THE REMAKE REBELLION CONTINUES! (BAAGHI 3 – Music Review)

Music Album Details
♪ Music by: Tanishk Bagchi, Vishal-Shekhar, Rochak Kohli, Pranaay Rijia, Sachet-Parampara, Bappi Lahiri & René Bendali
♪ Lyrics by: Shabbir Ahmed, Tanishk Bagchi, Panchhi Jalonvi, Ginny Diwan, Gurpreet Saini, Gautam G. Sharma & René Bendali
♪ Music Label: T-Series
♪ Music Released On: 7th March 2020
♪ Movie Released On: 6th March 2020

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Baaghi 3 Album Cover

Listen to the songs: JioSaavn | Gaana

Buy the songs: iTunes


Baaghi 3 is an Bollywood action film starring Tiger Shroff, Shraddha Kapoor, and Riteish DeshmukhThe film is directed by Ahmed Khan and produced by Sajid Nadiadwala. Introduction to this film franchise is futile, everyone knows about it and everyone also knows how it is just stretching itself longer than it can hold. Ah, well, going by the reviews, I can see a ‘Baaghi 4’ has bleak prospects, but that is all the more reason for the filmmaker to actually make a ‘Baaghi 4’. Anyway, the film franchise boasted of an all-original album for the first film, followed by a bearable album for the sequel. Here comes the second sequel in the franchise, and in this age of remakes and recreations, I’m not surprised that the first four songs of ‘Baaghi 3’ are remakes! Hoots and cheers for the remake artist Tanishk Bagchi for handling two of these remakes, while Vishal-Shekhar successfully claimed rights to their song ‘Dus Bahane’ and remade it themselves, and Pranaay comes back to recreate his theme song that features in all ‘Baaghi’ films till now. As such, one awaits the original compositions by Sachet-Parampara and Rochak Kohli. Let’s see just how well this remake rebellion fares.


Vishal-Shekhar risk entering a multicomposer album in order to salvage their 2005 hit ‘Dus Bahane’ (Dus) which is the opening song for ‘Baaghi 3’. Dus Bahane 2.0 definitely lacks the punch that the original had, and just increasing the tempo of the original track makes the song sound a bit weird, making K.K. and Shaan’s voices sound highly processed. Tulsi Kumar’s portions are awkwardly low in pitch, and composed really uncreatively. That kind of makes me think if Vishal-Shekhar really did contribute any new melody to the remake or just asked Meghdeep Bose to create a ‘Vishal-Shekhar Mix’ or something, of the Tanishk Version. That being said, the beats are well placed, and the song works as a crowd-pleaser, since this is clearly what pleases the crowd these days.

Moving on to Tanishk’s actual remakes, he picks up yet another Bappi Lahiri classic after ‘Yaar Bina Chain Kahan Re’ was remade in ‘Shubh Mangal Zyada Saavdhan’. This time ‘Ek Aankh Maarun’ (Tohfa) gets chosen to be recreated. The song’s catchphrase Bhankas becomes the title of the remake, and all that I notice in the first listen is the good choice of singers — Dev Negi and Jonita Gandhi. They bring the fun of the song to the forefront, and while Bagchi’s beats are just a modern mix of South kuthu beats with that 80s dhakkachika rhythm, the beats kind of work to the song’s favour. Songs like this do not really need their lyrics to be talked about, so I will do just that and go on to Tanishk’s next remake in the album, this time that of a foreign song, Do You Love Me by René Bendali. The song has already been remade by an English pop artist TroyBoi, and now T-Series picks it up for a Hindi reinterpretation. The Arabian setup isn’t new to Bollywood; we have had many original Hindi songs better than this, with the same musical setting. The new compositions with Hindi lyrics barely fit into the hook, but the creativity in the programming and beats makes it worth a listen. Nikhita gets not much space to shine, with very simplistic lines to sing, and before you know it, the song is thankfully over. Also, the Hindi lyricist for the new lyrics hasn’t been mentioned, so I’m guessing it is Tanishk.

Moving over to the franchise theme song by Pranaay, Get Ready to Fight Reloaded, which is probably the most ignored song from every ‘Baaghi’ album, but the makers still seem to be revamping it in hopes that it will get noticed by the audience this time around. The first time, it released as a single after the entire album released, so it went under the radar, while in the second album, it was very badly promoted. And this time, I finally do feel like it will get noticed. First of all, Pranaay packs it with a punch, and some interesting elements like EDM, electronic tablas, whistles, and a groovy beat coupled with Siddharth Basrur’s powerful vocals. The song doesn’t try too hard to be a ‘theme’, as in it doesn’t try too hard to do too much just to stick in the audience’s head, like the previous two versions of it, did. There is also a melodious antara to the song, and Ginny Diwan’s lyrics too make the song worthy of your attention. So this year, we saw the third version of ‘Bezubaan’ in ‘Street Dancer’ failing, but we get to see the third version of ‘Get Ready to Fight’, succeed in the same year. 🙂

Lastly, the two original, melodious songs of the album, one each by Sachet-Parampara and Rochak Kohli, two of the music composers that really impressed me with their original music last year. Sachet-Parampara follow their usual ‘Khwabfaroshi’ (Jabariya Jodi) and ‘Dilbara’ (Pati Patni Aur Woh) template in Faaslon Mein, a melancholic Bhatt-ish song that makes you wonder why nobody has taken them to Vishesh Films’ office yet. The piano, intense never-ending lines of singing, followed by a line of singing without any music in the background, and Parampara joining as background vocalist halfway through, the song contains all the standard elements of a Sachet-Parampara song, and that is scary — it means they have been typecast so soon into their career. The song ends with a brilliant strings piece accompanied by a chorus, and even though the composition seems underwhelming, at least Sourav Roy with his arrangements and Sachet with his vocals, have done a good job.

Rochak Kohli brings on board Shaan for his song Tujhe Rab Mana, getting him his second song in the album, if ‘Dus Bahane’ can be counted since it didn’t make him re-dub anything new. The song is a melodious ode to brotherhood, sort of like Rochak’s friendship anthems ‘Atrangi Yaari’ (Wazir) and ‘Tera Yaar Hoon Main’ (Sonu Ke Titu Ki Sweety). However, the song is musically set in a different space, intermediate to both of those aforementioned songs. Not as lively as the former, but not as melancholic as the latter, it finds its niche somewhere in the middle. The composition is sweet and uses the phrase “Tere jaisa yaar kahaan” in its lyrics, so that is enough to strike the brotherly string in Indians. 😂 Shaan delivers the piece with finesse, and Rochak aptly arranges strings, guitars and piano pieces to accompany the composition. However, I wouldn’t voluntarily go and listen to this song, it being around 5 minutes long.


As expected, ‘Baaghi 3’ relies on its remakes to propel it forward. And when the remakes actually do seem to be made and promoted with more efforts than the original tracks, it says a lot. Rochak and Sachet-Parampara’s songs are good but just that. The only great song was the ‘Get Ready to Fight’ remake by Pranaay. An album where not even one song is memorable.

Total Points Scored by This Album: 5.5 + 6 + 5 + 7.5 + 6 + 6.5 = 36.5

Album Percentage: 60.83%

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: Get Ready To Fight Reloaded > Tujhe Rab Mana > Faaslon Mein = Bhankas > Dus Bahane 2.0 > Do You Love Me

Which is your favourite song from Baaghi 3? Please vote for it below! Thanks! 🙂

ROCHAK’S Ph.D IN PUNJABI FOLK! (KHANDAANI SHAFAKHANA – Music Review)

Music Album Details
♪ Music by: Rochak Kohli, Tanishk Bagchi, Badshah, Payal Dev, Jasbir Jassi, Shyam Bhateja & Anand-Milind
♪ Lyrics by: Tanishk Bagchi, Mellow D, Shabbir Ahmed, Kumaar, Badshah, Gautam G Sharma, Gurpreet Saini, Davinder Khandewal & Deepak Chaudhary
♪ Music Label: T-Series
♪ Music Released On: 26th July 2019
♪ Movie Released On: 2nd August 2019

 

Khandaani Shafakhana Album Cover

Listen to the songs: JioSaavn | Gaana

Buy the songs: iTunes


Khandaani Shafakhana is a Bollywood comedy film starring Sonakshi Sinha, Varun Sharma, Badshah and Annu Kapoor. The film is directed by Shilpi Dasgupta and produced by Bhushan Kumar, Mahaveer Jain, Mrighdeep Singh Lamba, Divya Khosla Kumar and Krishan Kumar. The film revolves around a woman who has to take over her uncle’s infamous sex clinic. The music of the film has been given by the remake expert Tanishk Bagchi, the rapper who is acting in the film Badshah, Rochak Kohli, fresh from the success of his brilliant work in ‘Music Teacher’ earlier this year, and Payal Dev, Who is surprisingly debuting as a composer, making it another mainstream female singer doing so after Kanika Kapoor last year with ‘Chhod Diya’ (Baazaar). So let’s see how this multicomposer album to this film turns out to be.


Music promotions for any film these days start with remakes, and ‘Khandaani Shafakhana’ makes sure it isn’t the norm-breaker. Tanishk Bagchi’s interpretations of old Bollywood super hit songs and/or Punjabi pop songs are a norm these days: another norm this album shies away from breaking.
The album hence starts with Koka, a Tanishk Bagchi remake of Jasbir Jassi’s pop song ‘Koka Tera Kuch Kuch’ from the album ‘Just Jassi’. Tanishk does add his own composition to the hookline from Jassi and Shyam Bhateja’s original, and manages to present us with a catchy and groovy remake. Badshah’s presence in the film warrants a rap from him, while Jasbir Jassi is called to dub the rest of the vocals, and he delivers them in top form. Dhvani Bhanushali, taking the support of oodles of autotune, however, sounds odd; not that singing prowess matters so much in a dance track like this. The beats are catchy, and there’s also a T-Series advertisement thrown in very abruptly in the beginning. If that’s your kind of thing, ‘Koka’ is for you.
Tanishk’s second remake happens to be that of a 90s Bollywood song. Sheher Ki Ladki is a highly unimaginative, though still attractive, recreation of Anand-Milind’s ‘Shehar Ki Ladki’ (Rakshak), with Badshah donning the singer’s cap, obviously coming nowhere close to the original singer Abhijeet Bhattacharya in doing so. His ‘Hi, how are you?’ and ‘How do you do’ sounds so bland as compared to Abhijeet’s (which also features in this song as a bonus addition, I guess, as Tanishk likes to sample the original singers’ voices like Kumar Sanu in ‘Aankh Maarey’ from ‘Simmba’ and Kavita Krishnamurthy in ‘Hawa Hawai 2.0’ from ‘Tumhari Sulu’). Chandana Dixit too, gets her original line featured behind an extremely loud and high-pitched Tulsi Kumar. The latter gets her own original verse too, sounding not as bad! Badshah’s rap is more irritating here than in ‘Koka’, where it actually went with the flow of the song. Also irritating is how Bagchi never lets the hook of the song complete, always interrupting it with that jarring electronic loop that plays so many times throughout the song. A good attempt to revive the song, but people would obviously go for the original!
Apart from acting in the film and rapping in two remakes, Badshah also gets selected to prepare his own original song for the film, which, not surprisingly, tops the two remakes by Tanishk. Saans Toh Le Le is a groovy song with the trademark Badshah beats, but with a retro Punjabi folk twist, a la ‘Naughty Billo’ (Phillauri) and ‘Bhangra Ta Sajda’ (Veere Di Wedding), both songs by Shashwat Sachdev. The programming really makes the song interesting, especially Tejas Vinchurkar’s folksy flute pieces, and makes the middling composition sound more interesting to listen to. Badshah, along with Rico, deliver the lines well, too, making it an all in all fresh listen.
Payal Dev makes her composing debut with this album, in a song called Dil Jaaniye, a very sweet romantic duet by Jubin Nautiyal and Tulsi Kumar. The composition, though reminiscent of many romantic Punjabi songs Bollywood has churned out over the years, still makes a mark, and especially the mukhda gets you gripped enough to listen forth. Aditya Dev’s arrangements are soothing, the Indian percussions (Chari, Shashi, Mushtaq and Sharafat) taking centre stage, along with the wonderful Pianica piece by Aditya Dev himself. The antara sung by Jubin is great, but the one with Tulsi sounds a bit unnecessary, because it stretches the song a bit too long, and then we have to listen to it in Tulsi Kumar’s double-layered, badly processed voice. Shabbir Ahmed, a rare choice for romantic songs as this, writes functional lyrics. However, the stars of the song are definitely Payal with her composition, Aditya with his arrangements and Jubin with his part of the vocals.
Two more soft songs follow, both by Rochak Kohli. In Bheege Mann, he goes back to the style of music he composed for the songs he did for Luv Ranjan films, ‘Tera Yaar Hoon Main’ (Sonu Ke Titu Ki Sweety) and ‘Dil Royi Jaaye’ (De De Pyaar De). The same kind of dulcet melody decorated with guitar riffs, piano notes (arrangements courtesy Aditya Dev) and stray aalaaps, but this time Arijit Singh is replaced by an equally efficient Altamash Faridi, thereby giving the song a rustic touch with his earthy voice. The composition is strong, and will have you enraptured for its entire duration, in spite of its similarities with Kohli’s previous numbers. Gautam G Sharma and Gurpreet Saini write pensive lines to accompany the serious composition, but all-in-all, it is a pleasant song to listen to.
Rochak’s second song, Udd Jaa, is a delight to listen to, because it starts with ethnic strokes of the bouzouki, mandolin and rabab (Tapas Roy), immediately blending into a folksy dholak rhythm, very Rochak-ish (reminding one of ‘Meer-e-Karwaan’ from ‘Lucknow Central’!) which is then followed by the beautiful voice of Tochi Raina (where was the man for so long!?) which suits the motivational and inspirational nature of the song so well! Rochak churns out a very creative composition, which sounds straight out of Coke Studio thanks to the gratuitous folk sounds. While listening to this song, I realise how heavily Rochak relies on folk music to make his songs sound rich, right from the initial days (I think he started using it mainly with ‘Mera Yaar Funtastic’ from ‘Welcome 2 Karachi’) to his songs in ‘Hawaizaada’, to the earlier mentioned ‘Meer-e-Karwaan’ (Lucknow Central), the beautiful Punjabi romantic song ‘Nain Na Jodeen’ (Badhaai Ho), right to the very recent songs in ‘Ek Ladki Ko Dekha Toh Aisa Laga’. Rochak is incomplete without presenting Punjabi folk music in a very flattering way in his songs! Back to the song, Kumaar’s lyrics in the song suit the inspirational aspect of it, and complement the melody well, and put together, Tochi, Rochak and Kumaar end this album on a high note, with a strong folksy melody!


This album turns out to be one of the better-compiled multicomposer albums by T-Series after a while, the last ones being ‘Kabir Singh’ and ‘De De Pyaar De’ in my opinion! All four composers here try to bring what the movie needs, Tanishk with his mass-attracting remakes with club beats, Badshah with his trademark catchy beats, Payal Dev with her great composing debut and finally Rochak with his astounding use of Punjabi folk music.

 

Total Points Scored by This Album: 7.5 + 6 + 7 + 8 + 8.5 + 9 = 46

Album Percentage: 76.67%

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

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

Recommended Listening Order: Udd Jaa > Bheege Mann > Dil Jaaniye > Koka > Saans Toh Le Le > Sheher Ki Ladki

 

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

ALLAH DUHAI HAI, SELFISH YEH ____ HAI!! (RACE 3 – Music Review)

Music Album Details
♪ Music by: Vishal Mishra, Meet Bros., Tushar Joshi (for JAM8), Vicky-Hardik, Shivai Vyas, Gurinder Seagal, Kiran Kamath, Deep Money & Pritam Chakraborty
♪ Lyrics by: Salman Khan, Kumaar, Shabbir Ahmed, Shloke Lal, Raja Kumari, Hardik Acharya, Shivai Vyas, Shanky, Kunaal Vermaa, Rimi Nique & Sameer Anjaan
♪ Music Label: Tips Music
♪ Music Released On: 12th June 2018
♪ Movie Releases On: 15th June 2018

Race 3

 

Listen to the songs: Gaana


Race 3 is an upcoming action thriller (read horror comedy) film starring Salman Khan, Anil Kapoor, Bobby Deol, Jacqueline Fernandez, Saqib Saleem, Daisy Shah and Sonakshi Sinha, directed by Remo D’Souza and produced by Salma Khan, Salman Khan and Ramesh Taurani. The film blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah ‘Our business is our business none of your business’ blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah ‘Our business is our business none of your business’ blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah ‘Our business is our business none of your business’ and has music by Salman Khan Vishal Mishra, Meet Bros., Tushar Joshi, Vicky-Hardik, Shivai Vyas and Gurinder Seagal. blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah ‘Our business is our business none of your business’.


NOTE: After reading the review, you are to fill-in the blank in the heading of this review. 😊 Have fun thinking of words that rhyme with ‘Duhai’, like the makers do in every instalment of the ‘Race’ franchise.


I must admit that lead composer Vishal Mishra’s first song Selfish is much better in its music and composition, than it is in its lyrics and female vocals. Salman Khan, who has now proclaimed himself as a lyricist as well, writes lyrics like a ‘Baybeh’. Poor Vishal Mishra gets to decorate his beautiful composition and soulful arrangements with Salman’s awkward lyrics and Iulia Vantur’s just as awkward voice. Her pronunciation isn’t bad though, for somebody who doesn’t know Hindi. Atif Aslam saves what’s left of the song; and that makes the song work anyway. Vishal’s strings and piano actually deserved a better treatment by the production house and the lead actor. Thankfully, we get a Solo Version sung only by Atif Aslam, and it does sound half less awkward than the duet. The Unplugged Version is a duet with Vishal Mishra himself, and though the composer sings well, against the acoustic guitar backdrop, Atif still steals the cake. The bad part is, the exact same lyrics in all three versions — adding up to 15 minutes of ‘Selfish’ on this album. Are you trying to tell us something, Salman?
I started loving ‘Selfish’ even more after listening to I Found Love. Vishal Mishra tries to recreate something like his own ‘Pyar Ho’ (Munna Michael), with similar piano portions and digital beats, but it ends up being so awkward, you wonder how somebody can find love singing this song. The rock part in the hook tries to be Pritam-ish but fails miserably. At least in the previous song, we had a good composition. Here we have no such luck. And Salman sings it as well as writes it. “Ik Baat Achhi Hui Ki Khoobiyon Ke Pehle Khaamiyan Pata Chali.” (I can’t find the *slow claps* emoji… Come on Android, we need one.. fast!) Newcomer Veera Saxena has a functional voice, but I can’t help but wonder why she didn’t sing ‘Selfish’, the good song, and why Iulia didn’t sing this, which was already sounding bad!
The second song Iulia sings on the album, actually sounds good. Party Chale On by newcomer composer duo Vicky-Hardik sounds closest to Pritam’s music, almost consciously mimicking ‘Subha Hone Na De’ (Desi Boyz), and even Iulia sounds good in this one. So does Mika. That doesn’t mean it’s exceptional or anything, but it sure seems so after the two awkward songs. That said, Hardik’s lyrics aren’t all that comfortable either. I appreciate that at least some efforts have been taken in making the arrangements good, but Pritam has been credited with special thanks in the YouTube credits, so now I don’t know what to assume. It’s the only song of the album I sat through without cringing once.
Heeriye is Salman Khan’s attempt to imbibe Punjabi pop in his films as well, given that he has somehow steered clear of it till now. Meet Bros “compose” (since it is a note-to-note remake of Deep Money composed ‘Naina Da Nasha’ which released 3 years ago) a 2000s-ish tune and decorate it with EDM that reminds me of ‘It’s Magic’ (Koi Mil Gaya). Deep Money’s vocals are underwhelming but thankfully, someone else didn’t sing it. Neha Bhasin sounds awesome, but I don’t know why she’s signing songs where she has so little to do. (Swag Se Swagat, and now this). Kamaal Khan’s irritating interruptions of ‘I’ve been thinking about you’ and ‘You blow my mind’ do nothing to add any class to the song. Side note: I just love, love, love the contrast between Jacqueline’s dance and Salman’s dance in the video.
Another newcomer Shivai Vyas is given a ‘big break’ by Salman with the song Ek Galti. Now, this song is decent. But as I said before, it isn’t one where I didn’t cringe. Shivai Vyas composes quite well, and towards the hookline, it actually sounded like something Pritam would offer back in 2008 (that’s ten years ago already! 😱😱) for the ‘Race 1’ album. The song needed someone like Atif Aslam or Arijit Singh (that would be great right? Salman saying to Arijit — ‘Hey, you can sing in ‘Race 3′ if you want’ and then Arijit would reject it and then five more years of waiting for forgiveness from Salman.) But Shivai sings it himself, and ends up shouting in the antara, where the song would’ve sounded intense and serious in someone else’s voice, but now it sounds like a hastily made pop song which ended up in (what’s supposed to be) a big film. He even tries to put tablas and other instruments that make the song sound decent.
Saansain Hui Dhuan Dhuan starts with someone singing “R, A, C, E, 3”, as if the characters of the film know that they’re in a film which is the third instalment of a film franchise called ‘Race’. 😹 That said, Gurinder Seagal makes sure the song has some class; the music is clearly up-to-date, and the composition suits the sinister theme of the film (or the sinister theme the film should have.. which has turned into comedy in this film). Payal Dev sounds impressive, and Iulia must’ve sung that English part, but it still sounds like an Indian accent, so I don’t know why she puts on her Romanian or whatever accent in Hindi songs but puts on an Indian accent in an English part. 😒
Tushar Joshi, acting under JAM8 gets to remake his mentor Pritam’s iconic theme song. Allah Duhai Hai is a sick (I mean sick, not the modern ‘sick’ which people use for saying “Yo man dat’s sick!”) reinterpretation of Pritam’s theme song. The song starts off well enough, thanks to Amit Mishra, but as soon as Sreerama pitches in with that ear-splitting ‘nasha, tera, nashaaa‘, which was oh so graceful when Sunidhi sang it ten years ago, I lost interest in the song. As a result, even with some of the best singers of today (Amit & Jonita) the song turns out underwhelming. The antara has no memorable tune, it just sounds like the singers were given some words and asked to put some tune to it. Shabbir Ahmed’s new lyrics are not bad, considering the standard of lyrics in the rest of the album. Raja Kumari’s rap takes up a major portion of the song, backed with sick (again, you know which ‘sick’) EDM that falls on its face.
Kiran Kamath’s Mashup is a mashup. Don’t listen to it. I’m not gonna tell you ‘well made’ or whatever because mashups are mashups. I’ll just give it a 2/10 based on what I heard. 😏


blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah ‘Our business is our business none of your business’.

 

Total Points Scored by This Album: 5.5 + 6.5 + 6 + 2 + 7 + 5.5 + 5 + 5 + 4.5 + 2 = 49

Album Percentage: 49%

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

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

Recommended Listening Order: If possible, don’t even try the songs below 5/10

 

Remake Counter:
No. Of Remakes: 21 (from previous albums) + 04 = 25

Do you have a favourite song from the Race 3 album? Please don’t vote for it. Instead, participate in this poll! Thanks! 🙂

5 SONGS THAT SHOULD NEVER HAVE BEEN REMADE!! (MUSICAL LIST #1)

So today marks the start of a new section in the blog — The “LISTS” Section, where I’ll be listing songs based on one particular theme, depending on what theme I’m feeling like listing songs about. :p

What better way to start this section off, than doing it in collaboration with one of my close blogger friends, Jemma Rajyaguru from the Girl At The Piano blog! Her blog is full of random musical thoughts, lists of songs, throwbacks to the Golden Era of Bollywood music, and new releases by new and upcoming artists!

Today, we will both be listing five songs each, which we wish would never have been remade! And yes, after reading my list, be sure to read Jemma’s, as her song choices are just as exciting, if not more exciting, than mine!! Correction: they definitely are more exciting!😁 So let’s get started with my five songs so you can check her list out! 🙂 If you want to check it out now though, here it is!

P.S.: I believe no song should be remade, but these are the ones where I just don’t agree with the remake!

P.P.S: These are in no particular order; it isn’t a Top5 list 🙂


1. Mere Rashke Qamar (Pop Song by Nusrat Fateh Ali Khan)

• Original Song Details:

Music by Nusrat Fateh Ali Khan, Lyrics by Ustad Qamar Jalalvi, Sung by Nusrat Fateh Ali Khan, First Performed in 1988, Music Label: Hi-Tech Music

• Remake Details:

Music recreation by Tanishk Bagchi, Lyrics by Fana Buland Shehri & Manoj Muntashir, Sung by Rahat Fateh Ali Khan & Tulsi Kumar, Used in 2017 Bollywood film ‘Baadshaho’, Music Label: T-Series

One would think that nephew Rahat Fateh Ali Khan would object to mauling his uncle’s gem of a qawwali, but instead, he helps maul it even more, with loud and screechy vocals that would even make the laziest person cringe. Tanishk Bagchi’s constant mandolin hook doesn’t help when it keeps repeating itself all the time amidst the din of Rahat and the backing vocalists shouting.


2. Dum Maaro Dum (Hare Rama Hare Krishna; 1971)

• Original Song Details

Music by R.D. Burman, Lyrics by Anand Bakshi, Sung by Asha Bhosle, for the 1971 Bollywood film ‘Hare Rama Hare Krishna’, Music Label: Saregama

• Remake Details

Music recreation by Pritam Chakraborty, New Lyrics by Jaideep Sahni, Sung by Anushka Manchanda, for the 2011 Bollywood film ‘Dum Maaro Dum’, Music Label: T-Series

One of the party songs I doubt Pritam is proud of making, ‘Dum Maaro Dum’ stands high as a song that ruined the original for me big time. Yes, a lot of cool stuff is going on in the music, but the major letdown is Anushka Manchanda’s vocals, where they create a mess of what Asha Bhosle ji and R.D. Burman actually created in the 70s. And don’t even ask me about the rap.


3. Tu Cheez Badi Hai Mast (Mohra; 1994)

• Original Song Details

Music by Viju Shah, Lyrics by Anand Bakshi, Sung by Udit Narayan & Kavita Krishnamurthy, for the 1994 Bollywood film ‘Mohra’, Music Label: Venus Music

• Remake Details

Music recreation by Tanishk Bagchi, New Lyrics by Shabbir Ahmed, Sung by Udit Narayan & Neha Kakkar, for the 2017 Bollywood film ‘Machine’, Music Label: T-Series

Probably the best remake on the list, but again, Tanishk stuck to his mandolin template here, where he kept repeating the hook of the song on mandolin, and though Neha Kakkar sounds passable, Udit Narayan seems to be the saving grace of the song, sounding younger than ever. The awkward dubstep mid way through the song is just *awkward*!


4. Pal Pal Dil Ke Paas (Blackmail; 1973)

• Original Song Details

Music by Kalyanji-Anandji, Lyrics by Rajendra Kishan, Sung by Kishore Kumar, for the 1973 Bollywood film ‘Blackmail’, Music Label: Universal Music

• Remake Details

Music recreation by Abhijit Vaghani, Lyrics by Rajendra Kishan retained, Sung by Arijit Singh, Tulsi Kumar & Neumann Pinto, for the 2016 Bollywood film ‘Wajah Tum Ho’, Music Label: T-Series

Arijit himself wasn’t happy with the way Abhijit Vaghani programmed his voice in this one; and I can’t help but agree! How would you like it if you got to remake a song by the legendary Kishore Kumar, and get your voice all destroyed by electronic touches? To complement Arijit’s bad voice, we had Tulsi Kumar, who surprisingly sounded better!


5. Waqt Ne Kiya Kya Haseen Sitam (Kaagaz Ke Phool; 1959)

• Original Song Details

Music by S.D. Burman, Lyrics by Kaifi Azmi, Sung by Geeta Dutt, for the 1959 Bollywood film ‘Kaagaz Ke Phool’, Music Label: Saregama-HMV

• Remake Details

Music recreation by Rohan-Vinayak, Lyrics by Kaifi Azmi retained, Sung by Amitabh Bachchan, for the 2018 Bollywood film ‘102 Not Out’, Music Label: Saregama

The most recent remake on the list. One would think Amitabh Bachchan ji would be a bit more sensitive when singing old classics as these, but sadly, he drones the song out in such a way, that you wonder “Waqt ne Kiya, kya Haseen sitam”. Rohan-Vinayak literally do nothing but stand and watch as they treat the listeners to almost six minutes of that torture without any enjoyable music in the background either!!


Well, all in all, I feel recreations were fine until they started to be blown out of proportion and being forced into every single album that Bollywood produced. Thanks to Jemma for giving me the mauka and dastoor to vent out my feelings about remakes; I hope you guys enjoyed our collaboration, and please make sure to check out Jemma’s list (it’s amazing)!

Thanks for reading, and stay tuned for more such lists about varied topics! 😁

DECEMBER 2017 ROUND-UP (FUKREY RETURNS, FIRANGI, TERA INTEZAAR & MONSOON SHOOTOUT – Mini Music Reviews)

It is time for my Round-Up for December 2017, which is slightly delayed due to me being so busy, but better late than never, right?

December 2017 Round-Up

This Round-Up includes the following music reviews:

1) Fukrey Returns – Prem-Hardeep, Jasleen Kaur Royal, Sumeet Bellary, Shaarib-Toshi, Gulraj Singh, IshQ Bector, Shree D & Laxmikant-Pyarelal

2) Firangi – Jatinder Shah

3) Tera Intezaar – Raaj Aashoo

4) Monsoon Shootout – Rochak Kohli, Viveick-Mayur, Chinmay Harshe, Chetan Rao & Vikram Shastry

The music review for “Tiger Zinda Hai” will be posted separately.


♦ Fukrey Returns, But Ram Sampath Doesn’t! – FUKREY RETURNS Music Review

♪ Music by: Prem-Hardeep, Jasleen Kaur Royal, Sumeet Bellary, Shaarib-Toshi, IshQ Bector, Shree D, Gulraj Singh & Laxmikant-Pyarelal
♪ Lyrics by: Kumaar, Late Anand Bakshi, Aditya Sharma, Satya Khare, Raftaar, Rohit Sharma, Arsalaan Akhoon, Shree D, Mrighdeep Singh Lamba & Vipul Vig
♪ Music Label: Zee Music Company
♪ Music Released On: 16th November 2017
♪ Movie Released On: 8th December 2017

 

Listen to the songs: Saavn


So Fukrey has returned. Sadly, the man behind “Fukrey”s enjoyable music, Ram Sampath has not returned, and after his underwhelming stint in ‘Raees’, he doesn’t get a chance to bounce back with a franchise that was initially his. Anywho, let’s judge on what we have been given.
Prem-Hardeep, the original composers of ‘Kala Chashma’ before Badshah remade it in ‘Baar Baar Dekho’, get a chance now, to ruin somebody else’s song. Laxmikant-Pyarelal’s ‘O Meri Mehbooba’ (Dharam Veer) gets ‘remade’ into Mehbooba, a banal club song which starts and ends with the Fukras being rejected by a random girl in the club, who happens to be singing in Neha Kakkar’s voice. Yasser Desai gets one line that repeats over and over again, and it is frankly the best line of the song. Raftaar’s rap is too stereotypical. Jasleen Kaur Royal’s Peh Gaya Khalara, though fitting into her now-overused Punjabi dance number template, is quite enjoyable, with the sweet vocals by herself and Divya Kumar, Akasa Singh & Akanksha Bhandari accompanying them. The arrangements are what make the track more enjoyable, and also the quirky lyrics.
Familiar territory is entered in Ishq Bector & Shree D’s semiclassical Raina, which, though quite soothing, gets tedious due to its length (it is the only song on the album over three minutes long, and goes up to over four minutes long!) The arrangements help propel it forward though, and also Shree’s vocals. Shaarib-Toshi enter the Bollywood scene after a long time with a delightful Punjabi melody, Ishq De Fanniyar. The male version by Shaarib is great, but the Female Version has all the feels, hence scores higher. The beautiful melody seems like a wonderful sequel to the first movie’s ‘Ambarsariya’. The lyrics are sweet as well, not to mention amazing accordions in the arrangements.
The techno sounds come along with the last three songs, bunched up together, out of which two are by Sumeet Bellary (composed for ‘Fuddu’ last year), and one is by (another person who re-enters Bollywood as a composer after a loooooong time, longer than Shaarib-Toshi), Gulraj Singh.
Sumeet’s two songs rely on weird techno gimmicks, which fail to propel the songs forward. Tu Mera Bhai Nahi Hai is a quirky friendship anthem, but is pulled down by lack of catchiness in both music and composition. Bura Na Maano Bholi Hai is like a title song, but gets all over the place in no time. The arrangements are slightly better here. Both songs are sung by Gandharv Sachdev, wit Shahid Mallya joining him in the latter song, and aren’t all that well sung.
Gulraj does well in his title song, Fukrey Returns, with a nice catchy musical loop, and heavy use of brass and techno sounds which makes his song sound even better. Siddharth Mahadevan on the vocals is a bonus.


Not as great as the first movie’s album, but still a commendable album considering the amount of new talent on there. But nevertheless, I wish Ram Sampath had returned!

 

Total Points Scored by This Album: 2.5 + 3.5 + 3.5 + 4 + 4 + 3.5 + 3 + 3.5 = 27.5

Album Percentage: 68.75%

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

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

Recommended Listening Order: Ishq De Fanniyar = Ishq De Fanniyar (Female) > Peh Gaya Khalara = Tu Mera Bhai Nahi Hai = Raina = Fukrey Returns > Bura Na Maano Bholi Hai > Mehbooba

Remake Counter:
No. Of Remakes: 43 (from previous albums) + 01 (from Fukrey Returns) = 44


♦ Quite A Desi Album! : FIRANGI Music Review

♪ Music by: Jatinder Shah
♪ Lyrics by: Dr. Devendra Kafir, Ashraf Ali & Krishna Bhardwaj
♪ Music Label: Zee Music Company
♪ Music Released On: 21st November 2017
♪ Movie Released On: 1st December 2017

 

Listen to the songs: Saavn


The song with almost the least amount of Punjabi words (second only to ‘Gulbadan’, which comes later on in the album) in its lyrics, Oye Firangi, starts the album off, and Jatinder Shah steals your heart right away. The charming melody immediately gets you grooving — thanks to a little EDM twist in the hookline — and though it is very simple, it is amazing thanks to the programming, and Sunidhi’s marvellous voice. There comes a British-era ballroom style orchestral portion at the end, but I wish the composer had extended that into another antara instead of ending the song with it! Another charming but heard-before melody, Sahiba Russ Gayiya, starts from where ‘Channa Mereya’ ended, with a similar structure and arrangement. Rahat’s voice is a boon to the song, and it’s the first song of his in a long time that doesn’t get on my nerves.(Ahem, ‘Mere Rashke Qamar’!) I love the way he pronounces the hookline. The Unplugged Version sung by Shafqat Amanat Ali, is funnily named ‘Sahiba (Male)’, as if Rahat’s version wasn’t by a male singer. The song itself is an improvement on the original, in that we get to hear Shafqat’s impeccable aalaaps, and though the choice of Shafqat doesn’t make it sound less like a Pritam song in general [Shafqat is just as much of a Pritam camp singer as Rahat is!] it surely does sound less like ‘Channa Mereya’, because the electric guitars have been toned down. Acoustic guitars play the larger role here. However some factors make both versions balance out at the end.
If ‘Sahiba’ had ‘Channa Mereya’ written all over it, Tu Jit Jawna has ‘Bhaag Milkha Bhaag’s title song all, and I mean ALL over it! Daler Mehndi, who I wish had sung the BMB number too, sings this one, and so it is quite bearable, but otherwise, it falls flat and sounds hollow in its emotion. It is also lyrically a counterpart to ‘Oye Firangi’, except Daler paaji doesn’t call him a ‘Firangi’ (foreigner), while Sunidhi did.
Gulbadan is a Qawwali-esque number, sung by Mamta Sharma. Good to hear her sing a different kind of song, though I’m sure the video will be the same kind of Bollywood ‘item number’. The hookline is greatly composed, with amazing arrangements by Shah, but again, falling into the too much tried-and-tested category of arrangements. I guess the best that comes out of this song is hearing Mamta Sharma’s gentle voice, because she thankfully hasn’t been made to sing in the annoying loud voice of hers.
But the album’s best is the wonderful folksy number, Sajna Sohne Jiha, which transports you back to the Punjab of the olden days. Wadali Bros’ Qawwali ‘Ve Sone Diya Kangna’ has been given a nice reinterpretation by Shah, and it works so well. The rhythms at the beginning really bring out the song’s folksiness, and Jyoti Nooran’s strong voice helps propel it to the finish line, where it emerges the winner compared to the other songs of the album!


A very desi album to the film ‘Firangi!’

 

Total Points Scored by This Album: 3.5 + 3.5 + 4 + 3.5 + 3.5 + 5 = 23

Album Percentage: 76.67%

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

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

Recommended Listening Order: Sajna Sohne Jiha > Sahiba Russ Gayiya (Shafqat) > Oye Firangi = Tu Jit Jawna = Gulbadan = Sahiba Russ Gayiya



♦ No Intezaar for This Album! : TERA INTEZAAR Music Review

♪ Music By: Raaj Aashoo
♪ Lyrics by: Shabbir Ahmed
♪ Music Label: T-Series
♪ Music Released On: 11th November 2017
♪ Movie Released On: 1st December 2017

 

Listen to the songs: Saavn


After a long time (or is it the first time?), one single composer gets a chance to compose an album for a film starring Sunny Leone. Somehow, she debuted smack in the middle of the multicomposer craze and so, got mainly multiple composers to compose for all her films! Raaj Aashoo handles the album.
The title track, titled Intezaar Title, instead of a more apt ‘Tera Intezaar’ (Obviously, because that’s the film’s name), is a dreary 2000s melody, sung by Shreya Ghoshal too, as if she is still in her debut year. Adding to the ennui, is the Qawwali-ish chorus. Raaj’s composition is good, but dated. The arrangement is the best thing about the song, especially the flute. Another very typically 90s melody, Khali Khali Dil, sees Payal Dev and Armaan Malik at their clichéd best. The digital sounds do not help make it more ‘modern’ or anything, and even the harmonica fails to create any impact. Quite a similar sound follows in the dreary Mehfooz, another song straight out of Nadeem-Shravan’s music-bank. The guitar work makes it sound like a version of Mithoon’s ‘Sanam Re’ title track, sans the tablas. Yasser gets a version, and, sounding like Arijit as always, manages to make it sound genuinely interesting. The arrangements here too make this song much more interesting than ‘Khali Khali Dil’. The song appears in two more versions, one by Palak Muchhal and the other by a new singer named Hrishikesh Chury. Palak’s 2½ minute long version fares better than Hrishikesh’s normal length one, because of the pleasant arrangements. Also, Hrishikesh tries to sound like Kumar Sanu.
The best song on the album, Abhagi Piya Ki, becomes the best only because the others don’t deserve it. It appears in two versions, a banal one sung jarringly by Kanika Kapoor and Raja Hasan, and a slightly better version sung much better by Payal Dev and Javed Ali. The tablas that went missing from ‘Mehfooz’ seem to have come to this song, and they play in surplus. The semiclassical touch to the song is good, but the 90s melancholia seems to have followed the composer like a thundercloud whenever he sat to compose for this film.
The only song that does not sound anything like a 90s song is Sexy Baby Girl, and it doesn’t work because it tries to sound uber-cool with its lead singer Swati Sharrma, like always, trying to add unnecessary style to her words, resulting in a disaster. Also, the lyrics are cringeworthy.


This is not an album anyone would have waited for. 

 

Total Points Scored by This Album: 3 + 2 + 2.5 + 2.5 + 2 + 3 + 3.5 + 3 = 21.5

Album Percentage: 53.75%

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: Abhagi Piya Ki (Javed/Payal) > Abhagi Piya Ki = Intezaar Title = Sexy Baby Girl > Mehfooz = Mehfooz (Palak) > Mehfooz (Hrishikesh) = Khali Khali Dil



♦ Surprising Monsoon in Winter!!: MONSOON SHOOTOUT Music Review

♪ Music by: Rochak Kohli, Viveick Rajagopalan, Mayur Narvekar, Chinmay Harshe, Chetan Rao & Vikram Shastry
♪ Lyrics by: Sumant Vadhera, Kartik Krishnan, Deepak Ramona, Chinmay Harshe, Rohit Bhasy, Neeraj Sharma, Vinit Gulati, Nidhi Gulati
♪ Music Label: Saregama
♪ Music Released On: 19th December 2017
♪ Movie Released On: 15th December 2017

 

Listen to the songs: Saavn


Rochak gets two songs, and reminds us why he’s one composer that keeps popping up in numerous albums scattered over the year’s span. It is because of his strong melodies. Pal is a cherishable melody which, though predictable, does give you goosebumps, and makes you want it to rain. Arijit’s heart-touching rendition is enough to make anyone fall for the song. On the other hand Miliyo Re is a very Sachin-Jigar-ish romantic song, with Monali and Rochak behind the mic, with vocals that aren’t amazing, but are functional. The composition is good but very commonplace; not as distinct as Rochak’s other songs this year.
Viveick-Mayur present their only song Andheri Raat next, a haunting song with weird Marathi rap, and awesome Punjabi-flavoured male vocals. Neha Bhasin kills it behind the mic, as does her co-singer, Rajiv Sundaresan, doing the aforementioned Punjabi-flavoured portions. The Marathi rap by Aklesh Sutar is funny, and quite weird too.
The other three songs are quite situational, all by newcomers, with neither one exactly standing above the others. Chinmay Harshe’s Miss You Balma, by Akriti Kakar, is experimental but has you questioning “Why??” because the jazzy composition and the rock arrangements don’t really gel well with each other. Akriti aces the vocals though, singing in an unusually (for her) low pitch. The other duo, Chetan Rao & Vikram Shastry, present two songs, one being a folksy item song Maachis Ki Teeli, in which the very unconventional choice of singer, Bhavya Pandit, whi hasn’t ever sung such a song, proves to be great, as she adjusts to the song’s folksiness very well. Her co-vocalists provide good company as the loafers interjecting occasionally. The last song Faislay has a quite dated tune, and a very mismatching digital loop that starts it off, but Mandar Deshpande’s singing brings it up.


An album that is good, but still will be a wipeout.

 

Total Points Scored by This Album: 4 + 4 + 3.5 + 3 + 3.5 + 3 = 21

Album Percentage: 70%

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: Pal = Miliyo Re > Andheri Raat = Maachis Ki Teeli > Miss You Balma = Faislay



Hope you liked this section of reviews! The review for ‘Tiger Zinda Hai’ will be out soon!

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

November 2017 Round-Up #1

NOVEMBER 2017 ROUND-UP #1

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

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



♦ Intense & Intriguing, Ittefaq Se: ITTEFAQ Music Review

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

Listen to the song: Saavn
Buy the song: iTunes


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


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

 

Total Points Scored by This Song: 3.5 

Song Percentage: 70%

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

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

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


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

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

Listen to the album: Saavn
Buy the album: iTunes


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


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

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

Album Percentage: 60%

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

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

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

 



♦ Cute Little Ribbon: RIBBON Music Review

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

Listen to the songs: Saavn
Buy the songs: iTunes


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


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

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

Album Percentage: 75%

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

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

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



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

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

Listen to the songs: Saavn
Buy the songs: iTunes


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


Bappi Lahiri clearly has lost his Music Ratan!

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

Album Percentage: 32.5% 

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

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

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



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

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

Listen to the songs: Saavn
Buy the songs: iTunes


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


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

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

Album Percentage: 67.27%

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

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

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

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

 



♦ Raunchy Diaries: JULIE 2 Music Review

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

Listen to the songs: Saavn
Buy the songs: iTunes


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


An album that you will automatically avoid.

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

Album Percentage: 50%

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

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

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



 

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

A RISHI RICH BEAT SAVES THE POSTER BOYS!! (POSTER BOYS – Music Review)

Music Album Details
♪ Music by: Tanishk Bagchi, Daler Mehndi, Dilip-Sameer, Rishi Rich, Sunai Marathe, Shreyas Iyengar & Sonny Ravan
♪ Lyrics by: Shabbir Ahmed, Javed Akhtar, Kumaar, Saurabh Pandey & Sonny Ravan
♪ Music Label: T-Series
♪ Music Released On: 19th August 2017
♪ Movie Releases On: 8th September 2017

Poster Boys Album Cover

 

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

To buy this album on iTunes CLICK HERE


Poster Boys is an upcoming satirical Bollywood film, starring Sunny Deol, Bobby Deol and Shreyas Talpade in lead roles. The film is an official remake of Shreyas-directed Marathi film ‘Poshter Boyz’, and is also directed by Shreyas Talpade himself. The film is produced by Sunny Sounds Pvt. Ltd., Shreyas Talpade and Deepti Talpade. The film revolves around three men who suffer humiliation in their village when they appear on an advertisement for vasectomy, without their knowledge or permission. The film seems like a comic caper, at the same time trying to create awareness about this. The music, which I actually expect to be bad, just because this film seems like one of those films where music plays a minuscule role, is by four composer entities. Remake master Tanishk Bagchi comes back with a remake here, while Rishi Rich gets to compose an original. The album also serves as the debut vehicle for three new composers, a duo, Sunai Marathe Shreyas Iyengar, and an individual, Sonny Ravan. So let’s see how this album with half its songs by known personalities, and half by newcomers, fares!


1. Kudiyan Shehar Diyan

Singers ~ Daler Mehndi & Neha Kakkar, Original Composition by ~ Dilip-Sameer & Daler Mehndi, Music Recreated by ~ Tanishk Bagchi, Original Lyrics by ~ Javed Akhtar, New Lyrics by ~ Shabbir Ahmed

So T-Series messes up with credits again — the old song ‘Kudiya Shehar Di’ (Arjun Pandit; 1999) which this song is a remake of, was credited to Dilip and Sameer Sen, but now they credit Daler Mehndi as its composer! Anyway, Tanishk (the go-to recreator these days) tries to infuse more life into the already lifeless and staid Punjabi number (or so I personally feel), by giving it a better mixed dhol arrangement, and having Neha Kakkar sing the female parts. But replacing one screechy singer (Alka Yagnik in the original) with another screechy singer, is not too wise! The only energy in the song is because of Mehndi’s amazing singing. Tanishk hasn’t actually newly composed anything; the song is just permutation and combination of the parts in the old song. Lyrics are functional, nothing great. An okayish remake of an okayish song.

Rating: 2.5/5

 

2. Kendhi Menoo

Singers ~ Yash Narvekar, Sukriti Kakar & Ikka Singh, Music by ~ Rishi Rich, Lyrics by ~ Kumaar

Rishi Rich is in charge of the next song: a nice hip hop number with a peppy and groovy beat that instantly has you hooked. The composition too, is quite catchy. Especially the hookline’s tune. The antara isn’t great, but good enough to go with the amazing beats. The arrangements are the highlight of the song, and those trumpet sounds are some of the best beats in a Bollywood hip-hop song this year. That being said, it isn’t like the song is extraordinary either, just surprisingly good enough and compared to the others in the album, it is a masterpiece. The vocals are nice too, with Yash Narvekar and Sukriti carrying the hip-hop vibe very well. I wish Sukriti wouldn’t mumble though. Ikka’s rap is good too! The lyrics are understandably ordinary. A good hip-hop number with a groovy “Rishi Rich beat”.

Rating: 3.5/5

 

3. Noor-E-Khuda

Singer ~ Kailash Kher, Music by ~ Sunai Marathe & Shreyas Iyengar, Lyrics by ~ Saurabh Pandey

This song is the typical Bollywood sad Qawwali, which gets played in movies whenever things are going wrong. Usually it’s Sukhwinder Singh or Kailash Kher singing these Qawwalis, and sure enough, here, the newcomer duo, Sunai Marathe & Shreyas Iyengar, present the song in Kher’s voice. The composition itself is very maudlin and typically dramatic. The roopak rhythm, as overused as it is, sounds very heavy here, and I am beginning to feel like it should be used less often now! The tablas and claps too, are very typical — nothing new. The lyrics are good as they should be, but again, very typical. Kailash Kher has the tendency to bore in such songs, but here it’s everything else that draws you away from the song.

Rating: 2/5

 

4. The Posterboys Anthem

Singer ~ Shree D, Music by ~ Sonny Ravan, Lyrics by ~ Sonny Ravan

Now the second debutant gets to end the album with something called the “Poster Boys Anthem”, and I must say, it is quite a tedious anthem. And also one of the saddest debuts I’ve seen. The composition is dead, and seems like someone who doesn’t know much about what it takes to make a good song, came out and composed a song for an everyday morcha, and decided to use it here. I don’t even know where this kind of a song would fit as the theme song to a satire as this. The vocals are so bad, it’s unbelievable. SKIP!

Rating: 0.5/5


Poster Boys is yet another bad multicomposer album. It pains us reviewers when our point is proved that the multicomposer trend is slowly corroding the quality of music. Well, actually, the trend isn’t to blame here. The makers could’ve gone for more established and seasoned artists, who would’ve composed some good music!!

 

Total Points Scored by This Album:  2.5 + 3.5 + 2 + 0.5 = 8.5

Album Percentage: 42.5%

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

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

Recommended Listening Order: Kendhi Menoo > Kudiyan Shehar Diyan > Noor-E-Khuda > The Posterboys Anthem

 

Remake Counter:
No. Of Remakes: 30 (from previous albums) + 01 = 31

 

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