A MUFFLED SOUND EXPLOSION!! (PARMANU – Music Review)

Music Album Details
♪ Music by: Sachin-Jigar & Jeet Gannguli
♪ Lyrics by: Vayu Srivastava, Dr. Kumar Vishwas, Sachin Sanghvi & Rashmi-Virag
♪ Music Label: Zee Music Company
♪ Music Released On: 15th May 2018
♪ Movie Released On: 25th May 2018

Parmanu Album Cover

 

Listen to the songs: Saavn

Buy the songs: iTunes


Parmanu is a Bollywood drama/thriller film starring John Abraham, Boman Irani and Diana Penty, directed by Abhishek Sharma and produced by Zee Studios, JA Entertainment and Kyta Productions. The film revolves around the 1998 bomb test explosions conducted by the Indian Army at Pokhran, Rajasthan under the leadership of Dr. APJ Abdul Kalam during PM Atal Bihari Vajpayee’s tenure. The film has opened to mixed reviews, but what had me most excited about the film (since the subject matter isn’t really the kind I like) was the music by Sachin-Jigar. Well, Sachin-Jigar and Jeet Gannguli, as I learned after the album released.


Sachin-Jigar April start the album off with a refreshing song Shubh Din, which follows the folksy Gujarati/Rajasthani template to the tee, but still manages to turn out as an entertaining number. They recreate their own ‘Aavi Re Hoon Aavi Re’ (from the Gujarati movie Carry On Kesar), and the song has a catchy instrumental loop after the hookline, which Sachin-Jigar have made sure, hooks the audience. The arrangements give the impression that the makers were going for something grander, but had to settle for less than what they intended. The folksiness doesn’t come out full-fledgedly as one would expect from Sachin-Jigar, but ends up sounding muffled. The vocals by Keerthi Sagathia and Jyotica Tangri are amazing though, as is Sachin-Jigar’s composition, so at least the song is entertaining for as long as it plays.
The next folksy number by Sachin-Jigar, Thare Vaaste, is like a patriotic recreation of their song ‘Chunar’ (ABCD 2), especially lyrically. Vayu Srivastava’s lyrics are aptly poignant and patriotic, but sadly, the composers’ tune doesn’t match up to that level; it fails to move the listener. The anthemic tune gets repetitive after some time, and though Divya Kumar does well in trying to make the song sound energetic, it is again the fault of the muffled-sounding arrangements, that the song doesn’t come to life as would be expected.
Kasumbi, the best song of the album, also sees the duo follow the folksy template, but this time Vayu’s lyrics are Punjabi, in a film set in Rajasthan. This one starts off like another ‘Chunar’ spawn, but soon sets in as a moving patriotic number — the shehnaai is the most remarkable instrument used here; it harks back to the old patriotic songs. Again, the arrangements sound muffled here too (what’s with the poor programming throughout the album?) but Sachin-Jigar’s tune is so strong, it can be overlooked. Also, Divya Kumar gives an amazing performance, especially in that gem of a hookline. Vayu’s lyrics are beautiful, incorporating the word ‘Kasumbi’, which is probably the name for the saffron colour associated with patriotism in Gujarat and Rajasthan.
The last two songs composed by Sachin-Jigar in this album, have soothing tunes and less of a folksy impact than the previous songs. Sapna is the trademark Sachin-Jigar romantic melody (a la ‘Meet’ from ‘Simran’) in its composition, but the lyrics by Sachin Sanghvi are not romantic at all. Overall it is a pleasant listen, which Sachin-Jigar doing their signature method of repeating an instrumental loop after the hookline. (The loop in this song sounds a lot like the one in ‘Maana Ke Hum Yaar Nahin’ from “Meri Pyaari Bindu”). Arijit Singh is himself in the song, and carries it off like he carries off every song he’s ever carried off. The guitars are enjoyable and soothing, and the sarangi is beautiful, and the song itself is fortunately short — any longer and it would’ve been too long.
The last song by Sachin-Jigar, De De Jagah, is yet another in the same vein as ‘Sapna’, but this time, the lyricist (poet and politician Dr. Kumar Vishwas) complements it with romantic lyrics. What strikes me right away, yet again, is that something is wrong with the mixing, making Yasser Desai’s voice sound like it has been recorded on WhatsApp. Sachin-Jigar’s vibrant composition is one of the best of theirs over the period of 2016-2018, and Yasser Desai, barring the bad use of his vocals, tries to do his best, and succeeds fairly enough. The guitars and tablas complement each other surprisingly well, and the harmonium provides the soul in the song. The tune of the hookline is what will get you hooked to this song, just like songs traditionally are supposed to do.
Now, the reason I described that as Sachin-Jigar’s last song, is because there’s a kind of guest composer we have in the album; he has been waiting patiently for his turn, and I’m more than happy to talk about his song. The man in question in Jeet Gannguli, who has somehow bagged a romantic (read Mohit Suri-like sob-inducing) song in a movie like this. Jitni Dafa is one of those songs we have heard enough of in Bollywood, and I can’t believe the makers would proactively damage their own music album by including such a song in the album. It starts off painfully simple, and until those ‘Aashiqui 2’-ish beats start, it isn’t that painful, but when they do start, you keep waiting for the song to end. Rashmi-Virag write great lyrics, but hey, I’m quite sure John’s character in the film has time to weep like this at such a critical time and dire situation. And the singer is Yasser Desai, trying his best to be a mix of Mustafa Zahid, Arijit Singh, Saim Bhatt and Atif Aslam.


Parmanu has a soundtrack that mostly sticks to the point (barring that guest song) but something is definitely wrong with the arrangements; if they had been better mixed and mastered, the sound would’ve been grander and more enjoyable!

 

Total Points Scored by This Album: 8 + 7 + 8.5 + 7 + 7.5 + 5 = 39

Album Percentage: 71.67%

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: Kasumbi > Shubh Din > De De Jagah > Thare Vaaste = Sapna > Jitni Dafa

 

Remake Counter:
No. Of Remakes: 19 (from previous albums) + 01 = 20

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

SAME STORY ∞!! (HATE STORY IV – Music Review)

Music Album Details
♪ Music by: Tanishk Bagchi, Arko Pravo Mukherjee, Mithoon, Baman-Chand, Tony Kakkar & Himesh Reshammiya
♪ Lyrics by: Manoj Muntashir, Kumaar, Rashmi-Virag, Sanjay Gupta, Sameer Anjaan
♪ Music Label: T-Series
♪ Music Released On: 23rd February 2018
♪ Movie Released On: 9th March 2018

Hate Story IV Album Cover

 

Listen to the songs: Saavn

Buy the songs: iTunes


Hate Story IV Is a Bollywood thriller (cough cough, ahem ahem) starring Urvashi Rautela, Karan Wahi, Vivan Bhatena and Ihana Dhillon, directed by Vishaal Pandya, and produced by Bhushan Kumar, Krishan Kumar and Vivek Bhatnagar. The film has music by Tanishk Bagchi, Arko Pravo Mukherjee, Mithoon, Tony Kakkar and Baman-Chand. Now all of these composers have been working with T-Series for quite some time, but that doesn’t mean I expect too much from the album! The reason being that the ‘Hate Story’ franchise has never been strong on music, no matter how popular it has been.


Tanishk Bagchi’s remake spree which seems to be inexorable, continues just as strongly as it had started off. I can’t even remember when it started. ‘Humma’? ‘Tamma’? Who knows. But now he gets to Himesh Reshammiya’s bank of songs. The producers browse for a moment through Himesh’s repertoire, and finally pick out two of his songs, for Tanishk to recreate. Tanishk, reluctantly, complies. One of the recreations has backfired terribly — Aashiq Banaya Aapne ends up being a lazy club number, in which Neha Kakkar lazes around as if she’s reciting a poem instead of singing a song. Tanishk’s too loud programming stuns the ears, and the way he uses Himesh’s voice is terrible. Tanishk never does a remake without having Tapas Roy play the hook of the song on a mandolin or some other ethnic string instrument, and he does that here too, just increasing the heard-before-ness of the song. Manoj Muntashir’s lyrics are almost the only worthwhile stuff in the song. The second one, Naam Hai Mera, at least has good vocals and music, and if you forget that the essence and beauty of the original song, which was soulful, has been demolished, you will like it. Neeti’s powerful voice luckily propels this one to where it is, and Tanishk’s EDM is refreshing. It is the lyrics here, that spoil the song.
Moving on to the original numbers, Arko’s Boond Boond is the best of the lot, with a nice Latino vibe to it, but it is not all that innovative either. It sounds like Arko was trying to recreate the type of songs Bollywood made in 2006-2008, when we were obsessed with Latin American music. Jubin’s voice doesn’t suit the song a lot, but Neeti saves the day (again), while the lyricists Manoj Muntashir and Sanjay Gupta (the filmmaker??) have nothing much to do except search through old Bollywood songs and put together all the clichéd phrases they could find.
Mithoon’s first song of the year is highly disappointing — Tum Mere Ho tries to be a ‘Sanam Re’-esque love song, but ends up being sleazy and lazy. The vocalists Jubin and Amrita Singh only increase the laziness with their lazy voices, making me too lazy to write a review for the song. The only good thing here, are the percussions in the interlude. That’s a nice touch.
If that song was lazy, wait till you hear Mohabbat Nasha Hai, a typical Tony Kakkar cry-fest. But though his previous cry fests like ‘Khuda Bhi’ (Ek Paheli Leela) and ‘Mile Ho Tum Humko’ (Fever) have been quite good, this one, being a mishmash of all of them, and with the same boring beats, is just plain boring. In one of the versions, I can at least listen to Neha Kakkar when her part comes (she sings better here than she sang ‘Aashiq Banaya Aapne’), but in the Male Version I don’t even have that liberty. Oh well.
The other best song of the album, at par with Arko’s song, happens to be Baman-Chand’s Bhatt-ish melody Badnaamiyan. The Male Version by Armaan Malik fares much better, and that’s the one that is the best of the album. Armaan’s voice suits the romantic composition, and Baman-Chand’s arrangements are great, though heard before, especially the electronic tabla. Sukriti Kakar doesn’t do too well in the Female Version, and even the arrangements don’t support her, being the usual boring arrangements used for such songs.


With the fourth instalment in this series (fifth if you count ‘Wajah Tum Ho’), it is evident that T-Series, who seem to have been making the films only for the music, might stop making the films soon, because the music is certainly going down…!

 

Total Points Scored by This Album: 5.5 + 6 + 7.5 + 5 + 5 + 4.5 + 7.5 + 6 = 47

Album Percentage: 58.75%

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

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

Recommended Listening Order: 
Boond Boond = Badnaamiyan > Naam Hai Mera = Badnaamiyan (Female) > Aashiq Banaaya Aapne > Mohabbat Nasha Hai = Tum Mere Ho > Mohabbat Nasha Hai (Solo)

 

Which is your favourite song from Hate Story IV? Please vote for it below! Thanks!

PHIR SE… JEET’S TRADEMARK TUNES! (PHIR SE… – Music Review)

Music Album Details
♪ Music by: Jeet Gannguli & Sandeep Shirodkar
♪ Lyrics by: Rashmi-Virag
♪ Music Label: T-Series
♪ Music Released On: 23rd January 2018
♪ Movie Released On: 15th January 2018

Phir Se… Album Cover

 

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

To buy this album on iTunes CLICK HERE


Phir Se… Is a Bollywood film starring Kunal Kohli and Jennifer Winget, directed by Kunal Kohli and Ajay Bhuyan, and produced by The Bombay Film Company. The film, originally slated for theatrical release in 2015, got postponed indefinitely due to legal issues, so the makes finally decided to release it this year directly in Netflix. The music is by Jeet Gannguli, who was quite active back in 2015, and so let’s see if the songs fall into his “superhit” category of songs or just sound dated!


The last time Jeet Gannguli composed in a Hindi film was so long ago, I can only guess and not tell with certainty (of course, without a quick search through my blog). So I guess it was ‘Raaz Reboot’ in September 2016. And I believe he composed only one song last year, in ‘Ranchi Diaries’. Now, this movie was slated to release in 2015, and ended up releasing on Netflix in 2018. So technically, he still hasn’t composed for a new film since ‘Raaz Reboot’, barring the single song he composed for ‘Ranchi Diaries’. It still makes me glad to hear his music again, for some reason, because it is always the same formula, but almost always works. So here goes!
The title track of Phir Se was released as a T-Series single sung by Amruta Fadnavis and Amitabh Bachchan. I immediately recognised the tune, But couldn’t place it and my friend (he knows who he is) immediately linked it to that song. Of course, this version is better, with Nikhil D’Souza and Shreya Ghoshal on vocals. The sultry tune, coupled with a saxophone arrangement makes it feel calming. A Remix by Sandeep Shirodkar, is passable, because I doubt it will be noticeable enough to be played in clubs and whatnot. The Sad Version too, wouldn’t have mattered even if it hadn’t been in the album.
The mukhda of the title track is used as the antara of Maine Socha Ke Chura Loon, a song whose delay probably led Jeet Gannguli to recycle it and use it as ‘Lo Maan Liya’ (Raaz Reboot). The composition is similar to that song at many places. Arijit does a great job, as he always does in a Gannguli composition, while Shreya barely gets time to make a difference. Arrangements are once again soothing.
The next half of the album consists of upbeat tracks, relatively. Mohit Chauhan leads both of them as the male vocalist, joined by Tulsi Kumar in one, and Monali Thakur and Shreya Ghoshal in the other. The Mohit-Tulsi combo works surprisingly well in Rozana, a song with a distinct early 2000s Kunal Kohli film sound. It would be be a surprise if Jatin-Lalit had composed this one. Jeet also uses the ‘Ladki Kyon’ guitar riff from ‘Hum Tum’ to hark back to the filmmaker’s film. The trio of Mohit, Monali and Shreya end up giving my favourite song of the soundtrack, Yeh Dil Jo Hai Badmaash Hai, an upbeat track with an amazingly catchy tune. Surprisingly enough, Monali is not overshadowed by Shreya as one would expect, but both get their part in the song. Mohit is wonderful as always in these types of songs.


Jeet’s three-year-old album still wouldn’t have changed if he would have tried to tweak it in 2017. I would expect the same thing from Jeet whether it is 2015 or 2020.

 

Total Points Scored by This Album: 7 + 5 + 6 + 7.5 + 7.5 + 8 = 41

Album Percentage: 68.33%

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: Yeh Dil Jo Hai Badmaash Hai > Maine Socha Ke Chura Loon = Rozana > Phir Se > Phir Se (Sad) > Phir Se (Remix)

 

Which is your favourite song from Phir SePlease vote for it below! Thanks! 🙂

THE LITTLE FORCE OF TECHNO MUSIC!! (FORCE 2 – Music Review)

Music Album Details
♪ Music by: Gourov-Roshin, Laxmikant-Pyarelal & Amaal Mallik
♪ Lyrics by: Kumaar, Javed Akhtar & Rashmi-Virag
♪ Music Label: T-Series
♪ Music Released On: 27th October 2016
♪ Movie Releases On: 18th November 2016

Force 2 Album Cover

Force 2 Album Cover

 

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

To buy this album on iTunes CLICK HERE


Force 2 is an upcoming Bollywood action thriller film, starring John Abraham and Sonakshi Sinha in lead roles, and Tahir Raj Bhasin in a negative role. The film has been directed by ‘Game’ and ‘Delhi Belly’ fame Abhinay Deo, and produced by Vipul Amrutlal Shah, Viacom18 Motion Pictures, and John Abraham himself. The film is a sequel to Nishikant Kamat’s directorial, ‘Force’, which released in 2011. The music of ‘Force’, by South composer Harris Jayaraj, was quite nice, with many romantic songs being the best ones, and ‘Khwaabon Khwaabon’ being the thrilling USP of the album. With only one underwhelming song in that album, ‘Dum Hai Toh Aaja’, it turned out to be one of the most underrated albums of the year. This time, though, composers Gourov-Roshin take hold of the music. Earlier this year, along with Shaan, they had composed a song for ‘Great Grand Masti’, under the name Superbia. For this movie, Gourov Dasgupta and Roshin Balu, without their partner Shaan, have been roped in. The song from ‘Great Grand Masti’, I didn’t like much, so I can’t say much about my expectations from the duo. However, a guest composer in the form of Amaal Mallik also increases the chances of the album being a success. With just four songs, three by the duo and one by guest composer Amaal, I am sure the makers of the movie are more interested in the storyline than the music, but still hoping with crossed fingers that the music lives up to the music of the first film nevertheless! So let’s get ready to measure the force in the music of ‘Force 2’!


1. Rang Laal
Singers ~ Dev Negi & Aditi Singh Sharma, Voiceover by ~ John Abraham, Music by ~ Gourov-Roshin, Lyrics by ~ Kumaar

The first song on the album shouts patriotism right in your ear. The way it gets there though, is quite mediocre and average. Let me explain. The song starts off with a voiceover by John, after which comes a rap by Dev Negi. The actual melody composed by Gourov-Roshin comes after the rap, and it is good till there. I don’t deny it. But then the hookline comes and takes away whatever goodness the son had established. The hookline sounds so outdated and worn-out, and on top of that, it arrives so abruptly. The mukhda and hook don’t really blend in well with each other. There is practically no antara, and if I were to call some part of the song as one, it would be a part that consists of only a rap portion and the same tune that comes before the hookline in the mukhda. It all gets so predictable after a certain time. The song seems to rely mostly on the rap, and the patriotic voiceovers by John Abraham. The arrangements are techno sounds, that have fortunately been kept not so loud. The rock guitar that plays occasionally is impressive though. The vocals are just fine. Dev Negi impresses with the rap, but due to the very short part that he actually has to sing, he can’t shine in those parts. In the hook, he is joined by Aditi Singh Sharma, who can hardly be heard. John Abraham’s voiceovers sound out-of-place in an audio song. They could’ve just added it in the promos if they’d wanted. I really don’t like this method of including dialogues in songs. Kumaar’s lyrics are good, full of patriotism, and might be the only thing on the song meeting the requirements and expectations from this patriotic track. A disappointing start to the album.

 

2. O Janiya
Singer ~ Neha Kakkar, Original Composition by ~ Laxmikant-Pyarelal, New Composition and Music Recreated by ~ Gourov-Roshin, Original Lyrics by ~ Javed Akhtar, New Lyrics by ~ Kumaar

The second song on the album is a remake of ‘Kaate Nahin Kat Te’ (Mr. India). The song gets a club makeover from Gourov-Roshin, and as it starts, you get to know that it isn’t going to work out well, and it isn’t going to do justice to the original. The song starts off with some weird Arabic, (??) French (??) Or Spanish (??) lyrics that seem to be aping the way ‘Lovely’ (Happy New Year) started, with some similar Arabic words. (Or maybe gibberish). It is a horrible starting, with some lady sounding like she’s saying “serret lekhh baybee“, with too much emphasis on the “baby“. After that, it is pure techno music that follows. Thankfully, the duo has only used the hook of the old song, and tried to form a new song around that. Sadly, that seems to have failed. The mukhda is a typical club song composition, which fails to really create any interest. Cleverly, T-Series have named the song after the first line of the mukhda, so that no old song aficionados judge the song by its name and thereby proclaim that they’ve ruined the original. Which they have, anyway. The hookline is the same hookline that so many of us already love, but it doesn’t even sound good in the song, much less, sound good with that mukhda. The antara is a bit better in terms of composition, but you really can’t do anything when half the song engages you and not most of it. Neha Kakkar was practically expected to sing this song. She provides the little relief in the song, singing it with the required spunk. But she spoils the hookline, adding too much of nuances into it, and trying to sound a bit too cool. The last time the hook repeats, her love basically overflows, and she sings “I looovvve you love you love you love you” (at 4:03 in the song), which is enough to spoil the hookline for one last time. The arrangement is mainly techno music, that depends on a loop, to make itself noticeable. That tune plays all throughout the song, and it is quite an annoying tune. The techno music in the hookline spoils the sound of the hook as well. It all seems like such an overdose of techno music. Kumaar’s new lyrics are quite unbelievable. “O janiya, Tu nahin tha, Teri yaadon Se kiya Maine pyaar“. 😂 A song that could very well have been remade into a good romantic song, gets a club makeover and gets spoiled forever.

 

3. Ishaara
Singer ~ Armaan Malik, Music by ~ Amaal Mallik, Lyrics by ~ Rashmi-Virag

Amaal Mallik finally enters the album, after the duo Gourov-Roshin fail to create any magic. I expected Amaal to make up for the missing magic, but I must say, the result is quite underwhelming here too. Don’t get me wrong, I really love Amaal’s music. The composition this time around, too, is very soulful and emotional. Perfect for a romantic song that will grow on you like slow poison. However, I also couldn’t help but feel it was quite similar to many of his previous songs, like ‘Kuch Toh Hai’ (Do Lafzon Ki Kahani) and ‘Kaun Tujhe’ (M.S. Dhoni). The humming, he has used many times, and that particularly, was the setback for me. The mukhda is beautiful, while the hookline is so mellifluous that it just gets stuck in your head. The antara sounds very similar to the mukhda, it is hard to differentiate between the two, but it is well composed. The arrangements are minimal, with the acoustic guitars and strings really doing a great job. In an interlude, a rock guitar with a muffled voice, sounds like a lounge treatment has been given to it, and it sounds great! The star of the song, though, is definitely the mandolin. Every time it plays, it sends a chill down your spine. The entire feel of the song is all in all, quite haunting, and I would’ve enjoyed it more, had it been a bit different-sounding from Amaal’s earlier compositions. Armaan is a star, and he proves again how merely his voice can elevate a composition to another level. He adds little nuances to the composition which really make it stand out in those parts. Rashmi-Virag, as always, write awesome lyrics, and become yet another reason to listen to the song. Their writing is always full of soul and emotion, and that’s proved here too. One of Amaal’s weaker songs, due to the overlap with his previous songs. However, his arrangements, Armaan’s voice and Rashmi-Virag’s inexplicable writing, make this worth hearing at least a couple of times!

 

4. Catch Me If U Can
Singer ~ Amaal Mallik, Music by ~ Gourov-Roshin, Lyrics by ~ Kumaar

Gourov-Roshin come back into their album, with yet another overdose of techno music. The song is suitable for the thriller genre, and with the pacy techno arrangements, it has its things right. However, it falls flat in the composition. The mukhda starts off very flatly, so much so, that the listener can even get bored right away. It actually sounds like something composed just for the fun of it, and not meant to feature in a major motion picture soundtrack. The duo’s composition is painfully non-creative, and follows the path of many previous failed techno thriller songs. The hookline is just plain bad, I can’t put it any other way. The antaras have just as much in their favour as a child who hasn’t studied for the Maths exam. The duo try to cover their mediocre composition with some techno music, but it only sounds good at the beginning, where it does some nice little disco thing that is impressive and reminiscent of the 80s disco era. All throughout the rest of the song, are stale and boring techno sounds that fail to interest the listener. Some occasional Arabic drums do the trick though, being the only catchy sounds in practically the whole album. Amaal’s vocals haven’t been tuned properly, and firs of all, he shouldn’t have sung this song. Someone with a more strong voice like Suraj Jagan or the like should have been approached. Even Amaal seems uninterested in singing the song, as I can make out from his voice. The duo could’ve done some autotuning there, because other people even use it for singers who don’t even require it. Kumaar’s lyrics are pretty mediocre. SKIP!


Force 2 seems to be one of the worst albums of the year. With not even one track being completely lovable, the album falls short of expectations from every which way. What Harris Jayaraj did in the first installment, and what Gourov-Roshin give in the second, have many miles’ difference between them. Amaal’s guest song does become the best song of the album, but could’ve been better in itself too. But with T-Series relying on what the audience wants and depending on old songs remade to do the trick, I doubt that could’ve been possible. A FORCELESS ALBUM, WITH AN OVERDOSE OF TECHNO MUSIC!

 

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

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

Recommended Listening Order: Ishaara > Rang Laal > O Janiya > Catch Me If U Can

 

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

RAAZ TO SUCCESS: RECYCLE THE BHOOT!? 🙈 (RAAZ REBOOT – Music Review)

Music Album Details
♪ Music by: Jeet Gannguli & Sangeet-Siddharth
♪ Lyrics by: Kausar Munir & Rashmi-Virag
♪ Music Label: T-Series
♪ Music Released On: 19th August 2016
♪ Movie Releases On: 16th September 2016

Raaz Reboot Album Cover

Raaz Reboot Album Cover

 

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

To buy this album on iTunes CLICK HERE


Raaz Reboot is an upcoming Bollywood horror film, and the fourth installment of the ‘Raaz’ franchise. The movie stars Emraan Hashmi, Gaurav Arora (‘Love Games’ fame), and débutante Kriti Kharbanda. The movie is directed by Vikram Bhatt and produced by Mukesh Bhatt, Bhushan Kumar and Krishan Kumar. Of course somebody is possessed by an evil spirit and Emraan Hashmi loves that someone and all those clichés of a Bollywood horror-romance starrign Emraan Hashmi, must be there in the film. Who cares about the story though, when the music is the highlight? Music is definitely the highlight of a Bhatt film, and though I keep mocking it in some of my other reviews, I have to admit that sometimes, the songs are very beautiful. The third ‘Raaz’ movie had a wonderful soundtrack by Jeet Gannguli, and guest composer Rashid Khan had also composed (or ‘copied’) a wonderful song. This time too, things are quite like the last time. Jeet Gannguli is in charge of the full album, consisting of six tracks (three original songs, with one of those having two versions and one more having three, so 3+2+1=6) and guest composers are Sangeet-Siddhartha Haldipur, with one track. Jeet Gannguli has been impressing on and off this year, his last memorable song being the wonderful ‘Dekha Hazaro Dafaa’ (Rustom), while Sangeet-Siddharth gave a good album to ‘Love Games’ earlier this year, which was highly impressive and innovative. So, I expect some good things from these two, and hopefully, they give a good reboot to the ‘Raaz’ series!


1. Lo Maan Liya
Singer ~ Arijit Singh, Music by ~ Jeet Gannguli, Lyrics by ~ Kausar Munir

Jeet starts off the album with a song that evokes memories of Bhatt songs that have been entertaining us for the last two decades. This song is a perfect blend of the Bhatts’ sound in the 2000s as well as this decade. Jeet’s composition is something that instantly gets you hooked to it, despite the fact that it is oh-so-clichéd! The mukhda is something that sounds so sweet even in all its painfulness, and you immediately start humming it after the song is over. Making a successful typical melpdy is an art that Jeet seems to have mastered over the years. The song is reminiscent of his own ‘Dard’ (Sarbjit) in one line of the mukhda, (“ayyee yaar zara humko”) and it is also my favourite line from the song, composed beautifully. The hookline lies in the mukhda itself, and I’ve already said how catchy it is. The antara, however, takes the song to a whole new level. It is composed in a very 90s-ish manner. The haunting feel of the rest of the song flees away in this part, and a sweet and lovable tune sets in, until the hookline comes back. It kind of reminded me of the title track of ‘Khamoshiyan’ which was composed in the same style (a haunting mukhda followed by a sweet antara). Jeet aces the arrangements, with those ever-so-loyal guitar and flutes of his stealing the show. The beats in the rest of the song are quite ordinary, but work in favour of the song. The assortment of flutes play this sweet, but haunting hook tune, which always makes you feel awesome when it plays. However, the star of the song has to be the singer this time. I know how many times I’ve joked about Arijit singing songs from the one-thousand-and-fofty-eighth installment of the ‘Raaz’ franchise, but I’ve got to give it to him; he sings these songs perfectly! His voice has the right mix of sweetness, innocence and instensity with which to render this composition. The way he sings my favourite line of the song (which I pointed out above), is fantastic! And the first line of the antara!! He sings that so wonderfully! No wonder the nation is crazy after him. The lyrics seem like they’re written with the very harsh intention of hurting somebody with the taunt that they don’t remember you, and neither do you remember them. 😂 It’s a perfect song to sing when you’re mad at someone and want to taunt them or vice versa. Jokes apart, Kausar (after a long time; last she wrote were some songs in ‘Laal Rang’, I believe) writes lyrics suitable to the dard-judaai-with-a-bhoot-interfering theme! 🙂 A perfect kick start to the album; something Jeet is known for, and he delivers it perfectly once again!! #5StarHotelSong!!

 

2. Raaz Aankhein Teri
Singer ~ Arijit Singh, Music by ~ Jeet Gannguli, Lyrics by ~ Rashmi-Virag

The title song comes up next, with the maestro of title songs, Jeet Gannguli, behind it. The composer goes to new lengths to make this composition worth listening on loop. Keeping the haunting theme of the movie in mind, this song is perfectly composed. The composition once again, is very typical and heard-before, yet we can’t help but develop a liking towards it. In fact, it is a remake of Jeet’s Bengali song ‘Ki Kore Bolbo Tomay’ (from the movie ‘Ki Kore Toke Bolbo’) Once again, Jeet takes the help of a haunting mukhda to attract the audience, while the antara calms things down with a very charming and calm tune. This song perfectly blends together the horror and romance in the movie. Though not as hooking and gripping as ‘Lo Maan Liya’, it still manages to grab your attention, and there is nothing missing as such in the composition. The arrangements are not extraordinary, yet appeal to the listener. The guitars play the main role in making this happen. They’ve been played in a very Latin/Spanish way and are very attractive. The song starts with the hookline playing on a violin, which is a perfect haunting start to the song. The violin comes back to amaze us in the first interlude, while the piano takes over in the second interlude, only to be followed by a whole orchestra of strings. But again, the guitar is the central focus throughout the song. Arijit sings this one with a more hoarse throat, probably to get that horrorific expression in the song. He sings this one with just as prowess as he did the first, though both songs are composed with different tones altogether. The lyrics by Rashmi-Virag are also good for the song and haunting, but nothing beyond that. Another stellar title song by Jeet Gannguli! However much I may be teasing such songs, I must admit I loved this one!! #5StarHotelSong!!

 

3. O Meri Jaan
Singer ~ K.K, Music by ~ Sangeet-Siddharth Haldipur, Lyrics by ~ Kausar Munir

Here come guest composers Sangeet-Siddharth with their only song on the soundtrack. The song starts off in a very heavenly, blissful way with flutes luring the listener in. The flutes are so beautiful, that you expect nothing but a wonderful song to ensue. Unfortunately, things don’t turn out quite so good. The composers try to concoct a composition that would enforce listeners to hear it repeatedly on loop, but fail miserably because of the pitiful commonplace treatment. The composition starts off well in the mukhda, but almost immediately loses its charm in the hookline, because the line before it (‘Tere bina aadhe bhi kya, tere bina adhoore kya’) evokes memories of the duo’s song ‘Mohabbat’ from ‘Love Games’, and this time the tune doesn’t work. The hookline itself isn’t hooking. The antara takes things uphill once again, but doesn’t manage to keep it there sadly. The irony here is that, this song doesn’t sound typical at all, but fresh (not like the usual Bhatt song), but the composer miss the opportunity to make it noteworthy and extraordinary. The arrangements are quite applause-worthy, with some very calming and charming sounds interspersed throughout the song, like those wonderful xylophonic sounds, and the entertaining guitar riffs. The flute, of course, remains the star of the song. The strings also help elevate the ordinary composition. The first interlude is a wonderful, dreamy one, played on the mandolin, I suppose. The vocals by K.K., will manage to attract listeners to an extent, but they don’t really go out of their way to impress you. The only reason he’s the perfect choice for this song is that soothing texture of his voice. Lastly, the lyrics by Kausar too, are nothing special, but very typical of romantic songs. A decent attempt to make a lilting, dreamy romantic song, but the composition turns out to be flat and dull. Sangeet-Siddharth fail to live up to the great expectations they created after ‘Love Games’.

 

4. Yaad Hai Na / Yaad Hai Na (Unplugged)
Singers ~ Arijit Singh / Jubin Nautiyal, Music by ~ Jeet Gannguli, Lyrics by ~ Kausar Munir

A haunting, yet sweet piano loop starts off Jeet’s next song, and before you know it, you are sucked into a whirlpool of Jeet’s lilting and dreamy composition. Now this song is something very, very innovative from the composer. Being the last original song on the album, it definitely wins the race in being the best song of the album right away. Once you hear the composition, you would never forget it for quite some time. Jeet once again builds the hookline into the mukhda itself, so that the hookline starts the song. And this line is what sucks you into this dreamy experience. The antara, too, is something that calms you down as well as haunts you in a very unusually pleasant way! The real magic is in the arrangements, and the vast difference between the two versions of the song. In the first version, Arijit sings along very Celtic arrangements, complete with the claps and strings (played in a very Celtic-sounding tune). Jeet orchestrates the strings so well, that it seems to have been taken right out of some classical European song! And those claps!! All throughout the song, claps infuse that pleasant quality into the song; quite an innovative beat, if you ask me. The flute in the second interlude has been played oh-so-wonderfully, again in a Celtic manner. Arijit himself excels in the song, and though it is his third song in the very same album, I am not as much frustrated as I am awestruck at his voice! This time, pure romance displays itself in his voice. In the also-very-innovative unplugged version, Jubin gets to sing along the backdrop of a very, very weirdly attractive guitar arrangement. When you hear this arrangement of this song, you’ll be shocked that Jeet could have thought of such a thing! The way the guitars constantly keep the beat, but go off tune once in a while so randomly, is so unconventional. While hearing this song, I could see a cowboy sitting on a stack of hay on a lazy Sunday with his banjo, and singing this song! 😀 Jubin, too, sings wonderfully, and the humorous arrangements complement him well. Kausar excels in her writing here. The lyrics are simple, but sweet and heart-touching. Some very innovative stuff from Jeet, Arijit, Jubin & Kausar! Both versions are fabulous, and will definitely get you swaying to the beat. Both versions are #5StarHotelSongs!!

 

5. Hummein Tummein Jo Tha
Singers ~ Papon & Palak Muchhal, Music by ~ Jeet Gannguli, Lyrics by ~ Rashmi-Virag

The next song is a short reprise of the title track; this time meant as an aftermath-of-separation song. The composition is exactly the same as the title track, which was very impressive, keeping the horror theme in mind. Here too, it suits as a judaai song, but other things aren’t in place here. This time, Arijit is replaced by Papon, who sings the melody with emotion, but just doesn’t suit here as much as Arijit did in the original. He is complemented by Palak, who takes charge of the antara, and sings it beautifully, surprisingly. 😀 The arrangements too, are the same as those of the original. However, the lyrics have been changed to suit a sad romantic theme, and everything goes haywire. The lyrics are too simple to be appreciated, and also sound too melodramatic. A reprise of the title track which just doesn’t work as well!

 

6. The Sound Of Raaz
Singer ~ Jubin Nautiyal, Music by ~ Jeet Gannguli, Lyrics by ~ Rashmi-Virag

The album ends with a song perfectly suiting the horror theme of the movie. This song is also a reprise of the title track, and it takes the mukhda of the song in a very slow pace, making it suit the horror theme even more. The arrangements are nothing but haunting sounds like the wind blowing very creepily. Jubin’s voice is perfect for the song, as he sings each note with this heavy, haunting air. There’s pretty much nothing else to say about this one except that it is such a good background music piece and also a #5StarHotelSong!!


Raaz Reboot surprisingly turns out to be an album which doesn’t bore even though it follows the typical clichés of a Bhatt album. Jeet comes up with a good compilation of his songs for this movie, while the guest duo Sangeet-Siddharth doesn’t really live up to expectations. All in all, the album is enjoyable and cherishable, and not just something to be used for publicity, as it would live on longer than that. After years of observation, I finally believe that the raaz (secret) to the Bhatts’ success, is recycling the bhoot! (Ghost) And this reboot works by recycling the bhoot!

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: Yaad Hai Na > Lo Maan Liya > Yaad Hai Na (Unplugged) > Raaz Aankhein Teri > The Sound Of Raaz > O Meri Jaan > Hummein Tummein Jo Tha 

 

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

 

Next “dish”: Pink, Chefs: Anupam Roy, Shantanu Moitra & Faiza Mujahid

PASSIONATE ROMANCE, AND FANATICAL DANCE!! (JUNOONIYAT – Music Review)

Music Album Details
♪ Music by: Meet Bros. Anjjan, Stereo Nation, Jeet Gannguli & Ankit Tiwari
♪ Lyrics by: Kumaar, Stereo Nation, Manoj Muntashir & Rashmi-Virag
♪ Music Label: T-Series
♪ Music Released On: 30th May 2016
♪ Movie Releases On: 24th June 2016

Junooniyat Album Cover

Junooniyat Album Cover

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

To buy this album on iTunes CLICK HERE


Junooniyat (meaning: passion) is an upcoming Bollywood romatic comedy starring Pulkit Samrat and Yami Gautam in the lead roles. The film is directed by Vivek Agnihotri and produced by T-Series. Looking at the star cast instantly reminds me of the disaster called ‘Sanam Re’, which had pretty decent music, barring two to three tracks. Here, one of the composers from ‘Sanam Re’ is retained — Jeet Gannguli, with two tracks out of the six in the album. Meet Bros. Anjjan (the music was composed before the split) lead the soundtrack with three tracks, while Ankit Tiwari takes up the rear with one song. Hoping for some good music as this is a T-Series album, is natural. Also, the romantic genre is like an assurance for at least three to four super hit songs. So expecting that, as well. 😀 Let’s see what ‘Junooniyat’ has to offer!


1. Nachange Saari Raat
Singers ~ Neeraj Shridhar, Tulsi Kumar & Meet Bros, Rap by ~ Meet Bros., Music by ~ Meet Bros. Anjjan, Original Composition by ~ Stereo Nation, Lyrics by ~ Kumaar, Original Lyrics by ~ Stereo Nation

Meet Bros. Anjjan get to open up the album with a dance party number, that is sure to climb the charts. Techno sounds are the quintessential start to these songs, and the brass instruments carry it forward. Meet Bros. sing an English intro to the song, until Tulsi kicks in with a totally different avatar. Meet Bros. Anjjan have taken StereoNation’s pop song ‘Nachange Saari Raat’ and remade it in a completely Bollywood manner. When they had remade ‘High Heels’ (Ki & Ka) I was really impressed, as they had completely transformed the whole song. However, this time, they have done a very typical remake — with the hookline being the same as the original and then composing some lines trying to match that line. And that is what makes the composition faulty here. It lacks the spunk that must be infused into such party numbers and turns put sounding pretty ordinary, just like the trio almost always did! (I personally liked most of Meet Bros’ work when they became a duo). The mukhda and antaras sound very outdated, something like ‘been there heard that’. The hookline is the only thing that sounds good, and that too, only in Neeraj’s voice. Tulsi seems to have tried too hard to sound different. It sounds good for the first few listens, but sounds irritating later on. Aditi Singh Sharma or Neha Kakkar would’ve been a better choice, in my opinion. Neeraj infuses the energy into the song. Arrangements too play as a savior, with the groovy club beats and brass instruments. Meet Bros. join in for a daaru-centred rap in the second interlude, which is a regular in club songs these days. Kumaar’s lyrics, too, are ordinary party song lyrics, stuff we got bored of in 2010, but Bollywood won’t until 2847. A decent attempt to make us dance all night, but just a temporary obsession. In the long run, it will be tough for this song to survive. A weak start to the album!

 

2. Mujhko Barsaat Bana Lo
Singer ~ Armaan Malik, Music by ~ Jeet Gannguli, Lyrics by ~ Rashmi-Virag

The next song brings in Jeet Gannguli, who has roped in T-Series’ latest obsession, Armaan Malik, to sing it. The song is your everyday romantic song with powerful rock guitars, trying to wail out all the romance in five minutes, just to have the lead couple break up after some time in the movie. Jeet’s composition is not exactly boring, but it isn’t anything great, either. First of all, the hookline is very flat, and doesn’t really appeal like a hookline should. When they say “jaana” at the end of the hookline, it seems like a very abrupt end, and sounds odd. The mukhda is the hookline itself, so you can see where that’s heading. The antara, starting off softly, and ending with the loud hookline, is not so impressive either. All in all, the composition is what too bland and tasteless. After ‘Milne Hai Mujhse Aayi’ (Aashiqui 2), Jeet tries another rock-styled romantic ballad, but doesn’t actually get where he had in that song. He has also tried to make Armaan sing as dynamically as Arijit had in that song, but it sounds like he is merely copying Arijit with a bit of K.K. occasionally. Armaan does do quite a good job though, considering how ordinary the song is. In the arrangements, too, nothing appeals except an awesome saxophone by Raj Sodha which plays many times in the song. Everything else is the normal electric guitars, drums and whatnot. Rashmi-Virag, too, can’t save the song, probably giving one of their most ordinary songs of all. A song which is so ordinary, that you sit through it with a straight face. Disappointing work from Jeet, Armaan and Rashmi-Virag! The second consecutive typical song of the album…

 

3. Ishqe Di Lat
Singers ~ Ankit Tiwari & Tulsi Kumar, Music by ~ Ankit Tiwari, Lyrics by ~ Manoj Muntashir

The third and last composer, Ankit Tiwari steps in with the third song on the soundtrack. This time, I have huge hopes from him, what with him recently showing some great versatility in ‘Sehra’ (Do Lafzon Ki Kahani) and his single song ‘Badtameez’ which was out and out metal! And boy, he impresses and how!! Something I was waiting for from Ankit for a long, long time — a romantic song which doesn’t use all the same notes as all his other songs, something that doesn’t fall right into the category of ‘nighttime songs’. Something that will force me to play it over and over again. The last time he gave such a romantic song before ‘Sehra’, was all the way back in January 2015 — ‘Katra Katra’ (Alone). This time, he goes way ahead of anything he has done before. The song starts off with an acoustic guitar and harmonica combination, and then Ankit starts off with something that won’t really disclose anything about the magic that’s about to follow. At the first glance, it seems like any other Ankit song, a slow and dreamy melody. But it is when the Qawwali sets in, that I get swept away. Ankit has experimented a lot, using a fusion of Qawwali and Spanish arrangements. The hookline is arranged completely on Qawwali instruments. The tablas have been played tooooooo impressively, and it sounds even better than ‘Sanam Re’ title song or ‘Jeena Marna’ (Do Lafzon Ki Kahani), because the rhythm is way more catchy and innovative. Spanish guitars help in making the arrangements sound more dreamy and lilting. Strings and rock guitars also impress highly. I felt that these were one of Ankit’s best ever arrangements. The composition too, is way more than just an ordinary Ankit Tiwari composition. It is very matured and livelier than those others too. Also, the good, long length is like a bonus for us listeners. With two antaras having the same soulful and melodious tune, and the mukhda playing again once at te end, the song is nice and long, and cherishable. It isn’t like all those other good songs that end before they start. 😀 On the vocals front, Ankit seems to be very less autotuned, which I’m happy about. At the same time, Tulsi sounds like herself and sounds very beautiful. In the mukhda, her low pitch voice could’ve been avoided, though. Manoj Muntashir’s lyrics are beautiful as always, and Ankit brought them to life very effectively with such a great composition. A Spanish-Qawwali-rock fusion that works really effectively in engaging the listener right away. A strong hook really works, doesn’t it? Though it’s pretty deep into the soundtrack, here is ‘Junooniyat’s first #5StarHotelSong!!

 

4. Junooniyat
Singer ~ Falak Shabir, Backing Vocals by ~ Thomson Andrews, Keshia Braganza, Gwen Dias & Ryan Dias, Music by ~ Meet Bros. Anjjan, Lyrics by ~ Kumaar

Meet Bros. Anjjan come back into the album with their second song, which happens to be the title song. The song starts off on a grand note, with a very magnificent strings orchestra, and a wonderful backing chorus. The composition is not actually a typical Bhatt-ish one, either. However, it does sound like something that would sound good in one of those films. The trio has done a very good job trying to infuse as much grandeur in the song as possible, so as to make it sound more enchanting. And it works. The composition, for one, is very imposing; I wasn’t expecting such a heavy composition for the title song of this movie. However, it turns out to be quite heavy, and also takes quite a few listens to completely grow on you. The hookline may seem overdramatic at first, but later on, you get accustomed to it, and it sounds mesmerizing. So mesmerizing, that it won’t leave your head. The mukhda isn’t instantly likable, but sounds great after a few listens. Same goes with the antara. It sounds very typical at first, but after repeated listening, you get the beauty hidden in it. It has been composed on very high notes, and Falak beautifully renders the composition, with its numerous variations. The arrangements are as grand as grand can be. The backing vocalists do their best to make the song sound enchanting, and they succeed. The strings play an important role in infusing magic into the song. Electric guitars and some great percussion lead the song into the category of ‘heavily instrumentated, but sweet sounding songs’. The orchestration is something we have never heard from Meet Bros. Anjjan. The cello and violins have been played so very beautifully. The haunting composition also helps in making the song sound appealing. Flute in the first interlude soothes you down, while electric guitars in the second interlude make you feel more energetic. The whole arrangements somehow reminded me of the music of movies set in Kashmir — ‘Fanaa’, ‘Haider’, ‘Fitoor’ and the like; it was so grand. Falak’s vocals are par excellence. I’ve never heard Falak sing in such a dynamic manner, and I must say, he sings mighty well!! Kumaar has written typical romantic Bhatt-ish lyrics, but the grand composition makes them sound great. They suit the theme of the song. Meet Bros. Anjjan at their best! A Mithoon-styled composition, that is heavy and haunting, but appealing at the same time. The imposing orchestration makes it seems all the more grand, and Falak renders it beautifully. Special mention for the beautiful backing vocalists! #5StarHotelSong!!

 

5. Pagalon Sa Naach
Singers ~ Meet Bros. & Khushboo Grewal, Backing Vocals by ~ Ruchir, Ambresh & Ashish, Music by ~ Meet Bros. Anjjan, Lyrics by ~ Kumaar

The lead trio, MBA, end their part of the album with a crazy, wacky, insane holi song. Again, this song doesn’t appeal right away, but after a few times of hearing it, it appeals to you and you sstart praising it. The song starts with a crazy flute, in a South-flavoured rhythm, followed by a weird techno sound that is so catchy. The same tune is later played on a shehnaai, and you know that nothing but craziness follows. The trio has composed a zany but immensely catchy song, something that I normally would expect from Pritam or Rahman or Vishal-Shekhar or Sachin-Jigar or Amaal Mallik, too. The trio succeeds in making a composition with numerous twists and turns, tempo changes and weird variations. The craziness doesn’t go overboard, like it does sometimes (‘Housefull 3’), nor does it fall short. It is just right and that is why it sounds good. The dappankuthu rhythm sounds great for the song, and it follows the footsteps of ‘Balam Pichkari’ (Yeh Jawaani Hai Deewani) in being a Holi song which is silly and catchy at the same time. The way the trio has creatively joined the mukhda and antaras to the hookline with the smooth tempo change, is really fun to hear. The line “subah Ke baje chaahe paanch, chaahe paanch, saade paanch” serves as a tempo changer as well as a seamless bridge to the hookline. Arrangements excel, with techno sounds, dholaks (Sanjeev Sen), the aforementioned shehnaai (Omkar Dhumal) and the percussion conducted by Nikhil Korpade, all sound cool together. The brass band, which is kind of essential in most modern-day Holi songs, has been nicely placed too. Meet Bros’ vocals sound great, as always. I like how both their voices sound like one, every single time. 😀 Khushboo, who impressed in ‘Girl I Need You’ (Baaghi) earlier this year, impresses here too, but in a totally different manner. She sings in so many different voices, sometimes high pitched, and sometimes low. It is really remarkable how she does those variations, because she never showed her versatility before ‘Baaghi’! Last but not the least, Kumaar’s lyrics are fun to hear. They are not too nonsensical, but they at least appeal and don’t come across as disgusting. After all, this is Kumaar’s forte! An insane Holi track, that will get India grooving next spring!! Meet Bros. Anjjan have showed immense versatility in this one album! You must hear this one and you have to pagalon sa naach (dance like idiots :p ) after that!! #5StarHotelSong!!

 

6. Tu Junooniyat (Climax)
Singers ~ Shrey Singhal & Akriti Kakar, Music by ~ Jeet Gannguli, Lyrics by ~ Manoj Muntashir

Jeet Gannguli takes over to wrap up the album, with a song that is supposed to be the climax song of the movie, another title song. The first title song by Meet Bros. Anshan was a soulful, haunting number. However, here, Jeet takes us back to 2006-2007 and composes a wonderfully nostalgic number. The song has been composed like a club number, full of pain and sorrow, but nevertheless making you groove to the beats. It falls into the category of songs like ‘Ya Ali’ (Gangster), with numerous techno beats accompanying a purely soulful, yet upbeat composition. Jeet has tried his hand at this, I think for the first time after ‘Blood Money’s ‘Jo Tere Sang’. In fact, the song sounds a lot like ‘Jo Tere Sang’. However, I loved it. Jeet’s composition being so nostalgic, turned out to be an advantage for it. It takes you back to those days when Pritam and Himesh would rule the music industry with these songs. The little couplet sung by Shrey in the beginning, is wonderfully composed, but who would know that it would make way for an electrifying composition! The mukhda is instantly likable, as is the hookline. The main reason is the dynamic arrangements. They are just too groovy. Jeet has composed the first antara as a replica of the mukhda, while the second has Akriti singing a beautiful and soulful tune, that you are surely going to love. While Shrey’s parts have been heavily accentuated by techno club sounds, Akriti’s are minimally decorated, just by soft strings and a loop of electric guitar riffs. Jeet tries dubstep successfully in the first interlude, accompanied by marvelous strings. Ankur Mukherjee’s guitars are beautifully placed in the song, and sound beautiful. To write about the vocals, Shrey sounds very, very much like Atif Aslam, so much so that I wouldn’t be able to tell the difference if Atif himself sings another version of the song later on. Akriti seems to have sung in an uncomfortably high pitch, but nevertheless, she sounds beautiful. Manoj Muntashir, yet again, writes wonderfully romantic lyrics which do have a bit of a climactic tint in them. A song PERFECT for the climax of the movie. Jeet takes us back to 2006/2007 with a wonderful clubbish intense romantic number, which he does beautifully. Both singers are awesome in their rendition, while Jeet’s arrangements just take the song higher! #5StarHotelSong!!


Junooniyat was an album I was expecting not more than three-four great songs. And what a surprise when I get exactly four good songs, the remaining two failing to offer much. Meet Bros. Anshan show immense talent in versatility by composing a party number, an intense romantic track that might even put stalwarts to shame and a Holi number, all in one single album! Time for them to come and compose solo for an album now after their debut ‘Isi Life Mein’ (also their only Solo album, I think!!). Jeet goes diplomatic with one mediocre song and one brilliant song. Loved the way he chose the 2000s path to give a mind blowing climax song. However, the winner of the album, hands-down, is Ankit Tiwari, the chap who has troubled us a lot previously, and decided to come and impress again this year. After great songs, one each in ‘Airlift’ and ‘Do Lafzon Ki Kahani’, he highly impressed with his single song in ‘Junooniyat’. But that single song is what stands tall in front of all the other songs! With that, I must say, this junooniyat (passion) was worth hearing! It is full of passionate romance, and fanatically passionate dance!!

 

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

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

Recommended Listening Order: Ishqe Di Lat > Tu Junooniyat (Climax) > Junooniyat > Pagalon Sa Naach > Nachange Saari Raat > Mujhko Barsaat Bana Lo

 

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

 

Next “dish”: Te3n, Chef: Clinton Cerejo

INNOVATIVE! EMOTIONAL! ENJOYABLE! EXPERIMENTAL! BEAUTIFUL! (SARBJIT – Music Review)

Music Album Details
♪ Music by: Amaal Mallik, Tanishk Bagchi, Jeet Gannguli, Shashi-Shivamm, Shail-Pritesh
♪ Lyrics by: Rashmi-Virag, Sandeep Singh, A.M. Turaz, Jaani, Late Haider Najmi & Arafat Mehmood
♪ Music Label: T-Series
♪ Music Released On: 29th April 2016
♪ Movie Releases On: 20th May 2016

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Sarbjit Album Cover

 

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

To buy this album on iTunes CLICK HERE


Sarbjit is an upcoming Bollywood biographic drama film, starting Aishwarya Rai Bachchan, Randeep Hooda, Richa Chadda and Darshan Kumar. The film is directed by ‘Mary Kom’ fame Omung Kumar, and produced by Vashu Bhagnani, Bhushan Kumar, Sandeep Singh, Omung Kumar, Deepshikha Deshmukh, Krishan Kumar, Jackky Bhagnani and Rajesh Singh. The film portrays the struggle of Sarabjit Singh (Randeep Hooda), an Indian national who was convicted of terrorism and spying by a Pakistani court, through the eyes of his sister, Dalbir Kaur (Aishwarya Rai Bachchan). Sarabjit’s wife, Sukhpreet is played by Richa Chadda. Sarbjit’s sister Dalbir fought with the Pakistani Government for nearly 23 years before Sarbjit being declared as innocent. Sarbjit’s case is fought by Awais Sheikh (Darshan Kumar). The film narrates the heart-wrenching story of Sarabjit and his sister and wife. In ‘Mary Kom’, I remember how I was expecting barely four songs, and I got the surprise of seven songs, and a stellar album (scoring a सां on the blog). Here, I expected many songs, because it’s natural looking at the long list of music directors. I expected a maximum of seven songs, and lo and behold! I get ten! 😀 I don’t know where so many songs will go in a biopic, but I can assume one thing for sure, that the songs will be mind blowing just like ‘Mary Kom’, which made me believe that Omung Kumar has a very great music sense. There are five entities, and seven people behind the music this time, and all have had successful stints in the past. The first is Amaal Mallik (with one song); I don’t have to introduce him, do I? And I don’t need to tell you about his past hits, because you already know! So I expect a lot from his as usual. The next is Jeet Gannguli, also with one song, who didn’t quite impress this year with ‘Sanam Re’, but impressed with his single in ‘One Night Stand’, so expecting a good one here too! The next composers are duo Shail-Pritesh, with their Bollywood debut. Shall Hada and Pritesh Mehta have been assistants of Sanjay Leela Bhansali, so again, expecting good music, if not great! Also, their maiden Marathi album ‘Carry On Maratha’ last year was spectacular! And they have five songs… So that explains it. 😀 Tanishk Bagchi, who scored this year with ‘Bolna’ (Kapoor & Sons), and had one of the greatest hits of last year ‘Banno’ (Tamu Weds Many Returns), has two songs in this album. Expectations are a lot from this youngster too! Last but definitely not the least, both the composers from ‘Mary Kom’, Shashi Suman and Shivamm Pathak, come together for a song, having worked separately in ‘Mary Kom’. Why would I expect great things from them, either? 😀 So, with this huge album’s huge introduction, I know you are already exhausted, but there’s lots more… Sorry!! 😀 Read on to see how emotionally right the album of ‘Sarbjit’ is!! 🙂


1. Salamat
Singers ~ Arijit Singh & Tulsi Kumar, Music by ~ Amaal Mallik, Lyrics by ~ Rashmi-Virag

Amaal gets to open the album, and wow! He takes full advantage of the fact that he has only one song in such a huge album, by giving something spectacularly good. To start with, electric guitars give a single blare, quickly followed by wonderful sarangi, harmonium and beautiful sparkling sounds. This is just the beginning of the soulful arrangements. The splendid arrangements continue throughout the whole song, and never fail to catch your attention. It is Amaal’s composition, though, which plays the lead role in the song, and that’s how it should always be! Have a strong composition, and the rest falls in place all by itself (of course, there are some exceptions!). A soulful song, with every note touching your heart deeply, is probably the best thing that you could ever find in an album. What’s more, Amaal composed it owhen he was just 17 years old! What a remarkable feat, because the composition is his most mature composition EVER, and it deserves nothing but many rounds of applause, which would also seem less. The antara, though, is the same tune as the ‘Hero’ theme song. 😀 Loved how Amaal incorporated that here! Going the Himesh way, who put ‘Desi Beat’ (Bodyguard) into ‘Son Of Sardaar’ title song, and ‘Main Jahaan Rahoon’ (Namastey London) into ‘Lonely’ (Khiladi 786). 😀 Amaal goes the traditional way for arrangements, of course, adding some modern twists, to create a pan-generational appeal. What I have to endlessly praise, is that, even though he has added some modern elements, like electric guitars and all, he has made sure not to go overboard, and that is what I appreciate about him —  he knows how much is right, and the songs are perfectly done. Traditional instruments include the tablas, woodwinds (they sound oh so beautiful!!!), dafli, harmonium and so many more instruments just making small cameos. The first interlude has a traditional string instrument which has been amplified and made to sound like an electric guitar, while the second interlude has been decorated wisely with the flutes. The flutes have to get a special mention for being used so beautifully all throughout the song, especially the last time the hookline is sung. Speaking about vocals, Arijit sounds as majestic as ever, possibly even more, and his low-pitched voice which I never like, suddenly appealed to me a lot! Tulsi, too, sings exceptionally well! She must sing like this more often!! Both of them score great together again, after ‘Soch Na Sake’ (Airlift). Rashmi and Virag write some soulful romantic lyrics, typical Bollywood style, but still appealing, especially the different words in the hookline each time. What a brilliant start to the album by Amaal! Amaal’s most mature composition hands-down! And the flutes!! 😘 #5StarHotelSong!!

 

2. Dard
Singer ~ Sonu Nigam, Music by ~ Jeet Gannguli, Lyrics by ~ Rashmi-Virag & Jaani

The next song starts similarly, with the sarangi notes touching each corner of the heart and making our eyes watery. (Okay, that’s exaggeration.. 😝) Anyway, the instrument always sounds very majestic, and so, it is an appreciated start to the song. Jeet composes this one, with Sonu behind the mic, ready to stun the audiences again. Jeet’s composition is totally emotional and it will make you emotional, especially when you try to sing along. The line ‘Jo tujhe lagta baarish hai, woh main hoon jo ro-oon’, has been crafted soooooo beautifully! I loved that line so much, it can’t be explained in words. The whole song, in fact, seems to be composed really carefully, unlike today’s timepass songs that are composed in seconds by adding techno beats and a repetitive rhythm, and become super-duper hits. Jeet has given such a composition last year too, with ‘Hamari Adhuri Kahani’ title song. He knows how to make songs emotional and heart-touching even if they sound overdramatic sometimes. Yes, this song does sound a bit too dramatic, but Jeet has somehow managed to make it very lovable! Both the mukhda and antara share this property. There is a paragraph that comes once in the song, and it is the peak point of the song, like the climax of a movie. The instrumentation suddenly intensifies there and the vocals go high-pitched and also, the composition is more intense there. This paragraph is “Pankh agar hote…” Marvelous! Jeet’s arrangements in the song are spectacular. Acoustic guitars, sarangi, cello, dafli and violins make up the main arrangements. Digital beats support the whole song. Sonu’s voice never disappoints me, and it appeals here too. He has one of those magical voices that nobody can ever match. He renders Jeet’s heart-wrenching composition with so much ease, that it is unbelievable, but believable only because it’s him! By the way, I can totally imagine Rahat Fateh Ali Khan singing this one; if only there was a reprise! Rashmi-Virag and Jaani team up to write brilliantly heart touching lyrics, and since they’re so good, I don’t care that it took three people to write them! It makes perfect sense, in fact. 🙂 A wonderful song from Jeet; I consider it as one of his best! And with it, the album gets yet another #5StarHotelSong!!

 

3. Tung Lak
Singers ~ Sukhwinder Singh, Sunidhi Chauhan, Shail Hada & Kalpana Gandharv, Backing Vocals ~ Deepti Rege, Mayuri Patwardhan, Roshni, Hargun, Music by ~ Shail-Pritesh, Lyrics by ~ Sandeep Singh

Shail-Pritesh step in for the next song, which will be their Bollywood debut song. The duo get an upbeat Punjabi bhangra number, which is pretty heavy for a celebratory song. I’ll explain. The song starts off with a high-pitched couplet sung by Shail, which is highly impressive. Then the song starts off, complete with the typical bhangra noises made from the mouth, which is impossible to explain. 😄 The hookline is catchy, but doesn’t have a universal appeal. The composition is, as I said, heavy on the ears. And a celebratory song should be light! The makers have tried to recreate the magic of ‘Gallan Goodiyaan’ (Dil Dhadakne Do), but that had a prominent modern sound to it, and hence appealed even though it was kind of heavy. I have to applaud the efforts, though! The duo has included many twists and turns in the composition, and it is quite difficult to understand what’s going on. Arrangements are awesome, with typical Punjabi dhols, dhadd, nagada, tumbi and the vocal sounds. There is a weird dubstep treatment in one paragraph, which leaves you wondering, “Is this 1990 (the time period of the movie, or rather, the starting period of the movie) or 2015?” The singers are spot-on with their rendition, though. Sukhwinder Singh never disappoints in such songs, and singing such a fast-paced composition with so much energy, is not an easy feat! Kudos to him! Sunidhi Chauhan sounds like what she sounded in the 2000s, maybe because the song sounds like that. The song also has a 90s feel (it’s supposed to, but I don’t think that’s deliberate! :P) Shail is good in additional vocals, while Kalpana (The Haryanvi ‘Old School Girl’ from ‘Tanu Weds Manu Returns’ singer) has a rap portion which she handles well, but again, it seems out of place. The lyrics are celebratory, and suit the occasion, but not so amusing as they were meant to be. The song has left me in a fix. I don’t seem to understand it. It seems a mishmash of tunes of various Punjabi songs, and it’s WAY TOO COMPLEX for a celebratory song!

 

4. Rabba
Singer ~ Shafqat Amanat Ali, Music by ~ Tanishk Bagchi, Lyrics by ~ Arafat Mehmood

Young composer Tanishk steps in with his first song of the album, and brings in Shafqat Amanat Ali, a voice we’ve not heard for quite some time now. The song is a melancholic song composed on a Middle-Eastern template, of which the beats are groovy. The composition itself, I found a bit overdramatic at places. It has quite a dated feel to it, but Shafqat takes it higher with his deep and silky vocals. Tanishk tries to do justice to the theme of the movie, but the composition is not something that you would call catchy. Arrangements are good, with flutes, santoor and some electric guitars too. However, again, they are heard-before and turn out to make the composition pretty dull and make it sound more monotonous. The antara gets really boring at a particular moment, and at that time, it seems like a task to continue with the song. The lyrics too, are not very impressive. Backing vocals seem to be trying hard to impress, but don’t. An exhausting composition, whose saving grace is Shafqat’s vocals and the Middle-Eastern template (a bit).

 

5. Meherbaan
Singers ~ Sukhwinder Singh, Shail Hada & Munnawar Masoom, Music by ~ Shail-Pritesh, Lyrics by ~ A.M. Turaz

Take a look at the singers and you get no prizes for guessing that the song is a Qawwali. Shail-Pritesh have done a wonderful job at composing a Qawwali that follows the traditional template, and also hooks you. Sukhwinder, again using his magical voice, starts off the song, to be joined by Munnawar in the AdLib. And after that, the real fun part of every Qawwali starts, when the tablas start all of a sudden, and everything falls into perfect rhythm. A wonderful sitar-tabla jugalbandi has been showcased by the duo, and that is what invokes the “waaah”, at the sheer beauty of it all. The duo has used such beautiful arrangements all throughout the Qawwali! Following the regular Qawwali template, they still manage to give something innovative, by using no, or very little, harmonium! I mean, I thought a Qawwali is nothing without a harmonium! This Qawwali, however, relies on the sitar mostly to do its job. And boy, does it work! The rapid way in which the sitar is played, it would take sheer concentration and talent to do that! And the duo is full of that, it seems! The composition, like all Qawwalis, will not appeal to all, but to me, it sounded realllly catchy. The hookline sounds better because of the arrangements, otherwise, such a simple hookline wouldn’t sound so good in a Qawwali. However, the other parts have been composed very well! Especially the line before the hookline, “Toh phir karde khatam yeh jo sarhad hai hamaare darmiyaan”. Wow!! What a stupendous tune! And it provides a seamless transition from the mukhda to the hookline. On the vocals front, Sukhwinder fortunately handles the most part of the song. Munnawar & Shail too have a good number of parts, yet it feels like Sukhwinder is that main singer, the one who sits in front of all the rest in a baithak. 😂😂 Towards the end, all three do a great jugalbandi, withh Munnawar and Sukhwinder handling aalaaps, Shail handling the hookline. And towards the end, this Qawwali breaks into full bhangra mode for some reason, with dhols and the nagada. Turaz’s lyrics are apt for a Qawwali, and like all Qawwalis, they are situational words, and suits a devotional Qawwali. A great harmonium-less Qawwali, with a great trio of singers, and a beautiful composition from the duo! #5StarHotelSong!!

 

6. Barsan Laagi
Singer ~ Shail Hada, Music by ~ Shail-Pritesh, Lyrics by ~ A.M. Turaz

A wonderful, feel-good sitar solo starts off the song, with Shail’s aalaaps accompanying it. Once he starts singing the real composition, you can’t help but go “Wooooowww!!!” Atleast, that’s what I felt! The song is a breath of fresh air after the heavy songs of the album up till now. Shail-Pritesh’s composition is sooooo beautiful, I really felt like it was one of Rahman’s 2000s compositions, and I also felt like it was one of those beautiful Lata Mangeshkar songs from the 1950s! There is a lot of magic in the composition, and when songs make you feel rejuvenated and refreshed, you have got to notice that there is a certain spark of magic in them. This song is one of those. The duo has put before us an exquisite, radiant, semi-classical composition, which is really hard to dislike. The hookline, which has nothing to do with the title of the song, “Aaj malang nu savran de, Khushiyon da pani barsan de”, is just simply charming. The antaras are sweet, but definitely not simple, nevertheless they shine like gems in the song. About the arrangements, what can I say?? They are just too captivating and enchanting for me to say anything. The aforementioned sitar has a prominent part, in both a low pitch and high pitch, and acoustic guitars have been used well in the hookline, along with ravishing strings. The matka sounds exceptionally sweet, too! There are shehnais at places too, waiting to astonish you with their wonderful sound. Shail’s vocals are beautiful too! No wonder he was Sanjay Leela Bhansali’s favourite! His voice has the right texture — a mix of rustic and smoothness. Turaz yet again, writes marvelous lyrics! A feel-good song, which will really lift up your mood! Shail-Pritesh excel in the composition, arrangements and Shail sing is it out beautifully! #5StarHotelSong!!

 

7. Allah Hu Allah
Singers ~ Altamash Faridi, Shashaa Tirupati & Rabbani Mustafa, Additional Vocals by ~ Arsh Mohammed & Supriya Pathak, Music by ~ Tanishk Bagchi, Lyrics by ~ Late Haider Najmi (Traditional), Additional Lyrics by ~ Arafat Mehmood

Tanishk’s next song is a fusion Qawwali, with a striking rock template. After a mediocre song, ‘Rabba’, he impresses highly with this second song of his. First of all, the composition is really complicated, yet it has the appeal to all kinds of people, especially music lovers! Many twists and turns in the composition ensure it to appeal even more. The chorus “Apna kar lijo mohe, daras de dijo mohe, karam kar dijo mope” has been composed so beautifully, it is impossible not to like it. And the whole song is just as likable and soulful. Each line holds something new in store, and the fact that it has been composed on the roopak taal, with seven beats, increases its attractiveness manifold for me. To me, that rhythm sounds very classy and I love any song composed on it! The offbeat treatment done in the antara, where the words don’t necessarily fit right into the rhythm, has turned out really beautiful. Arrangements are beautiful too. Qawwali instruments like tablas, harmonium, and then simple clapping blended gracefully with modern styles of music like rock with the rock guitars, drums, make for a very interesting listen. It sounds very enticing as long as it plays. The bulbultarang too, sounds great in the beginning. However, the tablas are what won my heart over. 😍 They have been beautifully done, and the rock guitars complement them BEAUTIFULLYYY! A wonderful flute interlude is not to be missed, either. Vocals are spot-on, and the two male singers can’t really be differentiated, while Shashaa sings only in the chorus with them; most of the song is a chorus song, though. Haider Najmi’s traditional lyrics have been really well-used, and thank God they have been used so wonderfully, while Arafat writes apt new lyrics too. So Tanishk makes up for his mediocre song with this highly awe-inspiring song! IMPRESSIVE is all I can say!! The Rock-Qawwali has never been done so well, without sounding too filmy! A winner in all departments! I can hear this one on loop! #5StarHotelSong!!

 

8. Mera Junoon
Singer ~ Shail Hada, Music by ~ Shail-Pritesh, Lyrics by ~ A.M. Turaz

The Sikh devotional song ‘Jo Mange Thakur’ starts off this song, along with some flutes plauign around the vocals. Shail-Pritesh’s fourth song, this one is a melancholic song but motivating nevertheless. The composition is painfully soulful, and touches the heart, quite unusually. Usually, such songs seem overdramatic, but here, the emotions have been well woven into the song, so as to make it seem justified. And it sounds a lot like a Sanjay Leela Bhansali composition. This composition too, has many twists and turns, so making it pretty difficult to follow it, yet striking some chord somewhere with the listeners. Especially the hookline, is something stellar. Shail’s heart-touching rendition makes the song all the more believable, and the spectacular lyrics by Turaz describe the determination and passion of a sister, still looking for her brother, even after so many failures. And Shail has brought the lyrics to life with his lively rendition. Arrangements done by the duo are fabulous as well. The percussion rhythm playing all throughout the song is the base of the song, while flutes and woodwinds join occasionally, only to add more magic into the already magical ambience. The guitars too, have been played well. As I said earlier, A.M. Turaz has written motivating lyrics that describe the feelings of a very strong-willed person. Another complete package! This is how melancholia should ideally be portrayed! Perfect! #5StarHotelSong!!

 

9. Nindiya
Singer ~ Arijit Singh, Music by ~ Shashi-Shivamm, Lyrics by ~ Sandeep Singh

Shashi Suman and Shivamm Pathak, the two masterminds behind the ‘Mary Kom’ album, come together for a single song, after having worked separately in that album. In ‘Mary Kom’, Shashi had composed a simple, sweet lullaby, ‘Chaoro’, which had been beautifully sung by Priyanka Chopra. This time, Shashi, along with Shivamm, goes a step further and cranks it up a notch higher. The composition this time is really complex and layered, unlike the one-dimensional lullaby that ‘Chaoro’ was. This one has many dimensions. On one note it sounds sweet and simple, while on the next, it suddenly sounds haunting. I really get the goosebumps WHENEVER I hear this song, no matter how many times I’ve heard it before. It has this magical feel to it, and this time, the magical feel surpasses the magical feel of all the other songs of the album — it actually sounds realistic! I really can’t explain it all, but you will have to hear it yourself! It is just a spectacular song from the two! Arijit’s vocals are a brilliant choice; when he sings in the soft and husky voice, his voice sounds really soothing, so here’s anothter thing in favour of the duo. Arrangements are splendid too. Strings make up most of the arrangements, be it violins or folk instruments. Other sound effects like chimes have been used properly to make the song sound like a lullaby, with the harp pitching in at places! The flute too, helps in making the song something to hear again and again. Sandeep Singh’s lyrics are calming too, and with the composition, it sounds even better! At under three minutes, this is the song that stands tall above them all! That’s all I can tell you!! For further information, hear the song!!! BRILLIANCE AT ITS PEAK! 👌👌 #5StarHotelSong!!

 

10. Sarbjit (Theme)
Vocals ~ Shail Hada, Music by ~ Shail-Pritesh

With all those extraordinary songs, there should be an instrumental theme to top it off, right? I mean, albums sound complete with an instrumental! 😀 So, the makers of ‘Sarbjit’ decide to give an instrumental theme to finish off the album. Shail-Pritesh manage to make a haunting piece of music, with the strings playing the major role in it. The sarangi in a very low pitch handle almost everything in the track. The percussion beats in the background are catchy too. Shail pitches in with some ravishing vocals and it sounds even better. Towards the end, the song starts going uphill until it reaches a climactic part where brass, strings and percussion all meet each other at their respective majestic bests. A three minute instrumental that will transport you to the BGM of any Sanjay Leela Bhansali movie, and also, a ravishing finish to the album by Shail-Pritesh, the stars of the album! #5StarHotelSong!!


Albums like Sarbjit are very rare nowadays. The makers of ‘Sarbjit’ have really been very brave by having such an album. By “such”, I mean an album which isn’t afraid of not being noticed, an album which clearly doesn’t rely on commercial stuff, and treads its own path, ignorant of the hullabaloo around it. Not all of the songs would appeal to the masses, except maybe ‘Salamat’ and ‘Dard’. The others are strictly instrumental in carrying the story forward. And that’s what I appreciated about the album. Innovative! Emotional! Enjoyable! Experimental! Beautiful!

 

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 {Ohhh this is gonna be tough!!}Nindiya > Allah Hu Allah > Salamat = Dard > Barsan Laagi > Meherbaan > Mera Junoon > Sarbjit (Theme) > Tung Lak > Rabba

 

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

 

Next: A Surprise! 😀