow-paced, but engaging, and will remind you of Western songs, heard in English movies at emotional points in the films. The composition is also very inspirational, and lovable. This it might take a while to grow on you, when it does, you will find it really worthy of hearing again and again. Of course, the calmness it imparts, helps increase its likability. Mikey’s arrangements, consist mostly of instruments like guitars, jingle bells, and drums played in a calm way, unlike they are usually played. A great string orchestra has been appointed by Mikey to make it sound more grand, and indeed it does sound so. A very efficient backing chorus led by Mikey, increases the effect of the song even more! Prasoon Joshi, yet again, writes great lyrics, again putting us into a state of awe. His lyrics are at the inspirational peak! And so creative! He has used metaphors to carry out what is really meant to be said. Motivational, they give a sense of happiness as well. Mikey’s beautiful composition, rendered wonderfully by Rachel Varghese, and put to Prasoon Joshi’s awe-inspiring lyrics! #5StarHotelSong!!


4. Meri Aadat Mera Hissa
Singer ~ Anushka Manchanda, Music by ~ Mikey McCleary, Lyrics by ~ Prasoon Joshi

A mellow and sombre guitar riff, welcomes us into the next song, sung by Anushka Manchanda, who has worked with Mikey quite a number of times in his Bartender albums (which feature revisitations of classic Bollywood hits) This time, she gets a haunting, sad type of song, and she, who I always have tagged as strictly a club singer, carries it out with such perfection, that I was left awestruck, hearing this avatar of her voice. She has done a commendable job and has done justice to Mikey’s grave composition. Talking more about his composition, it has the perfect seriousness and emotion to it, that the lyrics call for, and also, the haunting tone of it, makes it much more feasible. Mikey has infused the right amounts of soul and heart into it, to make it attract all kinds of music lovers. The arrangements part has nothing except a chilling, sombre guitar riff which keeps playing throughout the whole song. It really does wonders, this small guitar loop, and makes the composition, which probably might not have worked as much without it, stand out. Prasoon manages to make us go all praise for his lyrics, one more time!! By writing what is in his heart, he manages to win over our hearts! Of course, the shining star in this short 2½ minute song, is Anushka, without whom half the effect of this song wouldn’t have been accomplished. A haunting, grave composition, rendered emotionally and perfectly by Anushka Manchanda! Great writing by Prasoon yet again! #5StarHotelSong!!


5. I Need A Man
Singer ~ Vivienne Pocha, Music by ~ Mikey McCleary, Lyrics by ~ Mikey McCleary

Just as the jazzy trombones and saxophones start this song, you know that you are going to go on a short, but memorable trip to the Jazz era of the 60s. And indeed, this song does exactly that! Sung fully in English, in Broadway-styled vocals, like we hear in all those old English movies from the 50s-60s and also in many Disney movies (😃) this song, lively, energetic and dynamic, does nothing but get you swaying and moving along with it. Vivienne Pocha, mostly known for her backing vocals in many Bollywood movies, and also heard in songs like ‘Shano Shano’ (Yuvvraaj) & ‘Loser’ (Housefull), renders this song with such unbelievable energy, that you really are left shocked by the time it ends. Her accent closely resembles that of the African-American singers who actually used to sing such songs, and she really has to be applauded for that! Her voice modulation is terrific, and her energy doesn’t seem to be drained out even after such vivacious singing! Kudos to her again for that! The arrangements also resemble a lot, the Jazz-Cabaret era of that time, with drums, saxophones, trombones, all placed in the song perfectly and played very playfully. The playful tune also helps to increase the song’s appeal. It will surely appeal to those looking for a change in the music of Bollywood. Mikey’s lyrics are nothing too great, either, but suit the theme and the style of the song. What matters is, that the song should be liked by one and all, and I really hope it is! Vivienne Pocha finally comes into the limelight with a song to call her very own, thanks to Mikey!! #5StarHotelSong!!


6. Don’t Go Running Off Anytime Soon
Singer ~ Mikey McCleary, Music by ~ Mikey McCleary, Lyrics by ~ Mikey McCleary

The next song, is another English one, this time out-and-out romantic. Well, Bollywood seems to have derived a whole formula for romantic songs, what with the whole Arijit revolution having happened and all, but this song doesn’t follow that formula at all. Nevertheless, it still has the same vibe and lovable aspect to it, which makes you smile and like it instantly. First of all, Mikey has kept things very simple, with a very sweet and straightforward composition, no twists and turns, very predictable, yet a winner. It is a song, the type of which we have never witnessed in Bollywood, wholly in English, romantic, no Indian instruments, only a simple tune backed by simple acoustic guitar riffs. The sweetness and simplicity of it all, is the USP of the song here. Sweet and cute lyrics by Mikey enhance the hearing experience (I don’t mean audio-quality-wise, but I mean that you would love the song even more). Lines such as “You’re Little Miss Organized and I’m Mr. Mess” and “You yell at me whenever I leave stuff in the sink.” make it seem all the more simple, and also less and less cinematic and dramatic. It sounds as of someone in real-life has composed it for his love, and not for a movie. That just makes it more magical as ever. Mikey’s thin voice works in favour of the song. His voice is really great, and attracts listeners, ensuring they have their attention completely towards the song for the whole time. Just as the previous two songs, this one too ends before we know it, and before we want it to. As Leonardo da Vinci said, “Simplicity is the ultimate sophistication!” And this song is sophisticated in all aspects, just because of the simplicity it, so innocently, carries! #5StarHotelSong!!


7. Aai’s Aalap
Singer ~ Rajnigandha Shekhawat, Music by ~ Mikey McCleary

We return to India, with the next track. Rajnigandha Shekhawat, Sufi singer from Rajasthan, carries out the aalaps in the song with perfection, and her voice actually suits as the voice of a distressed mother. (Aai means ‘mother’ in Marathi). She does a brilliant job as she carries the song on her shoulders, assisted by wonderful arrangements done by Mikey. The predominant instrument in the track is the piano, which makes the track showcase a wonderful fusion of classical and Western. Tanpura At places also has been placed well, and the sitar also sounds awesome when it is heard in pieces here and there. Towards the end, the low sound of a cello or viola impresses, after which a beautiful plucking sound endears us. Overall, the song gives out an emotional feeling, one that will surely be loved by all. With nothing much more to describe in this track, as it has no lyrics, and no tune as such, all that can be advised is, to definitely hear this track! #5StarHotelSong!!


8. Laila’s Theme
Music by ~ Mikey McCleary

Bollywood’s obsession with ‘themes’ of the main character of its movies continues with this song. Although, there’s nothing not to like in this instrumental piece. The piano notes, played in such a dulcet, calm way, do the job of keeping the listeners with their ears glued to wherever they’re listening to the song from. The beats join in after a while, and make the theme a bit more lively and groovy (as in, to which you can nod your heads to, not get up and dance!) Strings join in later on, just to increase the already magical ambience that had been created thanks to pianos and the beats. The theme also ends soon, as it seems, as you get immersed into the beauty of it all. However, everything has to end, and this ends too,unfortunately. Mikey’s cute composition and arrangements make it very worthwhile to hear. Many people steer clear of instrumentals, but this is one, I bet you don’t want to miss for anything!! #5StarHotelSong!!

Margarita With A Straw ended up exceeding all the expectations I had in mind for it, giving beautiful quality music, one after the other. Joi Barua as the guest composer gives a lively and funky rock song, while Mikey McCleary delivers his career best in my opinion (because he almost always gets one or two songs in multi-composer albums) by giving us a whole lot of variety, right from Caribbean folk, to Broadway, to contemporary music. No wonder he won the Asian Awards for this album. It was really worth it, and each and every second of this album deserves your attention, right away! It also needs to be heavily promoted to be noticed at all, by the public! So if you’ve not yet tried it, immediately go and taste this wonderfully blended music all cocktail by Mikey McCleary, Joi Barua & Prasoon Joshi!


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: The order on the jukebox attached above! 😃 Because all are equally great!


Which is your favourite song from Margarita With A Straw? Please vote for it below! 🙂