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

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

Raabta Album Cover

 

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

To buy this album on iTunes CLICK HERE


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


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

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

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

– Amitabh Bhattacharya

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

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

 

2. Raabta (Title Track)

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

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

– Irshad Kamil

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

Rating: 4/5

 

3. Sadda Move

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

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

– Irshad Kamil & Amitabh Bhattacharya

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

Rating: 3/5

 

4. Lambiyaan Si Judaiyaan

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

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

– Amitabh Bhattacharya

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

Rating: 2/5

 

5. Main Tera Boyfriend

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

Na Na Na Na!

– J-Star & Jitendra Raghuvanshi

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

Rating: 3.5/5

 

6. Darasal

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

“Inkaar mein jo chhupa hai woh ikraar ho!”

– Irshad Kamil

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

Rating: 4.5/5


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

 

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

Album Percentage: 71.43%

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

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

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

 

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

 

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

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THE SULTANATE OF VISHAL-SHEKHAR IS BACK TO REIGN!! (SULTAN – Music Review)

Music Album Details
♪ Music by: Vishal-Shekhar
♪ Lyrics by: 
Irshad Kamil
♪ Music Label:
 YRF Music
Music Released On: 31st May 2016
♪ Movie Releases On: 
8th July 2016

Sultan Album Cover

Sultan Album Cover

 

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

To buy this album on iTunes CLICK HERE


Sultan is an upcoming Bollywood sports drama film, starring Salman Khan and Anushka Sharma in the lead roles. The film has been directed by Ali Abbas Zafar, and produced by Aditya Chopra. The story revolves around a Haryanvi wrestler who goes by the name Sultan (Salman Khan), who has problems in his professional life. His struggle to get back into the wrestling scenario forms the story of ‘Sultan’. The story seems the usual Bollywood story for a sports film, but the execution is what matters. While we wait for the execution to come in front of our eyes, the music album is here for us to cherish. The album marks the comeback of duo Vishal-Shekhar, who disappeared after a mediocre album, ‘Happy New Year’ (2014). They gave that foot-tapping song in ‘Fan’, again for YRF earlier this year, again for a Khan, Shahrukh. This time they come back to compose for YRF’s ‘Sultan’, which is coincidentally their first Salman Khan film!! That’s kind of hard to believe isn’t it? Such a talented duo and composing for Salman for the first time! 😀 What was Salman doing all these years? Playing table tennis with Himesh and Sajid-Wajid? Apparently, he has moved on from his clichéd composers and after Pritam’s stylish and full-of-variety ‘Bajrangi Bhaijaan’, and Himesh’s old-fashioned, but enjoyable ‘Prem Ratan Dhan Payo’ last year, he comes back this year with a new choice of Vishal & Shekhar, who are geniuses when it comes to being innovative. Expectations are sky-high and there are so many reasons. a) Vishal-Shekhar’s comeback. b) Vishal-Shekhar’s first for Salman. c) Vishal-Shekhar composing for YRF.. (remember ‘Ta Ra Rum Pum’ and ‘Tashan’?) Something phenomenal indeed is expected. Something mind-blowing and something innovative — just because Vishal-Shekhar are on board. They have composed a big nine-track album, with seven songs, one version and one theme. Let’s see how many of them rise up like a real ‘Sultan’! Really hoping this comeback makes it really big (once again) for the duo after their rough patch recently, the last great album being ‘Hasee Toh Phasee’ (2014)! They must emerge as Sultans!


1. Baby Ko Bass Pasand Hai
Singers ~ Vishal Dadlani, Shalmali Kholgade & Isheeta Chakrvarty, Rap by ~ Badshah

The soundtrack opens up with a fun-filled dance number that has been composed by the duo to really suit Salman’s presence in it. The song starts off with a wonderful rhythm, that you can set your feete tapping to immediately, as soon as it starts. Composed of techno sounds, dhadd, and manjeeras,the rhythm really hooks you right away, and Isheeta’s folk portion doesn’t really help in making you run away from the song. In other words, the song starts off really catchily, just as it should!! Vishal-Shekhar have really moulded themselves into a complete folksy manner, and delivered a composition that would easily connect with the masses. It is very typical, very Salman types, yet it instantly catches onto you. The hookline, kind of composed on the base rhythm of ‘Selfie Le Le Re’ (Bajrangi Bhaijaan), impresses with its briskness. The techno noises after the short hookline are wonderful, and so is the playful flute! The mukhda by Vishal and Shalmali, really grabs your attention. Arrangements in the song are fabulous. The use of techno has been done really impressively. The brisk interventions of the flue are just lovely! They really stole my heart. Traditional instruments like harmonium, dholaks, manjeeras, tumbi, dhadd, impress as well in their small parts. Vishal-Shekhar really know how to fuse everything together into a catchy package. There is a rap by Badshah completely styled like an antara, as it is very cleverly joined with the hookline after it is over. Badshah’s rap is fun to hear, but I miss the very raw Haryanvi feel of Honey Singh’s Haryanvi rap here. Anyway, it is enjoyable. Shalmali sings in her soft voice, which I like better than her other, low-pitched voice. She does the Haryanvi accent very well. She too, has a small stanza to sing after a bit of Badshah’s rap, after which Vishal comes back for the hookline. For Vishal, I’ve no words to express how much I loved his rendition. He sings with the same infectious energy, that he puts into all his other songs, so it is not a surprise. The way he sings the hookline, though resembling his rendition of the hookline of ‘Selfie Le Le Re’, still sounds so mind blowing and cool. Irshad Kamil is back to his fun, enjoyable lyrics. He can easily mould himself to write so many different types of lyrics and they always appeal! He takes the hookline and writes such fun-plus-funny lyrics around it, a usual male v/s female battle as we have in Bollywood dance numbers many times. An infectious, catchy number, perfect as the first song in a Salman album. Vishal-Shekhar have composed a perfect song for Salman, right in their first stint for him! Energetic vocals, enjoyable lyrics, and booming arrangements all make this one a WINNER! #5StarHotelSong!!

 

2. Jag Ghoomeya / Jag Ghoomeya (Female)
Singers ~ Rahat Fateh Ali Khan / Neha Bhasin

A beautiful guitar loop starts off the next song, and you know Vishal-Shekhar are back at doing their thing with the soulful romantic songs. The song is a romantic song, with shades of Vishal-Shekhar’s style, yet suiting Salman’s style perfectly. The composition is a breezy, love ballad with a really happy-go-lucky touch to it, and graced with a beautiful folk rhythm. The mukhda is very charming, and the hookline really lives up to its name — it hooks you completely. The rhythm of the hookline is just too catchy to dislike. It is the antara though, where Vishal-Shekhar really work magic. It has been composed in a manner that reminds you of Vishal-Shekhar’s work in ‘Tashan’, for some reason unknown. Maybe the folksiness makes it connect to ‘Tashan’. The line “jaisi Tu hai vaisi rehnaa” is very pleasant, and my personal favourite from the song. It has some charm in it. The female version has the tempo cranked down a bit, and that appeals so, so much! The duo excels in the arrangements too, as always. In the male version, their brilliance in arranging music is seen in the way they add folk guitars, acoustic guitars and rock guitars into the same song. Percussion is brilliant, with a folksy but electronic dafli and dholak rhythm backing the song. Shakers have been used very cutely. The first interlude has a very majestic strings portion which reminds one of ‘Zehnaseeb’ (Hasee Toh Phasee). It has a strong hangover of that song. However, the mandolin is what steals the show. It is very cute and pleasant to the ears. In the female version, however, Vishal-Shekhar really impress. They have arranged it very beautiful with almost nothing but a folkish guitar in the background. Percussion is very beautiful, and very less and soft too. For me, this is the winner even though it offers less! To talk about vocals, Rahat’s soulful voice brings that rustic feeling to the song (and also brings the Salman-iyat 😛 ) and sounds very familiar, yet appeals. Again, it is the female version which emerges as the winner. Neha has tried something new this time, with an innocent romantic song. Her husky voice perfectly makes for the rustic setting of the movie. The accent is something to fall for! I couldn’t help but miss Harshdeep Kaur here, though! Not that Neha’s rendition is bad in any way!! 😀 Her voice simply reminded me of Harshdeep’s and then I started wanting to hear the song in her voice. 😛 Kamil’s lyrics are sweet, simple, innocent; in short, amazing. Amazing simplicity and innocence in this romantic song. Something worth hearing on loop! For me the female version is better, but both are a #5StarHotelSong!!

 

3. 440 Volt
Singer ~ Mika Singh

I saw the title and singer’s name of the next song and told myself, “Finished. The goodness of this album is over. It’s all over, dude. You were an idiot to think that the album would be so great.” After all, I’ve not been liking Mika’s songs of late; the same, old, repetitive meaningless party tracks. But boy, was I wrong! The song is utterly enjoyable! Nothing less than that. Enjoyable to the fullest. Each and every second is something to cherish and enjoy. I don’t know what Vishal-Shekhar fed Mika before recording the song, but here he sounds very, very different! He doesn’t belch out his words like always, he doesn’t eat any of the syllables, and neither does he try to sound like a pop star. Instead, he pronounces everything perfectly, sings in a very soft textured voice, and tries to sound CUTE! And it works! He does sound cute. Don’t believe me? Hear it! The duo have given him a song quite unlike his style, yet perfect for him! It is a slow-paced, but very catchy and groovy song based on the filmi Qawwali template. It is one of the most entertaining Qawwali spoofs I’ve heard this year. And then there’s that ‘Fake Ishq’ (Housefull 3). [Okay, now ‘Housefull 3’ has really become an example, hasn’t it? Sorry! 😅😅 Couldn’t resist from writing that, though!] Vishal-Shekhar have composed something that is immensely attractive, something that doesn’t only have a catchy hookline to do all the work, but a hardworking (in getting us addicted!) mukhda and very diligently composed antaras. The antara is a very weirdly addictive, slow piece that you can’t get out of your head. The part in the hookline when Mika repeats “Chhoone Se Terey” is just so crazily gooooddd! (Can’t think of a synonym for ‘good’. That’s why I elongated it. No time! 😂 ) The way Mika sings in a Haryanvi accent fulfills my dream of hearing him sing that ever since he didn’t sing the title track of ‘Boss’. (Which I had thought he had sung when I first heard it). The duo’s arrangements are very creative. The rock factor works really well in filmy Qawwalis, so there it is. The harmonium and tablas are also awesome. A wonderful electronic substitute for the tabla has been added by the duo, which you can hear at 2:47 in the song. That space is usually taken by the tablas in any Qawwali. While he first interlude has a full-on rock guitar solo, the second goes the calm way with a Spanish sounding tune on strings and tablas. Irshad Kamil writes very entertaining lyrics, perfectly suitable for a lovestruck Romeo. The hookline is so funny, yet creative. “Lagey 440 Volt Chhoone Se terey”. Now don’t say I unnecessarily hate the lyrics of ‘Hous– oops! ENTERTAINING to the core!! Something very creative and innovative! P.S. Mika as a Qawwali singer sounds awesome! #5StarHotelSong!! (P.P.S. Sorry for the essay)

 

4. Sultan
Singers ~ Sukhwinder Singh & Shadab Faridi, Backing Vocals ~ Abdul Sajjad, Zuber Hashmi, Arun Ingle, R N Iyer, Mandar Aapte, Kaustubh Datar, Rahul Chitnis, Nitin Tupe, Swapnil Godbole, Mangesh Chavan, Nitin Karandikar, Vijay Dhuri, Jitendra Tupe, Mayuresh Madgaonkar

The title song, arrives quite late into the album, and starts off very softly. Later, a voice quite like that of Vishal Dadlani joins the rock guitars that start off the song, and sing some motivational lines. We’re kind of figuring out what’s going on, when suddenly, an electrifying Sukhwinder Singh takes things into his hands and with him, the song goes uphill, and how! An energizing electric guitar hook starts playing, to be joined later on by energetic drums and a wonderful chorus. The composition is also just ad energetic, and definitely motivational. The duo redo their own ‘Tashan Mein’ (Tashan), but in a very different manner. A way better version of the seemingly unbeatable song, in terms of dynamism and vigour. The hookline is very unconventional as it ends abruptly with the chorus singing “Rre sultan”. The khoon and mitti refrain is very catchy, and suits the theme, doesn’t it? All the parts of the song are energetic, and full of the spirit to work and win. The rock arrangements are not over the top, and because of the commercial nature of the rock song, it will appeal to all, unlike other rock songs which aren’t so commercial. You can barely hear anything besides the rock guitars and drums, which I must say, are very classily done. There are some parts in the antara when the rock simmers down, but other than that, rock is everywhere. Sukhwinder and Shadab are a fit duo to sing the song, with Shadab getting very less in comparison to Sukhwinder. Sukhwinder is clearly the king of all this. A wonderful techno-sargam entertains highly in the first interlude. Irshad Kamil’s lyrics are highly motivational and more than a character-themed title song, like Salman’s other title songs where the leading hero is a larger-than-life supercop (Ahem, ‘Dabangg’!), the song sounds like a pure motivational and inspirational song. The energy of Sukhwinder and Shadab combined with the energy of Vishal-Shekhar’s guitars and drums, and the intelligence of Kamil’s pen, makes for an enjoyable and worthy listen! One of Salman’s best title songs!! He’ll be like “Achho title song paayo .. Paayo… Aayo.. Laayo… Gaayo.. Bio —” Where’d that come from? 😕 #5StarHotelSong!!

 

5. Sachi Muchi
Singers ~ Mohit Chauhan & Harshdeep Kaur, Backing Vocals ~ Marianne D’Cruz, Nisha Mascarenhas, Rajiv Sundaresan & Neuman Pinto

Now, the next song is really beautiful. Vishal-Shekhar create a very happy-go-lucky romantic song, very unconventional. The song starts with a wedding baaja type band, playing the tune of the hookline, which sounds really out-of-place, and confusing. However, things clear themselves up when the song starts after the band moves on. A wonderful banjo + harmonica instrumentation sets things into place, and creates a very American folk ambience. (You know, cowboys. 😛 ) Without thinking about what cowboys are doing in Haryana, I start grooving to the feel-good, breezy music. However, it took me very long to really start grooving a lot to the music. The song grows on you as slow as a snail. But when it finishes growing upto however much it wants to grow, it sounds very good to the ears. The same thing happened to me. The composition, though a little weak, sets in after a few listens and seems to very attractive. The Western breeze in the arrangements is something not heard recently in Bollywood. (I don’t really like it when it comes in Bollywood music, though. Sounds boring, generally, too!) Mohit and Harshdeep sing the composition perfectly, with the right amount of gusto. Especially in the hookline, “yeh khwaab hai, chaahatein…. Tere kehne Se li Maine parvaazein”, Mohit along with the backing chorus sings very awesome. The harmonica and banjo sound mind-blowing. The lighthearted composition works really well after some time, just that it takes some time to mark its place in the otherwise commercial album. Irshad’s lyrics are just as lighthearted as needed. This time, a two-sided love song. 😀 A song with less appeal, but will slowly emerge as an undoubted #5StarHotelSong!!

 

6. Bulleya
Singer ~ Papon, Backing Vocals ~ Altamash Faridi & Shadab Faridi

While Mika sang a filmy Qawwali earlier in the album, Papon is here with a full-fledged traditional Qawwali of his own. Vishal-Shekhar have composed a totally sweet, innocent composition for this Qawwali, fit for mehfils. Papon starts off with a very lovely AdLib, after which Vishal-Shekhar kick in with the beautiful Qawwali rhythm, complete with the Faridi brothers singing in a heavenly manner, and a harmonium striking the chords of our hearts. Papon rejoins with very sugary lines written wonderfully by Kamil. He renders them very beautifully, and those waah’s cant stop from escaping from your mouth. The way the duo connects this part to the hookline, is when you really get transported to another world. And the hookline is what keeps you there. And you stay there for the remaining duration of the song. A beautiful entrancing arrangement of dholaks, tablas, dafli, harmonium and chimtas, complements Papon during his heavenly rendition. The foot-tapping rhythm is what makes the song sound so beautiful. The rhythm in the hookline is indescribable. It is also the composition that has brought out the bliss in Papon’s voice. Vishal-Shekhar’s divine and spiritual composition is what makes you love everything about the song. The interlude has a wonderful rock guitar portion, which doesn’t sound out-of-place in the spiritual song at all. The Faridi bros are excellent in their spiritual interventions in the song. Lastly, Irshad is a genius. He has written such impressive romantic, spiritual and sad lyrics, which are excellent. It is like a request from the boy to his lover, instead of the usual sad romantic songs where the boy assumes that the girl is leaving him and starts wailing. 😂 The way the spiritual touch has been put into the lyrics, is wondrous. Divine, spiritual and blessed. Something to hear on loop! Perfect ‘Coke Studio’ material from Vishal-Shekhar! Papon, you are a rockstar!!! #5StarHotelSong!!

 

7. Tuk Tuk
Singers ~ Nooran Sisters & Vishal Dadlani

This song starts with a weird AdLib like one in a Qawwali. I am guessing that has been sung by Shekhar. Anyway, the AdLib makes way for some entrancing, divine techno music. It is so beautiful, that you can’t stop from swaying. Piano, chimes and techno sounds have been wonderfully fused together to make something really addictive and entrancing. The Nooran Sisters start off with their usual folksy Punjabi rendition, which starts off really promising. And then, it drops down so fast. The hookline arrives so fast, you are not sure what actually happened. Suddenly, the techno trance breaks and you find yourself in a very typical Punjabi tumbi-dhol arrangement (with very low volume, like Amit Trivedi’s style) with a very averagely composed hookline. It takes quite some time for the song to pick up pace again, and that is when Vishal comes in with his out-of-this-world rap! His rap is actually meaningful. The song is another meaningful, inspirational one, which completely grips you until the part I mentioned arrives. After Vishal’s raps though, the Punjabi part sounds perfectly fine and acceptable. It is the “re bole dhola dhol tadak dhin” line that plays the spoilsport in the song. It just sounds out-of-place here. Everything else falls into place perfectly. Even the antara, which has a Punjabi folk arrangement, sounds great. So why does that hookline sound odd? The flaw is in the abrupt composition. The EDM and techno music is really addictive, and the programming on the Noorans’ voices is very cool. The fusion is really something to appreciate, and something other composers must follow soon!! Irshad’s lyrics are very inspirational, and the metaphors are very clever. Something that would have been exceptionally innovative, but spoiled by the hookline!!

 

8. Rise of Sultan
Singer ~ Shekhar Ravjiani, Backing Vocals ~ Abdul Sajjad, Zuber Hashmi, Arun Ingle, R N Iyer, Mandar Aapte, Kaustubh Datar, Rahul Chitnis, Nitin Tupe, Swapnil Godbole, Mangesh Chavan, Nitin Karandikar, Vijay Dhuri, Jitendra Tupe, Mayuresh Madgaonkar

To close this very much awaited album, we have something on the lines of a theme song. Again motivational in spirit, this track takes the khoon-mitti refrain of the title song and has it crafted into a wonderful background piece. The composition as we know it, it purely motivational and so it has a very positive effect in this track. It makes the song sound so otherworldly. Shekhar leads the vocals with a horde of backing vocalists following him, without which it would’ve sounded lifeless. What I really want to praise is the MINDBLOWING percussion. They are so energetic and vigorous, you can’t help but love them. The rock guitars do not leave this opportunity of showing their prowess either, and impress yet again, along with their new companion, the percussion. The song suits the storyline of the film, as it starts slow and gets high-spirited towards the end, with the strings and brass kicking in later on. It is symbolic of the “Rise” of the character, Sultan. A perfect title, I must say! An INVIGORATING end to the impressive album! #5StarHotelSong!!


Sultan turns out to be way better than expected. Yes, I know my expectations were huge anyway, but not so high! I had never expected such a great album, especially when there is Salman’s commercialism to cater to. But Vishal-Shekhar really prove themselves. They are experts in music arrangements, and they use this plus point to raise the level of each and every song in the album. If there is a typical Salman dance number in ‘Baby Ko Bass Pasand Hai’, there is also a spiritual Qawwali in ‘Bulleya’ and an enjoyable track in ‘440 Volt’. An album full of variety, and I’m thinking, one of Salman’s best albums since 2010. Ali Abbas Zafar has brought out the best from the duo, considering the movie’s genre. If Vishal-Shekhar can deliver so well in a film that doesn’t need such good music, I can’t even imagine what they will do in films like ‘Banjo’ and ‘Befikre’ coming later this year! 😉 The sultans of Bollywood are back to reign!!

 

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: Bulleya > Jag Ghoomeya (Female) > 440 Volt > Sultan > Jag Ghoomeya > Rise of Sultan > Baby Ko Bass Pasand Hai > Sachi Muchi > Tuk Tuk

 

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

 

Note: ‘Sultan’ will be included in July 2016 monthly awards 🙂

Next “dish”: Raman Raghav 2.0, Chef: Ram Sampath

DOESN’T DESERVE TO BE WELCOMED!! (WELCOME BACK – Music Review)

Music Album Details
♪ Music by: Meet Bros. Anjjan, Anu Malik, Mika Singh, Music MG (Milind Gaba), Siddhant Madhav, Yo Yo Honey Singh & Abhishek Ray
♪ Lyrics by: Kumaar, Manoj Muntashir, Shabbir Ahmed, Music MG (Milind Gaba), Arafat Mehmood, Nitin Raikwar, Deane Sequeira, Manvendra & Abhishek Ray
♪ Music Label: T-Series
♪ Music Released On: 6th August 2015
♪ Movie Released On: 4th September 2015

Welcome Back Album Cover

Welcome Back Album Cover

 

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

To buy this album on iTunes CLICK HERE


Welcome Back is a Bollywood action comedy film, that stars an ensemble cast consisting of John Abraham, Shruti Haasan, Anil Kapoor, Nana Patekar, Paresh Rawal, Naseeruddin Shah, Dimple Kapadia, Shiney Ahuja and Ankita Shrivastava. The film is directed by Anees Bazmee, and produced by Firoz Nadiadwala. As even the newest born baby in the country must be knowing by now, owing to the delay my review has made in arriving, the film is a sequel to the 2007 superhit ‘Welcome’. The absence of Akshay Kumar was already a cause of negative buzz surrounding the film even before its release, and after release, it’s as if the film has been forgotten by most people. Anyways, the music has been given by a horde of music directors, which you can read up in the “Album Details” section, because I’m really too lazy to even copy-paste all that (mostly because of the GENIUS music composers that the list contains). It seems to be an album where T-Series has very little say in what songs to include and what to not, because it has turned out very BAD, frankly. So my review for it will be written with the same amount of interest that the composers have seemed to put into the making of the songs; be ready! 😀 Also look out for many lines where you can point out how irritated I was with the composers as I went through this unnecessarily loooooonnnnnggggg album!


1. Tutti Bole Wedding Di
Singers ~ Meet Bros. Anjjan & Shipra Goyal, Backing Vocals by ~ Ambresh, Ved, Ashish, Ruchir & Bipin, Music by ~ Meet Bros. Anjjan, Lyrics by ~ Kumaar

To open up this grand album, we have a wedding song that tries to be grander than it should. Larger-than-life arrangements coupled with a staid band-baaja tune is something that is doomed to fail. The Bollywood audience has already had enough of the wedding themes in the 90s and early 2000s itself, and another song along the same lines, without any hint of innovation or evolution is definitely not going to all of a sudden change the mind of the public. Meet Bros. Anjjan, releasing one of their pre-split songs, must’ve been too over-excited after getting a song in such a big-budget movie, that they lost their senses halfway through the process of making it. The stale pe-pe-pein template, a must in Bollywood wedding songs, makes an appearance in this song as well, and it couldn’t have got any more clichéd than this. I have to admit, the good recording and arrangements do give some reason to hear the song despite the boring composition. Meet Bros, making a smart move by not hiring Mika for the song, have also avoided another chance of making the song sound even more stereotypical. Their voices sound way better than Mika would have sounded! Shipra also sounds good in her parts, but again, could’ve added a bit more energy to hear voice. On the arrangements front, dholaks, tumbi, flutes, trumpets and all the other wedding instruments don’t shy away from making appearances at least once in the song. A guitar interlude before the second antara, is worth paying attention to, though! Kumaar’s Hinglish lyrics are neither catchy, nor do they generate any interest in the listener, which is normally the case with Hinglish lyrics. Towards the end, a tempo increase makes things livelier but not at all interesting, and it ends up sounding like a mess! Not an impressive start to the album by Meet Bros. Anjjan!! Arrangements are what makes it tolerable, or else you better just go hear some 90s wedding song — it would be more enjoyable!

 

2. 20-20
Singers ~ Anu Malik, Mamta Sharma & Shadab Faridi, Music by ~ Anu Malik, Lyrics by ~ Manoj Muntashir & Shabbir Ahmed 

Anu Malik enters the soundtrack with the second track itself, as if trying to say, “Fear not, I’m here!” But then, does it even apply here? Earlier this year, he gave us a great soundtrack in ‘Dum Laga Ke Haisha’, composing songs that both catered to the audience as well as suited the theme of the movie. He had to compose in 90s style there, as the film was set in the 90s. But does that mean he should eternally compose as if it is always the 90s? Because apparently, he seems to be under the impression that what worked 20 years ago, will work even now, even though not required in the film. So, he churns out a song that seems to have been rotting in his music bank ever since he debuted! Right from the beginning, you instantly feel that you are in that era when stupid lyrics and a “catchy” tune would work no matter what. The arrangements make sure you feel that way. And what should I say about the composition? I’ve already said it sounds like a stale 90s item song, and that is it! Nothing more, nothing less. Add Mamta Dharma’s annoying vocals to it, and crude interruptions from Anu himself, and you can increase the cheapness value by infinity! :/ The only one who seems to shine as far as vocals go, is Shadab Faridi (that too, backing vocals!) And his is the only part I liked! About the lyrics, I would say that I never expected Manoj Muntashir to participate in such a song; Shabbir is at least imaginable! Watching a 20-20 cricket match a thousand times would be a more productive work than listening to this thing which has been unfortunately called a “song”! SKIPPPPP!

 

3. Welcome Back (Title Track)
Singers ~ Mika Singh, Geeta Jhala & Music MG (Milind Gaba), Music by ~ Mika Singh & Music MG (Milind Gaba), Lyrics by ~ Music MG (Milind Gaba)

Of course, the title track of ‘Welcome’ was one of the main attractions in the soundtrack and so, as is Bollywood’s regular convention for a sequel, a remake of the title track is mandatory, isn’t it? So here, Sajid-Wajid’s catchy title track is bestowed into the hands of Mika and Milind Gaba, to try and make it more attractive for today’s audience. If you ask me, well, the two have done their job well, and have to be given credit for it! And by ‘it’, I mean turning the song into a complete club song with club beats and the stereotypical club sound and spoiling it. And also ordering everybody to jump while listening to it, even though what they’ve done isn’t even enough to make anybody react in any way whatsoever. It’s pretty much how you sit in history class, expressionless. Mika’s part that goes “Lachke…” is so irritating, that you keep waiting for it to get over, and when it is over, Music MG kicks in with a super-annoying rap, which will not surprise you even though he says it very fast. Geeta Jhala’s voice is one of those thousands of female voices these days that are programmed to suit the club atmosphere, and we never get to know what they really sound like! The beats are totally techno beats and might offer some respite from the obnoxious lyrics and tune, but just some. Sajid-Wajid should hear this, and laugh at Bazmee. Only good for clubs and functions, where half the people don’t even care or know what song plays!

 

4. Meet Me Daily Baby
Singers ~ Siddhant Madhav & Pawni A Pandey, Backing Vocals ~ Hyasinth D’Souza, Music by ~ Siddhant Madhav, Lyrics by ~ Arafat Mehmood

Till now, we have heard three songs of the album, all three by established and well-known people of the industry, Meet Bros Anjjan, Anu Malik and Mika Singh. None of them really impressed me as such. So when the next song happens to be by a newcomer, naturally my reaction would be something like “Woah! Wait a minute! You mean to say that you’re gonna make me hear a song by a newcomer, after three atrocious songs by non-debutants? How do you expect me to trust you there?!” So I start listening without many expectations. Imagine how surprised I must have been when the song started in a funky, groovy and catchy way! Trumpets and other brass instruments welcome us into the song, and in a really catchy and addictive way. Pawni, whose voice has matured to the fullest by now, starts singing some English lines which don’t really matter as far as what they mean is concerned. The actual song starts when Siddhant Madhav, the composer comes behind the mic and sings his lines in a voice resembling that of Neeraj Shridhar a lot. The composition has been done with care and time, and that’s why I guess it has at least some power to grasp you. Everything is fine until the hookline comes which sounds really cheap and amateur, what with the bad blend of English and Hindi. The lyrics just keep getting worse in the antaras, with phrases like “you know na tere bin main kitni adhoori”, “Within a second tooney Ki Dil Ki chori” and other mixes of Hindi and English we would never even think of using in day-to-day life. Arafat Mehmood seems like another Shabbir Ahmed in making. Siddhant’s arrangements are really engaging, with a slight Latino touch to them, thanks to the wonderful brass instruments, guitars and other techno elements working in favour of the same. As far as the singers are concerned, Siddhant sounds a bit old at places, but that’s the requirement of the film (watch the video — he’s singing for Anil Kapoor and Nana Patekar, so…. You get it!) Pawni sounds as cheap as cheap can get in some places, kind of overdoing the accent when she has to sing some English words. Both the singers put unnecessary extra stress on the word “Baby” everytime they sing it, and they say it so many times in the song, it sounds like an overdose of babies. And the way they say it, it sounds like “Bayybaa”. 😒 Overall, one of the better songs of the album, but sometimes overflowing with cheapness. Anyways, since it’s one if the better songs, I would say, don’t underestimate the power of a newcomer!

 

5. Time Lagaye Kaiko
Singers ~ John Abraham & Anmol Malik, Music by ~ Anu Malik, Lyrics by ~ Nitin Raikwar

Those guitars start the song, and I immediately think of Salman Khan’s ‘O O Jaane Jaana’ for some reason. I guess the guitars have been played in a similar way in that song too. 😂 Anyways, this song is the second song by Anu Malik on the soundtrack, and is another one of the decent ones on it. The guitars have a pretty soothing effect, and the composition is tolerable too. But only until the singers don’t kick in. Because when they do, you might get confused and ask, “These are singers?” Well, I’ll tell you. The male voice isn’t that of a singer. It’s an actor. John Abraham singing his first song. Hello John, just because Salman, Alia, Shraddha et al are singing songs in their movies, it doesn’t mean that it’s compulsory for you! He has sung the song, and just had his voice programmed to try to make it sound good, but it doesn’t even sound good. And Anmol, who’s supposed to be a singer, sounds utterly atrocious, trying to torture us with that deliberate nasal twang in her voice. Shruti Haasan should’ve sung it, for all there was, because she’s featuring in the video. At least she would’ve sounded better. Anu Malik has rescued the song from doom by adding interesting guitar arrangements, though, so as long as you hear it by your own will, it’s all fine. The beats aren’t really captivating, by they’re not bad either. One con about the song is its duration, which is well over five minutes, and that is pretty much unbearable for such a song. Nitin has penned lyrics as if an actual tapori is singing. He has added that Mumbaiya language to the words and messed up English, to put in that effect. Nothing great, but just perfect to suit the visuals and situation, I guess. The composition is good at places, but the listener would lose interest in the antaras. But for the extremely stretched length, and the atrociously bad vocals, this one is pretty good!

 

6. Nas Nas Mein
Singers ~ Shabab Sabri, Rani Hazarika & Meet Bros. Anjjan, Rap by ~ Deane Sequiera, Music by ~ Meet Bros. Anjjan, Lyrics by ~ Kumaar

Meet Bros. Anjjan return for their second song, and it takes the form of a gangster party track. Who knew gangsters partied with sinister music and I-wanna-kill-you type music? :p The song starts with a tune played on a really high-pitched horn or something like that. Deane says her rap portions, which really sound like a witch is singing them, thanks to their sinister feel. Techno sounds accompany her, which might make you groove for some time initially, but gradually the whole setup gets awfully boring and it starts sounding too monotonous. Shabab tries his luck at the club genre, and gets it right here, too. He sounds really great in this type of song. The antara sounds better, because it is slightly slower and calmer, plus Shabab shows some of his classical finesse in the notes of the antara. Rani Hazarika gets her one line only in the antara, one line in each of the two antaras, and when she says it, it sounds so much like a man at first, that you can’t make out the difference between her voice and Shabab’s. Deane’s second rap portion in the second interlude is much better than the one she got in the prelude, and keeps listeemers listening at least till the second antara. Meet Bros. Anjjan’s composition is a tad bit too grim and dark, and it sounds really over-the-top at places, and it gets the listener thinking, “Hasn’t Bollywood gotten over the days when gangsters used to party in clubs like this?” Because such songs were pretty common once upon a time. It just sounds outdated in today’s era. Lyrics are good, and suit the composition, with just as much grimness as the tune. The evil feel could have been slightly milder! Wonderful vocals by Shabab are the only attraction here!

 

7. Damaa Dam Mast Kalandar
Singers ~ Mika Singh & Yo Yo Honey Singh, Music by ~ Mika Singh & Yo Yo Honey Singh, Lyrics ~ Traditional, Additional Lyrics by ~ Kumaar

This song really has the capacity to keep you moving and grooving to the music for as long as it plays, for four minutes. Yes, it has the names of two of the people whose songs I rarely like, Mika and Yo Yo Honey Singh, but this time, I’ve got to admit, they’ve co-composed something really funky yet divine! And that’s another rendition of the classic traditional song, ‘Damaa Dam Mast Kalandar’. I know the composition can’t be credited to them wholly, but the arrangements they’ve done are spectacular! Funky club beats grace the entire composition, and the awesome bass effect enhance the sound even more. Mika always sounds really sweet and awesome when he sings this song, be it under Shankar-Ehsaan-Loy’s direction in D-Day, or this one that he designed with Yo Yo Honey Singh. If you remember, they had released this as a single two years ago, and it had become a rage, playing on TV and radio numerous times. But in this time, it seems to have been forcefully thrust in, just because of lack of a superhit song in the album! Yo Yo’s parts are really low-pitched, and one of my favourite parts in the whole song! It sounds so divine, the way he kind of raps-cum-chants the words he has to sing. The lyrics are mostly the same from the original song, with additional verses written by Kumaar, like what Yo Yo has to sing. Something that I find tough to digest — the best song in the album is a remake, and that too, by Mika and Yo Yo, and the only #5StarHotelSong!!!

 

8. Welcome Back (Theme)
Singer ~ Abhishek Ray, Rap by ~ Abhishek Ray, Music by ~ Abhishek Ray, Lyrics by ~ Manvendra

The last song on the soundtrack (finalllyyy! — that seemed like eons!) is an utterly atrocious trying-to-be-too-cool kind of track, which calls the Welcome Back Theme. It consists of Abhishek Ray singing.. Or belching out words that don’t make an ounce of sense together, and they just seem to have been placed in the song to make it sound cool. The arrangements are bad except for when the tablas play occasionally. Female vocals keep saying “Woahh-ho-hoaa” throughout the song. Manvendra (who’s DAT?) didn’t have much to write here, just the most idiotic lines that could ever cross his thoughts. What an UNINTERESTING ending to this almost neverending album!


Welcome Back is an album that is a disgrace to Bollywood music. Neither does it contain anything original and good (because the best thing in it is remade), nor does it contain anything someone would want to come back and here multiple times. All the song have pathetic lyrics, most have bad vocals, and some even have bad arrangements. Only one song is perfect in all departments, that too is a remake. The album to its prequel also still sounds fresher than this album itself! :\ That says a lot! It  is an album that doesn’t deserve any special welcome at all! It really needs a farewell, however, from our playlists!

 

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: Damaa Dam Mast Kalandar > Time Lagaye Kaiko > Tutti Bole Wedding Di > Meet Me Daily Baby > Nas Nas Mein > Welcome Back (Title Track) > 20-20 > Welcome Back (Theme)

 

Which is your favourite song from Welcome Back? Please vote for it below! 🙂

 

 

MIND BLOWING MUSIC-STAAN!! (BANGISTAN – Music Review)

Music Album Details
♪ Music by: Ram Sampath
♪ Lyrics by: Puneet Krishna
♪ Music Label: T-Series
♪ Music Released On: 8th July 2015
♪ Movie Released On: 7th August 2015

Bangistan Album Cover

Bangistan Album Cover

 

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

To buy this album on iTunes CLICK HERE


Bangistan is an upcoming Bollywood comedy satire film, directed by debutant director Karan Anshuman and produced by Ritesh Sidhwani and Farhan Akhtar. The film stars Riteish Deshmukh and Pulkit Samrat in lead roles, with Jacqueline Fernandez appearing in a cameo. The film is about two terrorists who have set out to change the world. The music of the film has been scored by Ram Sampath, who is composing for a satirical film, for the second time in a row after ‘Ekkees Toppon Ki Salaami’. That was a political satire, whereas this is more of a religious satire. He hadn’t really delivered a soundtrack which was expected from him in that movie, and had underwhelmed me with that album. So, I hope he makes up for it with this album, even though I know that even this one doesn’t have much scope for music! Anyways, I’m keeping my fingers crossed and hoping he delivers a mind-blowing album. Let’s find out whether he has or not!


1. Ishq Karenge / Ishq Karenge (EDM Version)
Singers ~ Sona Mohapatra, Abhishek Nailwal & Shadab Faridi

The album starts off with something that would immediately increase the rate of your heartbeat, and make you really excited for what’s next on the album. No, your heartbeat won’t increase because of the fact that you got scared of what Ram has given us in this song, and so you want to check out the others right away! But, it will increase because what Ram has given is enough to make you love the song immediately and make you so excited that you cannot wait to hear the other songs right away! An outright pacy and cheerful song, is what Ram Sampath has placed in front of you. As it starts with the aalaap by Shadab Faridi and Sonali Mohapatra, you can’t help but guess that something brilliant is on the way. And as the actual song starts after the aalaap, things get really fun. Though the song is arranged mainly on the Qawwali template, modern arrangements also make a place for themselves in it thanks to Ram. Those rock guitars entering occasionally, would make the new generation love the song too. At the same time, harmonium and tablas give the classic Qawwali touch. With three melodious antaras, the song is a real treat to hear. Of course, the composition has a distinct and easily identifiable Ram Sampath-trademark stamp on it, but that just makes it all the more enjoyable. In some places, it sounds like the Amazon India advertisement song, ‘Aur Dikhao’, also composed by Ram. The trio of singers really do their best in making it sound lively, and they don’t fail at all. Sona’s rustic voice is perfect for the nuances that make it sound more Qawwali-esque, and so is Shadab’s. Abhishek sounds a lot like Ram himself, and his voice brings in the contrast to the song, as it isn’t rustic at all. Puneet Krishna’s lyrics are quirky and do sound very weird at places, but perfect for a Bollywod Qawwali as this. The other version, called the EDM version, is not different at all, except in arrangements, as is evident from the title. Electronic Dance Music — EDM — touch has been wonderfully given, and ensures that this version would appeal more to the youngsters. In the antaras, wonderful electronic tablas have been added here, which made me love this version more. 😂😂 😀 Everything else, the same as the former version. A Bollywood Qawwali following the Bollywood norms, with a groovy tune, massy Hinglish lyrics, and wonderful arrangements! #5StarHotelSong!!

 

2. Hogi Kranti
Singers ~ Ram Sampath & Abhishek Nailwal

A march-past rhythm starting off a Bollywood song, surely leaves you astonished, and wondering whether you’ve not somehow traveled back in time to your school days! And that is just how this next song on the album starts. With an attention-grasping whistle, and that same rhythm that you used to hear every time you used to practice for the parade in your schooldays, the song instantly makes you concentrate on itself and only itself. The composition is very well composed around a patriotic theme, and set on a patriotic-sounding rhythm as well. Using some lines from the famous patriotic song ‘Hum Honge Kamyaab’, both the lyricist Puneet Krishna and composer Ram Sampath, prove their versatility and expertise in all things experimental. We already know how good Ram is at experimenting, and that quality of himself just magnifies itself after we hear this song. The parade feel is prominent in the first two stanzas, while the third stanza makes way for a rustic feel in the lyrics, but the arrangements are awesome with the ukelele used in a brilliant manner, and after which the tempo is increased and the song prepares for a grand ending with fiddles and ukelele. The percussions of the song are also awesomely done. Puneet’s lyrics are really creative in the sense that he’s spoofing a really famous patriotic song, and the whole theme of the song lies in the basic idea of the protagonist trying to convince himself and other people around him that he will become a ‘successful’ terrorist. The lines he’s written make you laugh out loud, and paired with Ram’s creative and catchy music, it makes for an entertaining listen for the whole three short minutes that it plays for, leaving the listener seem really unsatisfied when it ends, wanting more. Ram and Abhishek’s vocals appeal to the ear, and though it is really difficult to distinguish between both their voices, if you listen carefully you’ll manage to figure it out. Ram has the major part to sing, while Abhishek joins in at places. All in all, an excellent spoof! The magic lies in the lyrics, and composition! #5StarHotelSong!!

 

3. Saturday Night
Singers ~ Aditi Singh Sharma, Benny Dayal, Neeraj Shridhar & Janusz Krucinski

Guitar riffs welcome the listener into the next song of the album, with a lively bagpipe melody following it, and the two experts or may I say, prime consultants when it comes to club songs nowadays, Benny and Aditi start the actual song, which has a jolly, and swingy rhythm to it, that will surely make you get up to your feet and groove along to the beats. And when the hookline punches in with that awesomely composed and sung “Fullll tight..”, you can’t help but keep listening and grooving. Ram composes a club song, that will definitely grasp the attention of today’s youth, and chooses all the right singers to execute his awesome composition. The composition has the right European (mainly Irish) feel to it, complete with the yodels and all. The mukhda starts the song off so brilliantly , that the antaras sound catchy by default. The singers Aditi, Benny, Neeraj and Janusz do well. Aditi leads along with Benny, while the other two stay mainly in the background. There are some places when you can hear Neeraj quite distinctly, and it feels very delighting to hear him again after a long time. (Of course, I’m not taking his negligible part in ‘Gangster Baby’ from ‘Action Jackson’ into consideration.) Aditi sounds pretty different here, and is the only singer whose diction isn’t perfect, resulting in a hodgepodge of words that are not easy to make out. All the others do their parts well, though, and cover up for her. Ram’s EDM arrangements make the scene really lively, yet give the song a distinct ‘night song’ stamp, as in, it sounds better when heard at night. The Irish touch with bagpipes, harmonicas etc. gives it an interesting experimentation angle too. Puneet’s lyrics are perfect club song lyrics, but again, they’re killed in places by Aditi, when we can’t really figure out what they are! An enjoyable club song, almost perfect in all fields, but definitely doesn’t fail to serve its purpose!! #5StarHotelSong!!

 

4. Maula
Singers ~ Ram Sampath & Rituraj Mohanty

All that loud and enjoyable and fast-paced music, must’ve made listeners exhausted from dancing, and so the makers play a smart move by including a calm song after three of the fast ones. This one is on the lines of religious tolerance. The message of secularism is very well conveyed to listeners through the lyrics that talk about this very theme in a very clichéd, yet entertaining manner. Many people have tried their hand at writing such songs before, and Puneet in his debut album itself, tries it out, and succeeds. What makes it even more lovable, is Ram’s twisting and turning composition and his awesome arrangements. Composed on a beautiful Keherwa rhythm, which steals your heart, the song becomes likable right from the starting beats of electronic tablas. The tune is something that you would not expect in a mainstream Bollywood movie, and the very, very unexpected turn which it takes at 2:10, the very awe-inspiring Qawwali touch, leaves the listener shocked, but at the same time, mesmerized. The Qawwali instruments very beautifully grace this part, and actual tablas (not electronic) have been used for this magical part along with the quintessential harmonium. After some time, the song gets back to its original tempo and rhythm. The hookline “Allah hoo, Allah hoo, hey Ram, Ram, Ram” has a nice ring to it, and appeals to the ears too. The secular message is so prominent in this line itself, so imagine what a great job Puneet must’ve done in the rest of the song! He has just outdone himself with every line. Each line wins over the previous line. Lastly, the vocals. The wonderful vocals. Ram has made Rituraj sing ‘Sahib’ in ‘Bhoothnath Returns’ previously, and they repeat the same magic with each other. Rituraj sings the song with such finesse and grace, complemented by Ram himself in places, that the listener has to get goosebumps due to his touching rendition. The vocals are a cherry on top of the delicious cake that this song is, whose every piece is to be cherished slowly, and thoughtfully. A strong message of secularism in the lyrics, brilliantly conveyed, a soothing composition and just as soothing vocals, beautiful arrangements, what else could you ask for!! This song is just a treat for music lovers! #5StarHotelSong!!

 

5. Meri Zidd
Singers ~ Ram Sampath & Siddharth Basrur

The next song also starts off like a very calm song. Mild piano notes open it up, and then Ram sings two lines very calmly, preparing the listener for another soft song. However, the next line brings the unexpected twist to the song. When I first heard it, I was completely shocked as it was something I wasn’t expecting at all. The song turns into an out-and-out rock song, though not metal either. I personally hate the rock genre, but I couldn’t help but love this song! Ram’s implementation of the rock elements into the song is perfectly done, and even the composition doesn’t lack appeal at all. It is a kind of composition that you cannot forget after you’ve heard it. It just makes a home in your mind. Drums, electric guitars, the usual rock stuff constitute the arrangements here, and sound really well with Ram’s composition. Siddhartha’s vocals are spot-on, and bringing that grungy texture into his voice as is required for rock songs, he sings the song really well and it seems, effortlessly too! Ram joins in at parts, serves mostly as only the backing vocalist and also sings two lines at the beginning, nothing more. The song ends rather abruptly, and the listeners do get an incomplete feeling, but had it been longer, it wouldn’t have kept the listeners hooked onto it that much. Puneet has written lyrics that perfectly capture the emotions of a person who is guilty of the bad things he’s done in life, and is ready to live more, in order to wash away his sins. All of the aspects together, make for a song which is really interesting to hear! Ram succeeds in giving us a cool rock song with an interesting theme! #5StarHotelSong!!

 

6. Is Duniya Se Ladna Hai
Singers ~ Suraj Jagan & Abhishek Nailwal

Suraj Jagan and Abhishek Nailwal join together behind the mic for the last song on the soundtrack. As soon as it starts, the dappankuthu sets in, and you brace yourself for something entertaining. However, unfortunately, things aren’t what they were expected to be, and the song proves to be an utter disappointment. The 6/8 rhythm infused with rock elements fails to light any fire of interest inside the listener, and comes across as pretty bland and dull. The lyrics are fine, but the composition that supports them doesn’t live up to the expectations. Arrangements are not anything special or unique, and are very much heard-before. Suraj, who very rarely impresses me, probably because he almost only sings rock songs, which don’t appeal to me that much. Abhishek has sung his parts well, but again, the composition doesn’t support him throughout the song. A very disappointing ending to an otherwise awesome album!!!


Bangistan is an album in which Ram has tried to show immense creativity and he has experimented wherever he got an opportunity to do so. Except one, all the songs have a different feel to them, and each of them impresses in its own way. The album doesn’t lack variety at all, and that is why it should’ve helped in bringing people to the cinemas for this movie, but I guess bad promotion of the music, except for two songs ‘Ishq Karenge’ and ‘Saturday Night’, prevented this from happening and resulted in the movie being wiped out quite soon. Whatever be the verdict on the movie, the fact remains that Ram has composed one of his most experimental albums, and has jumped back into the scene after a bland album ‘Ekkees Toppon Ki Salaami’, with a huge BANG!!

 

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: Maula > Hogi Kranti > Ishq Karenge (EDM Version) > Saturday Night > Ishq Karenge > Meri Zidd > Is Duniya Se Ladna Hai

 

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

 

Next “dish”: Brothers, Chefs: Ajay-Atul

A PARINDA WITH SMALL WINGS FLIES HIGH!!! (ISHQ KE PARINDEY – Music Review)

Music Album Details
♪ Music by: Vijay Verma, Rashid Khan & Sajjad Ali
♪ Lyrics by: Shakeel Azmi, Manthan, Irshad Khan, Sajjad Ali, Tanveer Ghazi & Shakir Khan
♪ Music Label: Zee Music Company
♪ Music Released On: 15th April 2015
♪ Movie Releases On: 24th April 2015

Ishq Ke Parindey Album Cover

Ishq Ke Parindey Album Cover

 

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

To buy this album on iTunes CLICK HERE


Ishq Ke Parindey is an upcoming Bollywood romantic drama film, starring Rishi Verma and Priyanka Mehta as the male and female lead respectively. The film has been directed by Shakir Khan, and produced by Shyam Motion Pictures. The story revolves around two lovebirds (Ishq Ke Parindey… LOL! 😝😝), Sheen (a Pakistani girl played by Priyanka Mehta) and Faiz (an Indian boy played by Rishi Verma). Of course, the families don’t agree, what with all the Indo-Pak conflict going on for ages, and we all can predict what happens next. So, the plot is nothing extraordinary, nor does it showcase anything unique, but I would call it rather seemingly boring. However, what pushed me to review this album, as it always should be, was the music of the film. You must have been wondering why I’ve chosen to do such a small album, and I’ll tell you why. It’s because I was totally taken aback by the wonderful music of the first two song promos, that I decided to review this album, too. The music of this film has been given by Vijay Verma (who had composed a song in ‘Chakravyuh’ in 2012), Rashid Khan (‘Deewana Kar Raha Hai’ – Raaz 3, ‘Kabhi Aayine Pe’ – Hate Story 2) and Sajjad Ali [Chandwani] (‘Khwaabb’). Out of the three, only Rashid Khan is well-known to me, and so I was not expecting a lot from this album, UNTIL the first two song promos came and surprised me! Here are my thoughts about the album! 🙂


1. Ek Hatheli / Ek Hatheli (Sad) / Ek Hatheli (Remix)
Singers ~ Sonu Nigam & Keka Ghoshal / Sonu Nigam / Vijay Verma & Supriya Pathak, Music by ~ Vijay Verma, Lyrics by ~ Shakeel Azmi

This song excited me right from seeing Sonu Nigam’s name as one of the singers. I was expecting quite a lot from it right from then. And boy, were my expectations fulfilled! When you have a sweet, memorable composition, an awesome singer as Sonu Nigam, and cute lyrics, what can possibly go wrong? The result is a song, that has the whole capacity to attract masses and true music lovers. Though the tune is nothing fresh, and something of the type we have heard and loved many times in the past, it has that freshness which binds you to fall in love with it. The mukhda and both antaras, have been composed simply and very efficiently, ensuring itself a good, wide audience. What’s more, Sonu and Keka (who I don’t think is related to Shreya Ghoshal in any way) have brought in the sweetness and cuteness of the song. Both of them sing beautifully, and do justice to the sweet romantic composition. As for the arrangements by Vijay, they are a great amalgamation of traditional instruments like flute, and contemporary ones like guitars, thus promising a great listening experience for both Classical music lovers and Modern music lovers. Shakeel’s lyrics are also nothing new, yet good enough to bring smiles on our faces, and they suit the sweet composition, or vice versa, whatever he the case. Though the original version impresses, there is a “Sad Version” which doesn’t produce many sparks, only because of the fact that, the composition itself is predominantly a romantic, and sweet-sounding one, not suitable to become a sad one. Also, when they have made the sad version, they have just slowed the pace a bit and added strings in the backdrop, just for dramatic effect, which doesn’t do any effect whatsoever. Anyways, Sonu renders it beautifully. There is remix version, strangely sung by the composer and someone name Supriya Pathak (I’m sure it’s not the same Supriya Pathak you and I are thinking of. 😂) Beats are good, but nobody would go for this one, simply because everyone hates remixes now! All in all, only go for the original version, a beautiful, sweet and romantic melody sung and composed beautifully, and the original version is also a #5StarHotelSong!!

 

2. Dil Tod Ke
Singer ~ K.K., Music by ~ Vijay Verma, Lyrics by ~ Manthan

Now this second song, is the one which made me make this firm decision that I would, no matter what, review this small and unnoticed album. I was taken in by the magical tune and vocals of this song. So let’s see what exactly lured me into the trap of reviewing this album. (It’s a pretty good trap, though! 😀 ) First of all, the song starts with very attractive guitar riffs and some mellow notes played on the flute, which you can’t help but fall for! As soon as K.K., the very, very less-heard-nowadays singer starts singing the composition, you can’t suppress that waah! which comes out from your mouth, or if you don’t say it aloud, you will surely say it in your mind. Not for the vocals, no, but this time, for the composition. What A.R. Rahman or M.M. Kreem were known for in the 90s, Vijay Verma does it in this beauty of a composition. That haunting, but heart-winning composition is just irresistible. The repetition of each line in such a catchy and well-composed way, sounds magnificent. Resemblances in the antara to Rahman’s “Pyaar Ye Jaane Kaisa Hai’ from ‘Rangeela’, make the song sound more fun to hear, actually. 😀 The arrangements, again, are both classical and modern fused together in an efficient way, so as to enhance the composition as far ad possible, and it has definitely worked. It is showing in the results. The guitars, and tablas together sound awesome! That bagpipe-like instrument from ‘Teri Khushboo’ (Mr. X) makes an appearance here too! I really have to know which instrument that is!! The flute also makes wonderful entries occasionally. K.K. has sung the whole song with utterly amazing excellence. It doesn’t even seem that he has sung something after two months (latest was in ‘Roy’) but instead, it feels that he has been having continuous releases the whole time, seeing that his singing is just as soulful and beautiful. I just hope he gets way more songs than he has been getting nowadays. Manthan’s lyrics are typical romantic, sad lyrics, about someone breaking somebody’s heart, and the heart-broken guy telling her that he still needs her, hasn’t forgotten her, can’t sleep peacefully anymore, and other depressing things, which many have gotten pretty used to by now. But because of the lyrics being typical, I cannot neglect such a marvelous composition by Vijay Verma! Ati Uttam (Too good) rendition by K.K., and even better composition by Verma! #5StarHotelSong!!

 

3. Rab Se Maangi / Rab Se Maangi (Remix)
Singers ~ Javed Ali & Palak Muchhal / Mohd. Irfan & Suvani Raaj, Music by ~ Rashid Khan, Lyrics by ~ Irshad Khan

The next song is yet another romantic song, this one composed by Rashid Khan. He chooses his regulars Javed Ali and Palak Muchhal to do the honours with the singing, and they do their part good. The tune, however, is too typical for Rashid Khan. We have heard this kind of stuff innumerable times in Rashid’s earlier songs like “Deewana Kar Raha Hai” (Raaz 3) and “Kabhi Aayine Pe Likha Tujhe” (Hate Story 2). It also somewhat resembles ‘Maheroo Maheroo’ (Super Nani) in its overall sound. Now for this album, too, he brings his regular, typical composition style, with the mukhda, followed by some ohhh-ohhh-ohhh humming. No doubt the composition is good, but very similar to the aforementioned two songs. In other words, I was sure Rashid Khan could do better than just sequels to his previous songs. Another drawback is the utterly atrocious voice programming done to Palak’s voice in the antaras. I think three-odd tracks of her voice have been placed on top of each other, making it take on a very ghostly sound. Even the lyrics are nothing fresh, just strictly suitable for the composition. And the length of the song (about 6½ minutes) given the genre of the song, could frankly have been way shorter. Anyways, some pros about this song are Javed’s mellifluous voice, which did keep me listening at least for the first time. Also, the arrangements by Rashid are good, too. His favourite, the flute, gets to follow him here too. Indian instruments like the santoor, make great surprising appearances. Surprising because most of the song is on a guitar loop, very typical of Rashid. The second interlude with very strange 90s-type percussion (like those 90s songs which had been shot in vast mountain ranges where the actor and actress dance weirdly, without any stress about the world around). The remix version is sung by Mohd. Irfan. Shocked to see his voice used in the remix. It could have been for a reprise. He does well, but his voice is drained out by the strong beats, which really do make you groove. His co-singer Suvani Raaj — not that good. She sounds like an amateur Sadhana Sargam prototype. And imagine this, the remix is even longer than the original! Who’ll spend their time on this remix, except a DJ or a die-hard Mohd. Irfan fan? Anyways, not very captivating, and the length is a setback because of the genre which doesn’t require such a long song. But definitely deserves at least one listen. The remix, however, can be skipped unless you’re a Mohd. Irfan fan (but you’ll still be disappointed after you hear it 😛 )

 

4. Ishq Ke Parindey, Pt. 1 / Ishq Ke Parindey, Pt. 2
Singer ~ Shadab Faridi (Both Parts), Music by ~ Sajjad Ali, Lyrics by ~ Shakir Khan / Tanveer Ghazi

The title track has been given to the third composer on the album, Sajjad Ali, and he does a great job in composing it. First of all it has been composed in two “parts”, both drastically different from each other, and coincidentally, both written by different people, but both sung by the same person i.e, Shadab Faridi. The first “part” starts with a patriotic dialogue about the unity of India & Pakistan, which is followed by a beautiful tune played on the Oud, which suits the theme of the dialogue that preceded it. The dholaks enter, playing a beautiful seven-beat rhythm called the Roopak taal. Half of the splendidness of the song is achieved because of the beautiful captivating rhythm. The flute and occasional strings can also be heard at places throughout the song. The composition is very beautiful and also enough to get stuck in your heads for long even after hearing it only once. Shadab has delivered the composition very awesomely. His deep voice suits the traditional, and heavy composition well. The female backing vocalists (uncredited) really add sweetness to the song. Shakir Khan, the director has written apt lyrics for the situation, full of the spirit of unity, and also very divine-sounding, thanks to the arrangements and composition. It talks about love having no boundaries. The Qawwali feeling given to the song is enough for it to be loved. The second interlude and second antara have been composed pretty creatively, and a kind of prayer to God. So the first “Part” works, now let’s move on to the second. It starts so dramatically, that you actually are surprised by what they’ve done to the beautiful song. The composition and lyrics are entirely different. As for the tune, it doesn’t work at all, being too dramatic. More like a great background piece to play in the climax of the film. At 1¼ minutes, it doesn’t really waste much of your time. The arrangements are also way too booming, not really of the same beauty as the former part. Lyrics are too less to talk about. Shadab, however, delivers with zest and emotion. Go for the first “part”, which is sure to steal your heart, in all aspects — composition, vocals, arrangements & lyrics. The first part is a #5StarHotelSong!!

 

5. Tumse Mil Ke
Singers ~ Javed Ali & Palak Muchhal, Music by ~ Vijay Verma, Lyrics by ~ Shakeel Azmi

Javed and Palak return for another duet, this time helmed by Vijay Verma, who comes back into the album for his third and final song. This duet between Palak & Javed fares much, much better than their other duet by Rashid Khan. Right from the first line, it attracts you and its cuteness makes you keep listening. Javed once again traps you with his utterly sweet and dulcet voice. The composition is one that you would think is from some movie from the 2000s, but it is one of those, that still grasps you from start to end. The hookline itself is so catchy and wonderful, that it will instantly appeal to people of all ages. Palak doesn’t have much in the first half or so, except a line, but she gets an antara to sing later in the song. She sounds very good in this song, thanks to the composition, again. About the arrangements, they are also beautiful, with guitars, flutes and tablas helping to increase the likability of the song. Beautiful orchestration in the hookline makes it stand out even more than it already does. Lyrics by Shakeel are good in this song, with good use of many Urdu words, and imparting a sweet flavour to the song. At 3½ minutes it doesn’t bore, but leaves listeners craving for more. Beautifully composed, arranged, written and above all, sung!! Way to go, Vijay Verma!

 

6. Saiyaan
Singer ~ Raktima, Music by ~ Sajjad Ali, Lyrics by ~ Sajjad Ali

This song is a weird song. It starts with a haunting line by the singer, and the composition seems like one of A.R. Rahman’s less-impressive ones. It is a semi-classical song, which has been composed very averagely, so much that one cannot find oneself liking the song even after repeated hearing. I guess it will make sense only in the movie. Sajjad Ali’s arrangements consist mostly of techno beats and low-pitched flutes. And his lyrics are sad, but not heart-touching at all. Raktima, the singer, carries it out good, with apt backing vocals supporting her, and she even sounds like Madhushree in the song. It didn’t really appeal to me; I don’t think it will to you either! Hard to grasp this composition, and pretty heavy to ears too!

 

7. Maula Karde Karam
Singers ~ Javed Ali, Altamash Faridi, Aftab Sabri & Hashim Sabri, Music by ~ Rashid Khan, Lyrics by ~ Tanveer Ghazi

The melodious welcome to this last song on the soundtrack, is done by beautiful notes on a bulbultarang, which ensure you that a Qawwali is definitely to follow. And just as you had predicted, a divine Qawwali starts with Altamash singing (very expertly) the prelude to it. He sings his part at the start and other parts throughout the song with brilliance. The Sabri brothers, Aftab & Hashim, also do well, and are a great choice for such a Qawwali. All three of these singers sing with utter ease and impeccability, but the one who shines has got to be Javed Ali. With his voice, a mix of smoothness and folksiness, he just takes away your breath, and forces you to say that waah! Of course, as I said, Altamash, Aftab & Hashim are close behind. However, all the credit has to go to Rashid Khan, who has churned out such a catchy, and heavenly Qawwali, which was definitely not expected from him after his above average other song from this album. But each line in the song has been treated with infinite love and care, as is evident when we hear the result, a perfect combination of brilliance and divinity and catchiness. All the traditional Qawwali instruments can be heard in the arrangements, from dholaks, to tablas, to the bulbul tarang mentioned before and the beautiful harmoniums with jingle-bell type chimes. Half the beauty of the arrangements lies in the percussion — a wonderful experience. Lyrics by Tanveer Ghazi are a great mix of romance and devotion. It is one of the romantic Qawwalis which are addressed to God. And the most important thing about the song is, that even though it stands at a long duration of seven minutes, there’s not a single dull or bland or boring moment in the entire song! A beautiful and divine end to the album by Rashid Khan. Definitely the best song of the album! Excellent singing, arrangements and lyrics too! You can’t miss it! #5StarHotelSong!!


Ishq Ke Parindey is one of those albums for movies with a small budget and a very short reach, which unexpectedly surprises highly. Each and every song is as per needs of the script, though as individual songs, a couple don’t strike chords with listeners. However, most of them are such that will instantly appeal to you. All three tracks by Vijay Verma are beautiful and lovable, while Rashid Khan and Sajjad Ali each impress with one of their tracks out of three. However, Rashid’s one song overshadows all of the other tracks on the album. Rarely do albums like these come, which have small reaches and a puny audience but which have very worthwhile songs. The last I remember was ‘Jigariyaa’. With heavy promotion and maybe better-known faces, the album would’ve gotten the deserved acknowledgement, but there are pretty less hopes now. All I can say is that this “Parinda” (the album; parinda means ‘bird’ in Hindi) with small wings (the small budget of the film and album) has flown pretty high!

 

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: Maula Karde Karam > Dil Tod Ke > Ek Hatheli > Ishq Ke Parindey Pt. 1 > Tumse Mil Ke > Rab Se Maangi > Ek Hatheli (Sad) > Ishq Ke Parindey Pt. 2 > Saiyaan

 

Which is your favourite song from Ishq Ke Parindey? Please vote for it below! 🙂

 

Next: 12th Music Mastani Monthly Awards (April 2015)

GUNDAY (MUSIC REVIEW)

The music of ‘Gunday’ was also appreciated by critics as well as the public, just like the last album I reviewed, ‘Hasee Toh Phasee’. One particular song created a huge rage in the country. It was being played everywhere, literally! Even if that song is not considered, the album is full of great tracks, with awesome music! So, the fourth album I have chosen in this category is Gunday!


Album Details:-

Music by:- Sohail Sen | Lyrics by:- Irshad Kamil, Ali Abbas Zafar, Bappi Lahiri & Gautam Susmit | Music Label:-  YRF Music | Music Released On:- 7th January 2014 | Movie Released On:- 14th February 2014

Gunday Album Cover

Gunday Album Cover

 

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


 

After ‘Mere Brother Ki Dulhan’, Ali Abbas Zafar is back on the director’s chair, with Gunday. While the former was a romantic comedy, the latter is an action thriller, based on the coal mafia and set from 70s to the 80s. It featured Ranveer Singh and Arjun Kapoor in the lead roles, with Priyanka Chopra and Irrfan Khan in the supporting roles. The music is composed by Sohail Sen, who, inspire of his immense talent, is getting very less movies! He debuted with ‘What’s Your Rashee!’ and got his next three movie with one of the biggest production houses in Bollywood, YRF. His songs in ‘Mere Brother ki Dulhan’ were awesome, and so were they in ‘Ek Tha Tiger’. Even the songs of ‘Gunday’ got very popular and that itself shows what a talented person he is! So let’s look back at his music for ‘Gunday’.


1. Jashn-e-Ishqa:- Singers ~ Javed Ali, Shadab Faridi (Original Version), Shadab Faridi (Rhythm Of Jashn-e-Ishqa), Lyrics ~ Irshad Kamil 

This is an energetic song, which describes the two protagonists. The vocals by the two singers are top-notch and they have sung this song with just the right amount of energy! Javed Ali, though his vocals are very smooth, sounds great in this song! Shadab Faridi also sounds great. They have sung alternate lines. The backing vocals ‘Jashn-e-ishqa…’ are the most magical part of this song! They keep you listening and ensure you don’t get bored, which you anyways won’t! The chorus part is the most energetic and in that too, Javed Ali does backing vocals in a different tune, creating beautiful harmony. The lyrics by Irshad Kamil are perfect for this type of ‘character’ song. ‘Loha jag him aari, sab pe hain hum bhaari..’ Great description of the two main characters! ‘Rhythm of Jashn-e-Ishqa’ is mostly an instrumental track, in which the percussion is awesome! They have tried to give the sound effect of a train, and it has worked out brilliantly! Shadab Faridi keeps repeating the word ‘Jashn-e-Ishqa’. A great song to start this album with, featuring the energetic vocals of Javed and Shadab, and just as energetic music!

 

2. Tune Maari Entriyaan:- Singers ~ K.K., Vishal Dadlani, Neeti Mohan & Bappi Lahiri (Original Version), Bappi Lahiri & Monali Thakur (Bengali Version), Lyrics by ~ Irshad Kamil (Original Version), Bappi Lahiri & Gautam Susmit (Bengali Version)

Just by reading the names of the singers, you can tell that something wacky is going to happen in this song! This song is full of vocal powerhouses! Right from the starting, it grabs your attention, with the Bengali lines crooned by Bappida, and till the end, I don’t think your attention level had gone down anyhwere in the song. On the contrary, it must have increased at one point, not decreased! The instruments used are mostly Indian instruments like dhols, dafli and bansuris. Apart from the Indian instruments, electric guitar seems like the main instrument in this song. It keeps on playing in the backgsod. K.K. and Vishal Dadlani harmonise well, but because of Vishal’s loud voice, K.K. is less heard! The two antaras sung by Neeti are very catchy, and they are sung with the greatest ease possible. I think the ‘o shona, o shona’ part is also sung by Bappi Lahiri and altered using some software. The lyrics by Irshad Kamil are very dhinchak! 😀 And last but definitely not the least (as it is the highlight of the whole song), the ‘tang tang tang’, how catchy a song can get has been proved with this song! The first thirty seconds and the last thirty seconds are a treat to the ears, the first being full of Bengali type music, and the last being full of South type dhols and all. The Bengali Version is the same, but translated into Bengali. Bappida has sung it well and Monali Thakur has supported him very very well! She has performed almost as perfectly as Neeti, in this version. However, one complaint against this version is that the ‘tang tang tang’ has been replaced by ‘o shona o shona’. And wherever they do say ‘tang tang tang’, it sounds like ‘pong pong pong!’ 😛 This song is one of the most catchiest songs of the decades, and I know it will be played everywhere for a long, long, long time! And it’s also a  #5StarHotelSong!

 

3. Jiya:- Singer ~ Arijit Singh, Lyrics by ~ Irshad Kamil

Starting with great instrumentation of the saz, it will instantly grab you and force you to keep it on repeat! The use of exotic instruments is at the greatest in this song! Firstly, I’ll talk about Arijit’s vocals. He has used his deep and rough voice in this song, but I liked it a lot! He has sung the song in two pitches, and they have been layered on top of each other to create a beautiful harmony. It instantly reminded me of ‘Saiyaara’ from ‘Ek Tha Tiger’ because of its beautiful melody and its slightly Middle-eastern feel. The percussion, and wind instruments, are used brilliantly, but the best instrumental part in this song was the violin before the second antara. Wow! It is just indescribable, the way it is played! Even the violin part before the mukhda is great as well. It ends too quickly, the same way it started, with saz. This song is a haunting romantic song, and the lyrics are brilliant. After ‘Manchala’ from ‘Hasee Toh Phasee’, here is another great example of ‘Yamak’ or ‘Homonym’. The word ‘Jiya’ here has been used as the ‘Yamak’, as it has two meanings. ‘Jiya, main na jiya’ translates to ‘Oh my life (as in Priyanka’s character) I didn’t live’. This melody can never leave my head for all it’s worth! A great haunting melody, with great arrangements and stupendous vocals! Another  #5StarHotelSong!

 

4. Asalaam-e-Ishqum:- Singers ~ Neha Bhasin, Bappi Lahiri, Lyrics by ~ Irshad Kamil

A cabaret track to be performed by Priyanka Chopra needs a very bold voice, and Sohail Sen has made the right choice by choosing Neha Bhasin for this track. Her voice suits the song well and she also sings it effortlessly! Bappi Lahiri sounds great, especially in the antaras. The antaras sound exactly like a song which would have been made in the 70s. The trumpets and horns are used very nicely, sounding great throughout the song. The percussion is also done well. Irshad Kamil’s lyrics suit this song perfectly. Good song, good arrangements and great vocals!

 

5. Saaiyaan:- Singer ~ Shahid Mallya, Lyrics by ~ Irshad Kamil

This song is a great, melodious, traditional Punjabi folkish sad song (sorry for the chain of adjectives 😛 ) which is brilliantly sung by Shahid Mallya. The dholaks play a very important part in the song, and in the end they are replaced by a louder percussion instrument, maybe dhol. It also has traces of rock elements, with drums and electric guitars pitching in whenever required. The lyrics by Irshad Kamil are brilliant! The first time I heard this song, I didn’t like it that much as it felt ordinary, but after listening to it many more times, I started liking it, and after watching the movie, even more! It’s a heart-touching song. A nice, melodious song with great folk beats and exceptional singing!  #5StarHotelSong!

 

6. Mann Kunto Maula:- Singers ~ Altamash Faridi, Shadab Faridi (Original Version), Altamash Faridi, Shadab Faridi (Classical Version)

If you thought that the review of ‘Tune Maari Entriyaan’ was an essay, then brace yourselves, because this will be like a short story for you! 😀 😛 This is a kind of rock qawwali about friendship. To be frank, I didn’t pay much attention to this song when it released and so I didn’t quite understand what an awesome song it is! The Faridi brothers complement each other very well. With their voices contrasting, one very hard and ‘buland’ (Shadab) and one very soft and calm (Altamash), the track sounds even more magical. It starts like a normal qawwali with an aalaap and a verse recited very slowly, with many aalaaps and taans. But after that verse is over, it totally changes course, and in come the drums and electric guitars, turning it into a full-on Rock Qawwali! The antara has a very magical tune and it will transport you in your own world. I’m talking about the part ‘Tere baghair Jo guzre… ‘ waah! It has been sung with a lot of ease by Altamash, followed by exceptional aalaaps by Shadab! The chorus is awesome! The lyrics are also great! The Classical Version witnesses the same Rock Qawwali transform into a pure, classical Qawwali which we are all used to hearing! After ‘Kya Hoga’ from ‘Dedh Ishqiya’, Bollywood has come up with another great Qawwali, this time by a comparatively less experienced music director, Sohail Sen. This calls for applause! He has done such a great job in composing a traditional Qawwali, that I was left speechless. That too, he had to remake it from a song which was originally a rock song! This version has everything needed for a pure Qawwali from tablas, to harmoniums, to the up-beat ending! Being more of a classical-music type person, of course the classical version is my favourite version, though both are great! Sadly, due to it not being promoted at all, hardly anyone who didn’t watch the movie is aware that there is such a song in the film. In fact, I don’t think that many people who watched the film also noticed it! 😛 If you are not a classical music lover, go for the original. It you are a classical music lover, go for both! 😉 It is another  #5StarHotelSong!!

 

7. Gunday:- Singers ~ Sohail Sen, Rap by ~ Kinga Rhymes, Lyrics by ~ Ali Abbas Zafar

Starting with a contemporary rap, this song will attract many contemporary music lovers. It has the tune like an Irish folk song and the lyrics by Ali Abbas Zafar are also good. Though the music director has sung it well, I would have preferred someone like Javed Ali for this track. As far as the music is concerned, he has given a great tune to the title of the film, and no one could have made it better than him! A short track with a likeable tune. And hence the short review!

 

Overall:- Sohail Sen has composed a very well-balanced album for ‘Gunday’, with an action song, a masala entertaining song, a haunting romantic melody, a cabaret track, a sad song, a Rock Qawwali, pure Qawwali and of course, to sum up the film, a short title track! All the songs have been composed just as per the demands of the script, and still they have been very popular. Though all of them aren’t heard everywhere like those of ‘Hasee Toh Phasee’, they are still heard sometimes if not very frequently. However, one song which has created a rage throughout India and probably the whole world, can still be heard wherever you go, be it birthday parties or weddings. That song is ‘Tune Maari Entriyaan’. I just wish ‘Mann Kunto Maula’ had gotten at least some fame, such a brilliant composition it is! If ever, in the future, you wonder why Sohail Sen was absent from the music scene all through 2013, remember that he must be working on this great album, so he could surprise us in 2014! 🙂

 

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

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

 

Next “dish”:- Kuku Mathur Ki Jhand Ho Gayi, Chefs:- Parichay, Dr. Palash Sen, Mikey McCleary, Anand Bajpai, From Albums of early 2014:- Highway, Chef:- A.R. Rahman