CRYBABYIEE WEDS NRI!! (SWEETIEE WEDS NRI – Music Review)

Music Album Details
♪ Music by: Arko Pravo Mukherjee, Jaidev Kumar, Palash Muchhal, Raaj Aashoo & Shah Jahan Ali
♪ Lyrics by: Arko Pravo Mukherjee, Dr. Devendra Kafir, Late Shyam Bhateja, Palak Muchhal, Shakeel Azmi & Banjara Rafi
♪ Music Label: T-Series
♪ Music Released On: 24th May 2017
♪ Movie Releases On: 2nd June 2017

Sweetiee Weds NRI Album Cover

 

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

To buy this album on iTunes CLICK HERE

{P.S. The song “Shiddat (Reprise)” is sung by Mohd. Irfan on Saavn and YouTube, and Sharad Patel on iTunes. Since the former is there on two sites, I will review that}


Sweetiee Weds NRI is an upcoming Bollywood rom-com, with the clichéd theme of a wedding. The film stars Himansh Kohli and Zoya Afroz in the lead roles, and is directed by Hasnain Hyderabadwala, and produced by Cyrus Dastur, Dhaval Patel, Sada Bhuvad, and Tariq Mohammed. I couldn’t care less about the plot of the film, so heading on towards the music front. We have a multicomposer album, as is the norm for T-Series, but it is shocking to not see any of the T-Series protégés working for the film. Except maybe Arko. Jaidev Kumar, Palash Muchhal, Raaj Aashoo and newcomer Shah Jahan Ali are the other composers for the film. Jaidev just gave us a better-than-the-original mata-ki-chowki recreation of Badshah’s ‘Kala Chashma’, and he gets one song here. Palash, back after doing nothing in films for three years, gets five songs all of a sudden in this film. Let me break the suspense. It is actually two songs, one of them having four versions. Raaj Aashoo, who has composed quite passable music before, gets a song and its reprise too, while Shah Jahan Ali, newcomer, gets one song too. Let me specify that even Arko has one song only. So with five composers and ten tracks, let’s see whether this grand wedding is just all quantity or has some substance too.


1. O Saathiya

Singers ~ Armaan Malik & Prakriti Kakar, Music by ~ Arko Pravo Mukherjee, Lyrics by ~ Arko Pravo Mukherjee

Thankfully, the first song is composed by the person whose song I was waiting for and at least expecting something from, Arko. And sure enough, the song is a pleasant and enjoyable listen. The composition is a breezy one, and starts off quite pleasantly. The soothing quality of the song continues as it progresses, and the  peak point of the song is the “Humrahi” hook, which is like fresh air. (Don’t watch that part in the video song though! 😂) There is no antara as such, the mukhda is repeated twice in the song, once by the male singer Armaan and the other time, by the female singer, Prakriti. That’s why the song ends up sounding shorter than it is, because the mukhda is repeated twice and that’s it. The arrangements are breezy as Arko’s arrangements usually are. The Acoustic guitars, and shakers and those digital beats in the hookline, giving a ballroom feel, are amazing. The interlude consists of a nice, feel-good, guitar piece, followed by a refreshing flute portion, which is in turn followed by a sweet piano piece. The vocalists carry the song out with ease, Prakriti sounding amazing with the nuanced singing. Armaan sings in that slightly uncomfortable low pitch which he rarely sings in, in the beginning, but gets better in the high pitched hookline. Arko’s lyrics are typical romantic song lyrics, but suit the ambience of the composition. A simple but sweet and effective song.

Rating: 4/5

 

2. Kudi Gujarat Di

Singers ~ Jasbir Jassi, Sonia Sharma, Akasa Singh & KD, Music by (Original and Recreation) ~ Jaidev Kumar, Original Lyrics by ~ Late Shyam Bhateja, New Lyrics by ~ Dr. Devendra Kafir, Rap Written by ~ KD

Jaidev Kumar steps in here, and with another remake, after his remake of ‘Kala Chashma’ in the recent ‘Behen Hogi Teri’. As we know, this music company’s latest fad is to remake hit Punjabi pop numbers of the 90s, and after they remade ‘Ishq Tera Tadpaave’ by Sukhbir, in ‘Hindi Medium’ last month, they choose ‘Dil Le Gayee’ by Jasbir Jassi to remake this month. And the ingenious naming system of T-Series starts again, naming this one ‘Kudi Gujarat Di’, which are just the words that appear right after ‘Dil le gayee’ in the song’s lyrics. However, I’m quite pleased with this remake. The main reason is that Jaidev Kumar, who had composed the original, which was in fact his debut, has recreated it. So he keeps the flavour of the song intact, and yet manages to add a pleasant club touch. The composition has been kept the same, and lyrics have been changed. Unlike the ‘Ishq Tera Tadpaave’ remix, this one actually is a remake. The arrangements have been changed to good club arrangements that are actually enjoyable. The techno sounds here, make the song more viable for today’s audience, who is only behind club songs. The vocals are great too, with Jasbir showing that he is still sounding as young as ever. The female singers, get very less scope, and I don’t even know which of them has sung what. A rap by someone called KD sounds very spoofish and amateurish. The new lyrics by Dr. Devendra Kafir, who wrote ‘Bolna’ (Kapoor & Sons) before this, are fun but typical. An enjoyable remake. 

Rating: 3.5/5

3. Musafir / Musafir (Reprise) / Musafir (Remix)

Singers ~ Atif Aslam & Palak Muchhal / Arijit Singh / Atif Aslam & Arijit Singh, Music by ~ Palash Muchhal, Lyrics by ~ Palak Muchhal

The next song witnesses Palash entering film music after a long time; his last release was ‘Amit Sahni Ki List’ in July 2014 if I’m not wrong. And this song, he provides in as many as three different versions. The composition is a very typical, Bhatt-ish composition that at first seems very bland and boring, but sounds better the next time. And when you start liking it, you start listening to it frequently, and after listening to it a lot, you start hating it. So like almost all Bhatt-ish songs, this song has a quite uninteresting life story. Jokes apart, Palash’s composition, though nothing innovative, provides temporary relief like Zandu Balm and sticks in your head for that short while as if it has been stuck with Fevicol. (There, I managed to put ‘Dabangg’ references in my review.) The mukhda is very typical, and so is the hookline, so much so that the first time I tried to listen to the song, I didn’t go past the hook. The antara is nothing great either. But despite all this, the song somehow manages to get in your head. So it’s like a Rohit Shetty film — not perfect, but manages to get you watching ahead. The arrangements must be the reason we are able to go forward. Both actual versions (not counting the remix for now) have different arrangements. While the Atif Aslam version has a clichéd-to-the-core acoustic guitar setting with occasional electronic tabla beats, the Arijit Singh version has better arrangements, starting off with a flute, and progressing with a more unplugged-ish acoustic background, piano and guitars. The flute really impressed throughout the song, and Palash isn’t stingy with the use of the flute. Atif’s diction is very irritating in his version, and when he says “Gira” for “Ghira”,Batakta for “Bhatakta“, and “Dikka” for “Dikha“, you can’t help but cringe. Palak joins him to repeat the mukhda at the end of the song. Arijit goes solo in his version, and he rectifies all of Atif’s diction mistakes. However, Palash makes another mistake here, which is making Arijit sing the repeated mukhda at the end, making the song seem extra long. He could have stopped after the antara, or made Palak sing it for some respite from the overbearing drowsiness. The remix is a miserable attempt to quieten the two ever-at-war fan bases of Atif and Arijit, by cramming both into one song. But why would anyone want them to be together in a remix. And I can’t even say how sappy the vocal programming sounds when Palash uses it on Atif, making him sound like a goat. The beats are typical remix beats that make your ears explode. The lyrics by Palak are suitable for the song, but again, very typical and nothing innovative. I don’t even know whether I like this one or not, so I’ll say it’s somewhere in the middle.

Rating: 2.5/5 for Musafir, 3/5 for Musafir Reprise, 0.5/5 for Musafir Remix

 

4. Wedding

Singers ~ Shahid Mallya & Palak Muchhal, Music by ~ Palash Muchhal, Lyrics by ~ Palak Muchhal

Palash’s second song is the wedding song of the album, very uncreatively titled “Wedding”. The composition is something that totally belongs to an Indian animated film for children. Come on, even children’s songs are composed more thoughtfully than this. The “Saiyaan Oh Saiyaan” refrain by Palak is very cheesy. Some of it is way too sweet to digest, and the lack of usual Punjabi arrangements, makes it even more bland. Instead, Palash uses weird-sounding techno sounds that make it sound very over-the-top. And of course, the typical brass band, which is also, unfortunately, digital. A weird EDM-ish interlude tries to makes things “cool”. Palash tries to bring in a folksy feel to the song by roping in Shahid Mallya to sing it, but he sounds so uninterested, it comes out through his singing. And the lines he’s made to sing! 😵 Palak sounds too, too, sweet, like the syrup in Gulabjamun if someone adds too much sugar. Her lyrics too, are straight out of a fairy tale; the cringeworthy Hinglish takes a toll on you by the time the song ends. When EDM and an overly sweet melody spoil everything.

Rating: 1.5/5 

 

5. Shiddat / Shiddat (Reprise)

Singers ~ Armaan Malik / Mohd. Irfan, Additional Vocals by ~ Priyanka Negi, Seepi Jha & Bhuvan Ahuja, Music by ~ Raaj Aashoo, Lyrics by ~ Shakeel Azmi

With Raaj Aashoo’s song, things take an even more downhill turn. Totally overloaded by a very overbearing melancholic sound, the song exhausts you by the time it is over. The composition is something even the Bhatts would shy away from nowadays. What’s more, the song spans for over five minutes, something utterly unbearable. And two versions. So it sadly has eleven minutes of unmerited footage in this already long album. The arrangements are typical digital beats that would be a rage if it were 2007 right now. The vocalists in neither version could keep the interest of the listener in place, till the end. Armaan, trying to be K.K., disappoints like never before. On the other hand, Mohd. Irfan in his version sings in a voice that defies the beauty of his real, silky smooth voice. The female backing vocalists are irritating throughout. I would rather not talk about the unstylish lyrics. Welcome to 2007.

Rating: 1/5 for Shiddat, 1/5 for Shiddat Reprise

 

6. Zindagi Bana Loon

Singer ~ Palak Muchhal, Music by ~ Shah Jahan Ali, Lyrics by ~ Banjara Rafi

Newcomer Shah Jahan Ali comes into Bollywood with this song, and brings yet another old-fashioned, slow-paced song into the album, much to the dislike of the audience. The tune is so complicated, with so many pauses in random places, and no indication as to whether it is a happy romantic or a sad romantic song, that you just forget about it after you hear it once. Shah Jahan Ali must have been feeling like Roop Kumar Rathod felt while composing ‘Agar Tum Mil Jao’ (Zeher), or M.M. Kreem while composing ‘Jaadu Hai Nasha Hai’ (Jism), because the song is like a wannabe version of those. The slow pace doesn’t help either. Neither do the arrangements. The guitars are played so typically, the lack of innovation makes you go crazy. Palak tries to bring nuances like Shreya Ghoshal into her singing, succeeding at none of them. She sings in such an unnaturally high-pitched voice, it even surpasses the cheesiness of ‘Kaabil Hoon’ (Kaabil). The lyrics of the song are cringeworthy again. Another staid composition.

Rating: 1.5/5

 

7. Kinara

Singer ~ Palak Muchhal, Music by ~ Palash Muchhal, Lyrics by ~ Palak Muchhal

Finally the album comes to an end. But waiting right at the end for us, is another version of ‘Musafir’ by Palash Muchhal. This time it has been disguised under another name, ‘Kinara’ because the word ‘Musafir‘ doesn’t come in the new lyrics. But it is a version of ‘Musafir’. This album has so many versions of ‘Musafir’, which means tourist. As if the album is a tourist destination! The composition and lyrics are much the same, except one line in the hook, where the lyrics have been changed. The arrangements comprise an overtly sentimental combination of violin, piano and jingle bells. Palak tries again to imitate Shreya, when she does her Female Versions, like the one of “Sunn Raha Hai” (Aashiqui 2) and that of “Hasi” (Hamari Adhuri Kahani). Even Palash tries to imitate the arrangements of the former, with those jingles and the occasional tabla. Clearly, the makers were under the false impression that the public would love ‘Musafir’ so much that they would hover around long enough to wait for a mediocre female version. 

Rating: 1.5/5 


It looks like the album of Sweetiee Weds NRI was finalized years ago. Dated melodies, arrangements that originated sometime before the dinosaurs, and a tracklist trying to imitate ‘Aashiqui 2’ with vocals that sound bland to say the least and the same vocalists used over and over again, this album isn’t really as good as the makers made it out to be when they were promoting it. Instead of Sweetiee Weds NRI, the name should’ve been Crybabyiee (you can throw a few more e’s in there if you want) Weds NRI!!

 

Total Points Scored by This Album: 4 + 3.5 + 2.5 + 3 + 0.5 + 1.5 + 1 + 1 + 1.5 + 1.5 = 

Album Percentage: 40%

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

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

Recommended Listening Order:  O Saathiya > Kudi Gujarat Di > Musafir (Reprise) > Musafir > Wedding = Zindagi Bana Loon = Kinara > Shiddat = Shiddat (Reprise) > Musafir (Remix)

 

Remake Counter:
No. Of Remakes: 14 (from previous albums) + 01 (from Sweetiee Weds NRI) = 15

 

Which is your favourite song from Sweetiee Weds NRI? Please vote for it below! Thanks! 🙂

LET HAPPY RUN AWAY, BECAUSE SOHAIL IS BACK!! (HAPPY BHAG JAYEGI – Music Review)

Music Album Details
♪ Music by: Sohail Sen
♪ Lyrics by: Mudassar Aziz & Dee MC
♪ Music Label: Eros Music
♪ Music Released On: 28th July 2016
♪ Movie Releases On: 19th August 2016

Happy Bhag Jayegi Album Cover

Happy Bhag Jayegi Album Cover

 

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

To buy this album on iTunes CLICK HERE


Happy Bhag Jayegi is an upcoming Bollywood rom-com starring Diana Penty, Abhay Deol, Ali Fazal, Jimmy Sheirgill and Momal Sheikh in key roles. The film has been directed by ‘Dulha Mil Gaya’ director Mudassar Aziz, and produced by Aanand L. Rai and Krishika Lulla. The story revolves around a runaway bride… Sound familiar? Oh, then maybe you were alive when ‘Dolly Ki Doli’ released.. Something that the makers of this film must’ve thought happened ages ago! 😂 Anyway, what I’m concerned with, is the music of the movie, and when it is a very promising composer like Sohail Sen helming the music album, there should be no doubt that the album would be good. His last complete album was ‘Gunday’, as long as two and a half years ago. He also composed a song for ‘Housefull 3’ earlier this year, which became a fleeting hit. But this time, I’m sure he’ll come up with memorable songs, just like he did in his earlier solo albums like ‘What’s Your Raashee?’, ‘Mere Brother Ki Dulhan’ and ‘Gunday’. There are five songs in the album, and hoping that all five are great, here starts the music review for ‘Happy Bhag Jayegi’!


1. Happy Oye
Singers ~ Harshdeep Kaur & Shahid Mallya

Sohail Sen kicks off the album with a pacy song that suits the ‘runaway bride’ theme only too well. Pacy shehnaai-like electronic sounds start the song off on a fast note, after which Harshdeep, the lead singer starts off with a just as quick and fast mukhda. Sohail Sen’s composition, as I said, is suitably pacy, and thrilling, and talking if runaway brides, I can’t help but notice how similar the entire sound of the song is to the title song of ‘Dolly Ki Doli’. The concept of having a female singer narrate Happy’s story is quite innovative; usually it is a male singer! In spite of the very, very small similarity, the tune really works on you. It gets your ready for an energetic song, something that hasn’t been heard for quite a time in Bollywood. The Punjabi feel in the composition is mind blowing. Sohail has done it with the smallest intricacies right in place. Especially the hookline is really impressive. It is just magical, how the fast-paced composition works so well. A undertone of sadness and grimness persists throughout the song, and though the song sounds all female gangster-type at a glance, deep inside it sounds very emotional. (Sing it with half the tempo and see!) That undertone also does magic, but it isn’t really noticeable full-fledgedly, until the antara, which is like one of those 90s Punjabi songs that used to slow down for the antara to become emotional. That antara is just so beautiful. Arrangements are out-of-the-world. Though it seems to be nothing but a mess of electronic sounds and dhols, it is really much more. The starting electronic shehnaai-like piece keeps repeating throughout the song, and it binds together the various parts of the song. The dhols provide the necessary energy and dynamo to the song, while Sohail uses various standby attractions for the interspersed musical pieces. One of them has an unexpected dubstep piece, which actually follows a wonderful aalap by Shahid Mallya, with a Punjabi rhythm. The same interlude later impresses with a wonderful Irish-sounding bagpipe piece. See how Sohail crams everything into one interlude, and makes it sound gorgeous? The second interlude is also great, with a wonderful Spanish guitar piece backed by more EDM. All in all, Sohail’s arrangements are something only a genius could do! The vocals are interesting as well as impressive. Harshdeep on such a pacy track, is a first, and she graces the mukhda and antara with her energetic vocals only too well, while Shahid takes up the second antara, but doesn’t spread as much magic with his short appearance! Mudassar Aziz, the director, has written good lyrics revolving around the character of Happy, with a strong Punjabi influence. This is one of those title songs, that don’t really sound like the title song, but make a special place in your mind! A pacy track which starts off the album on a very high note! #5StarHotelSong!!

 

2. Gabru Ready To Mingle Hai
Singers ~ Mika Singh, Neeti Mohan, Tarannum Malik & Danish Sabri, English Rap Lyrics by ~ Dee MC

The next song starts off on just as groovy and catchy a note as the title song. A dholak rhythm instantly places a Punjabi wedding scene into your mind, until Sohail cranks up the noise level, with a very energetic dhol, something that always makes you groove (unless doene atrociously!) Sohail’s composition is not too innovative and follows the usual Punjabi wedding song template, but is nevertheless catchy and likeable. The Punjabi flavour remains intact here too, and since it is done in a tasteful manner, it appeals. The mukhda has a cool ring to it, and that line “Bada killer tera style hai…” Which leads up to the hookline, is a winner. The first antara is nothing but a female rap, which sometimes sounds irritating, and other times sounds catchy. The second antara is a proper one, with an actual tune, and it is quite good as well. There is of course, another rap after the first antara, in the interlude. The tune of the Punjabi traditional wedding song that Sohail has composed to open the song, is the same tune as the hookline, and barring the tune of the hookline, I feel that everything else has been composed really well. The rap, had it been done a bit less, would’ve worked, instead of this overdone rap. Arrangements are quite energetic and just make you dance. (Thankfully you don’t have to lift your TAANG, like in Sohail’s last song — you know which!) The arrangement consists of mostly a very heavy and deep-sounding dhol, which is just awesome! The beats are awesome as well. The rap in the second antara has good beats as well, making it sound clubbish. Everywhere else, the DHOL is the highlight of the song. The vocals are good and give you a reason to repeat-listen the song. It is one of those songs where Mika hasn’t sounded like a dog, and clearly voices all the syllables (thankfully!) Sohail repeats his singer duo from ‘Taang Uthake’ (Housefull 3), and places Neeti as the lead female singer, while Tarannum Malik supports her in some raps. The “Don’t follow me like that..” rap is better than the interlude one, and both the ladies kill it in that rap. The other one is quite dull. Danish Sabri is nowhere in the picture, and seems to be involved in merely backing vocals. Mudassar Aziz’s lyrics are good again, and have everything required for a good Punjabi dance track. At the same time, Dee MC’s English raps are kind of weak, but thanks to the singers, they sound better! A song that could’ve been much better, but enjoyable even as it is!!

 

3. Aashiq Tera
Singer ~ Altamash Faridi

And Sohail finally gets back to his romantic side! With this song, he makes me dismiss all my doubts whether he would ever get back to romantic songs, and if he does, would he be as good as before — ‘Isq Risk’ (Mere Brother Ki Dulhan), ‘Jiya’ (Gunday) being my favourite songs by him! So, this song comes and restores my faith in him (this is just plain drama, and you should ignore me 😂) Anyway, the song is something that has a heavenly touch to it, and a very pure and innocent romance in it. The composition is beautiful, again heavenly, with nothing that could sound wrong. Every single note falls right into place. The high notes are so, so, so, so BEAUTIFUL! The mukhda is unmatchable, whereas the hookline is something with which the goosebumps are going to have a full five-minute party with (which is the longest party they’ve ever had!) The way Sohail repeats the “tera tera tera..” in the hookline, is just too mind blowing. The antara has a wonderful start, but then it sprouts into a wonderful Qawwali, which then takes the high notes route to get to the hookline successfully, and quite intriguingly. The way Sohail intermingles the slightly Baul sound of the hookline with a Qawwali sound, is too interesting. The arrangements are bliss, with harmoniums being its highlight. Other ‘roadside’ attractions include awesome tablas, dholaks, chimtas — mostly a Qawwali-esque treatment. There is a wonderful rabaab solo in the second interlude. Towards the end, just before the hookline, there is about a five second pause, until the hookline bursts out with the wings given by an electrifying rock guitar. That is one of the un-missable parts of the song. Altamash’s vocals strongly carry the entire song in a folksy and sophisticated, not to mention confident, manner, and he aces the song, especially the high notes that are so good! Mudassar’s lyics are pretty clichéd, but work nonetheless, because of the wonderful composition and arrangements. And of course vocals. Sohail sen back at romantic songs, and such a pure and inncoent romance, that it is an unbelievable detour from the everyday bollywood romantic songs! #5StarHotelSong!!

 

4. Zara Si Dosti
Singer ~ Arijit Singh

Sohail brings next, another romantic song, this time in a very typical Bollywood romance zone, that you will be shocked how he made a very different romantic song and a very conventional one in the same album. When you hear the song, you will get what I mean. The composition that Sohail gives us here, sticks to the mainstream romantic songs so well, that I was pleasantly surprised. I was also taken aback at hearing a very stereotypically Jeet Gannguli-ish composition from Sohail. And I’m not complaining. Just as Jeet many a time impresses me with his typical songs, Sohail has impressed me BECAUSE he gave such a song! Even if this song had been composed by Jeet, I would have still loved it. The mukhda is very calming and helps the listener to gain interest in the song. It works, in contrast to many such songs that have released nowadays, where the very flat mukhda spoils the whole song. But here, Sohail gives a very intriguing mukhda, so that the rest of the song can be heard without any guilt of not liking the mukhda. The hookline forms most of the mukhda, but no complaints, because that is quite an entrancing tune! The “oh-oh-ohhh” tune that Arijit sings after the hookline every time, is just sooooo heart-winning! The ANTARA, more calm than the mukhda, is beautifully composed as well, and is a pleasant contrast to the otherwise loud and hard-hitting mukhda and hookline (which is kind of like soft-rock with the drums and guitars not too prominent). Sohail’s arrangements are so serene, and have played a very important role in making me love the song. The acoustic guitars support Arijit very beautifully, and the piano is another highlight in the mukhda. While these instruments take care of the mukhda, the antara is very serenely graced by more graceful instruments like flutes and strings — which make the song sound more lilting than it would’ve! Also, the harmonica is so pleasant! The drums and rock guitars towards the end, support the soft-rock composition. I can picture Arijit singing this on stage and people swaying their arms in the air — such is the impact of Sohail’s composition! Arijit himself is spot-on with the vocals, this time using his usual Bhatt-movie voice, but sounding very energetic and NOT drowsy at all! 😛 The director’s lyrics are good and thought-provoking, not to mention simple and hummable! Sohail in jeet’s costume sounds awesome!!! A lilting romantic song, which impresses unexpectedly! #5StarHotelSong!!

 

5. Yaaram
Singer ~ Javed Ali

For the final song on the album, Sohail comes up with quite a soft and subtle Sufi tune, which is sweet and lovable. However, the composition sounds quite dated, with the Sufi composition resembling so many previous songs that have released in past years. Sadly, this one doesn’t excite as much as those did. The composition, on top of sounding dated, also sounds quite bare and could’ve been more layered instead of being this straightforward. It sounds as if some song meant to be sung by Sonu Nigam, and composed in the 2000s, has been released now! We know Sohail can do better, as we’ve heard him doing Sufi before! The hookline sounds weak, and heard-before. The mukhda is composed of the hookline, followed by quite a pleasant tune which again, unfortunately sounds out of its era. The antara makes the song get slightly better though, with its high notes and Javed Ali acing them. And the bridge from the antara to the hookline is so cute! Sohail’s arrangements however, are beautiful, with the keherwa taal playing on the tabla throughout the song. The flutes throughout the song manage to gain the listener’s attention, but didn’t really keep me hooked. The strings and dafli provide a good backing music to the song. The first interlude has a wonderful string instrument and flute duet, which is enough to make you say “Wow!” out of enticement! The second interlude has a modern-sounding acoustic guitar solo piece, which is equally intriguing! The vocals by Javed Ali somehow sound weak here! Usually Javed Ali’s sweet and soft voice impresses me, but somehow it didn’t manage to impact me here! In fact, I missed Sonu Nigam on this track! The lyrics by Mudassar are painfully dated as well… And aren’t really attractive! Sohail ends the album on quite a faltering note, with a song that might appeal to some, but might get others bored! However, the arrangements make for atleast one listen! 🙂


Happy Bhag Jayegi is Sohail Sen’s comeback to composing full albums, and after his last full album ‘Gunday’ which was awesome, he impresses quite a lot with this one. The album is full of variety, as his albums always are, and it is an album that suits the definition of ‘Bollywood Album’ very well. With two upbeat songs and three soft melodies, the album has something for every kind of music lover. Sohail seems to have worked hard to come back with a bang, and it also seems to have turned out successful! Two of the songs could’ve been better, but they are good in some way or the other. All I can say is, “Let Happy Run Away, Because Sohail Is Now Back!!”

 

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: Aashiq Tera > Zara Si Dosti > Happy Oye > Gabru Ready To Mingle Hai > Yaaram

 

Which is your favourite song from Happy Bhag Jayegi? Please vote for it below! Thanks! 🙂

 

Next “dish”: Budhia Singh – Born To Run, Chefs: Hitesh Sonik, Sidhant Mathur & Ishaan Chhabra

A DISHOOM LACKING PRITAM’S USUAL PUNCH!! (DISHOOM – Music Review)

Music Album Details
♪ Music by: Pritam Chakraborty
♪ Lyrics by: Kumaar, Ashish Pandit & Mayur Puri
♪ Music Label: T-Series
♪ Music Released On: 15th July 2016
♪ Movie Releases On: 29th July 2016

Dishoom Album Cover

Dishoom Album Cover


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

To buy this album on iTunes CLICK HERE


Dishoom is an upcoming Bollywood action/adventure/thriller film starring John Abraham, Varun Dhawan and Jacqueline Fernandez in leads, while Akshaye Khanna plays the baddie. The film is directed by ‘Desi Boyz’ director, Varun Dhawan’s brother, Rohit Dhawan, and produced by Sajid Nadiadwala and Sunil A. Lulla. The film is about two cops, Kabir (John Abraham) and Junaid (Varun Dhawan) who are on a case to find a missing cricketer, who happens to be India’s top batsman and whom the makers have cleverly named as Viraj Kohli (played by Saqib Saleem). The two cops have 36 hours before an ‘India vs. Pakistan’ match (come on, how clichéd can you get!!) to find the man. The only reason I’m following this movie is — no, not the energy of Varun Dhawan or the action by John Abraham. And no, not because Akshaye Khanna is returning in a ‘villainous’ avatar after doing ‘Gali Gali Chor Hai’ in 2012 and disappearing. But the reason is because of the music. My personal favourite, Pritam Chakraborty is in charge, and I’m so excited to hear it, because he had given enjoyable songs for ‘Desi Boyz’ as well, and I’m hoping he has done so in his second collab with Rohit Dhawan too! The movie is expected to have some dance tracks, which I know Pritam does very well! So, here goes! Let’s explore the music album of ‘Dishoom’!!


1. Sau Tarah Ke / Sau Tarah Ke (Revisited)
Singers ~ Jonita Gandhi & Amit Mishra / Aditi Singh Sharma & Abhijeet Sawant, Backing Vocals by ~ Ashwin Kulkarni, Himanshu Shirlekar & Akash, Arabic Choir by ~ Maher Al Halabi, Karim Khayat, Youmni Abou Al Zahab, Lyrics by ~ Kumaar, Hookline Lyrics by ~ Ashish Pandit

Pritam starts off the soundtrack with an energetic dance track just as expected, and really makes you dance with this one. The song starts off with a very unusually addictive vocal break, which just lures you into the composition so effectively. Pritam sure knows how to attract his audience in a classy way, and he does it here. That vocal break is toooo innovative, and also my favourite part of the song — fortunately for me, it plays everywhere throughout the song. Pritam’s composition is a fun one, with a few grey shades that add the mystery and shadow of the thriller/action film to the song. It is an item-song-ish composition, and you can almost call it one, but of course, everything is done so classily that you can classify it as a club song. The hookline has that folksy feel to it, that tells you that the movie (or at least the song) is set in the middle east. The mukhda doesn’t stand out too well during the first couple of listens, but later on, it grows tremendously. It repeats once more after the antara, to end up the song. The antara itself is a nice portion of the song, with a sensuous tune to it. Pritam conveniently uses club beats to enhance the reach of the song, and the booming bass in the song really helps to propel it ahead in the playlist of the listeners. And again, that wonderful vocal break! He uses EDM at places too, and towards the end, the hookline is played with the EDM sound, and sounds so dynamic! In the beginning, a very thrilling oud invites you into the song with that Arabic flavour. The ney by Sahi Shamat is wonderful as well. Both versions have only the vocals different, and everything else exactly, or almost exactly, the same. In the first version, Jonita startles with her performance — it being her first song of this kind. She has brought a naughtiness into her voice, which always used to sound so pure and innocent. It has that sharp texture to it, which it didn’t in her other songs. Amit Mishra, on the other hand, works well as a replacement for Nakash Aziz, sounding quite like him, but impressing nevertheless. In the second version however, Aditi Singh Sharma’s overstylised vocals are a pain to the ears. She hasn’t modulated her voice well and it comes across as too soft where it should’ve been more confident like Jonita’s! Jonita, who sang such a song for the first time, performed better than a singer who is known for such songs, and that’s pretty shocking! Abhijeet Sawant too, doesn’t work well with the composition. He seems to be trying to hard to sing in the way he’s required to. In both versions there’s this awesome Arabic hookline, sung by the Arabic choir I mentioned above. Kumaar and Ashish Pandit together have come up with quite enjoyable lyrics, that suit the theme as well as appeal to the audience. Nothing seems put of place according to Bollywood standards, and so I’m accepting the lyrics! 😂 Pritam opens the album with a great club song, that has the potential to be a chartbuster and also the club anthem of the year! The first version is definitely a #5StarHotelSong!!

 

2. Toh Dishoom
Singers ~ Raftaar & Shahid Mallya, Lyrics by ~ Mayur Puri

Next up, we have the title track for the movie, a theme song that is composed on sinister lines, with dark shades predominating in the composition. The composition is actually very less; it is mostly made up of Raftaar’s rap, which is in a tune that keeps repeating whenever the hookline isn’t playing, so in the mukhda and antara. Actually there is no mukhda and antara, as it is the Punjabi rap-styled tune that keeps playing on loop until the hookline comes to rescue it. 😀 The hookline, which is sung by Shahid Mallya and actually has a tune, is pretty good, and has kind of a sinister tune to it. It is actually the backing music that has the mysterious tone to it; the guitars which play in the background. Pritam has not impressed as such with the composition, as the song is very simple, and not of his level. Also, the credits in the jukebox read “Melody based on generic traditional punjabi folk progressions.” I don’t know how to interpret that! The rap is the most prominent part of the song, and that too, gets kind of irritating towards the end. However, as I said, the hookline is good. There is a rapid rap in the second interlude, and at that part I just completely zoned out of the song; it was so tedious to hear. Raftaar’s voice is not too impressive, of course, as he isn’t a singer. Shahid, on the other hand, tries his best to save the song, and manages to do so to a good extent. It is his “Toh dishoommm… Toh dishoommm” parts that I keep waiting for in the song. Pritam’s arrangements are good, and stick to the action theme of the movie, and perfect for a theme song for a heroic character. Especially those guitars and club beats. Some places, it sounds a lot like the ‘Desi Boyz’ title track too! Mayur Puri is back after ‘Bajrangi Bhaijaan’s ‘Selfie Le Le Re’ and ‘Chicken Kuk-Du-Koo’, and writes words that hardly make any sense. After impressing so much with so many songs, he disappoints very badly with this one, literally writing whatever comes to mind and adding a “Toh dishoom” at last to make it sound related to the movie. Lines in the rap sound pretty unbelievable as well. It’s pretty much how the person has a very bad personal life, but in a mock-heroic style, tries to explain how he will punch people when they do stuff he doesn’t like. All in all, a disappointing offering, with just the hookline being the saviour of the song!!

 

3. Jaaneman Aah (Version 1) / Jaaneman Aah (Version 2)
Singers ~ Aman Trikha & Antara Mitra / Nakash Aziz & Antara Mitra, Backing Vocals by ~ Ashwin, Akashdeep & Himanshu, Lyrics by ~ Mayur Puri

Claps, percussion and guitars start off the third song of the album, quire resembling ‘Afghan Jalebi’ (Phantom) in its overall treatment. After that, a bazooka-like instrument plays a tune that is what makes the starting interesting, and alluring. But from there, the song suffers a number of ups and down, never being consistent in its catchiness. The composition by Pritam is pretty bland and tasteless, and it is that kind of composition that depends on its arrangements to do its work of attracting the listeners to it. There is a line however, that really impressed me, in all its oddness and though it is kind of a misfit in the song. The line I mention, is the line just before the hookline, which, in the mukhda goes like “Ishq mein saare, ilzaam hai sacche.. “. The tune of that line is an oddball in the song, which is predominantly of a happy tune. But that line has a darker shade to it, which is why I loved it! The rest of the tune follows a really Sajid-Wajid-ish template of item songs, which I didn’t exactly expect from Pritam, after great songs of this genre like ‘Dhating Naach’ (Phata Poster Nikhla Hero), ‘Gandi Baat’ (R…Rajkumar) and ‘Afghan Jalebi’ (Phantom). It is the arrangements that makes the song at least listen-worthy. The exciting dhols (Percussion by Dipesh Varma, Keyur Barve and Shikhar Naad Qureshi) help the song get the required energy, while that bazooka tune keeps playing throughout. Aditya Benia is great with the guitars, too. On the vocals front, again, we have two choices to choose our favourite from. In the first place we have Himesh Reshammiya’s blue-eyed boy, Aman Trikha. Singing for Pritam for the first time, it was bound to be a powerpacked rendition from his side, and that’s what we get, but we can’t help but miss Nakash. Pritam saves us the time that we would spend in brooding over Nakash not being there, and actually records the “Film Version” or “Version 2” of the song in Nakash’s voice. His infectious energy is unmatchable, and he sings well, putting in the punch that was lacking in the first version! 😀 The female voice in both versions is Pritam’s own blue-eyed girl, Antara Mitra. You can’t believe it is the ‘Gerua’ girl who’s sung it, but then you remember she sang ‘Saree Ke Fall Sa’ and ‘Kaddu Katega’ from ‘R…Rajkumar’ too, and then realize it isn’t such a big deal. She sings with the right vocal texture, but I’ve said this many a time jokingly and will say it again — she needs to find a comfort zone for herself in the industry! I can’t help but think she keeps changing her voice too many times and it is getting irritating now!! 😀 Jokes apart, her versatility is really commendable. It is Mayur Puri, the lyricist, who disappoints gravely. His lyrics in this song are nothing like what I like his lyrics for! The whole song is full of lines that a man sings to a lady, trying to convince her to marry him! Lines like “Do saal mein hinge tere bacche, mere bachhe” really make you cringe and think where Mayur’s splendid writing has gone in that one year! 😦 The song starts with the two characters playing ping-pong with names of relatives. I didn’t get that part of the song, either! Though Pritam has scored very well in the past with these songs, this time, he doesn’t really make the cut! Most of the credit for it goes to the disappointing lyrics!

 

4. Ishqa
Singers ~ Abhijeet Sawant & Antara Mitra, Lyrics by ~ Kumaar

The album ends on a very celebratory note, with an Arabic-styled party song that has distinct shades of Pritam’s typical composition styles. The composition is really enjoyable though! The song, standing at a duration of just less than three minutes, 2:47 to be precise, is too short, and too catchy; I wish there was more! There is no distinct demarcation of hooklinebut there is one loop of a line, sung by Antara, which goes like “Zyaada main toh nahi kehti…” and that line is so insanely catchy!!! Pritam has composed the song very beautifully, given that it is so short. The mukhda and antara are both by Abhijeet, and he sounds way better here than he did in the second version of ‘Sau Tarah Ke’. Antara has just that one line which repeats many times, but as I said is really well sung by her, and really well composed by Pritam too. Another great thing is the arrangements. The Spanish guitars are the highlight of the song, while the Arabic percussion is really great. The Arabic strings are stunning as well! There is a great electronic interlude that is so insane! The whole thing together sounds very catchy and groovy. Kumaar’s lyrics are good, as well, again, without being cheap or anything. A finale that actually delivers what was expected throughout the album!! #5StarrHotelSong!!


Dishoom is definitely not what I expected. I rarely say this, but this time, Pritam did not deliver as much as I was expecting. He has composed all four songs as per the requirements to make a fun album, but I know he can do way better than this. Two songs, ‘Sau Tarah Ke’ and ‘Ishqa’ actually deliver what I expect when I hear the name ‘Pritam’. The other two seem very templated songs, with very less composition and more of a dependency on lyrics, which are bad, and arrangements, which excel. So, I would say, the Pritam Punch in this ‘Dishoom’ was lacking!!

 

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

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

Recommended Listening Order: Sau Tarah Ke > Ishqa > Toh Dishoom > Jaaneman Aah (Version 2) > Jaaneman Aah (Version 1) > Sau Tarah Ke (Revisited)

 

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

TRIVEDI’S GROOVY PUNJAB!!! (UDTA PUNJAB – Music Review)

Music Album Details
♪ Music by: Amit Trivedi
♪ Lyrics by: Shellee, Late Shri Shiv Kumar Batalvi & Varun Grover
♪ Music Label: Zee Music Company
♪ Music Released On: 18th May 2016
♪ Movie Releases On: 17th June 2016

Udta Punjab Album Cover

Udta Punjab Album Cover

 

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

To buy this album on iTunes CLICK HERE


Udta Punjab is an upcoming Bollywood crime drama/thriller film starring Shahid Kapoor, Alia Bhatt, Diljit Dosanjh and Kareena Kapoor Khan in the lead roles. The movie is directed by ‘Ishqiya’ and ‘Dedh Ishqiya’ fame Abhishek Chaubey, and produced by Shobha Kapoor, Ekta Kapoor, Anurag Kashyap, Vikramaditya Motwane, Aman Gill, Vikas Bahl and Sameer Nair. In the movie, Shahid plays the role of a rockstar, while Alia essays the role of a Bihari worker. Kareena portrays the role of a doctor and Diljit, the role of a policeman. What brings them all together, is the drug situation. Now, I don’t know how, but that’s what the story basically is. So let’s head over to the music section. The music for this film has been helmed by Amit Trivedi, whose previous albums like ‘Fitoor’, ‘Shaandaar’, ‘Guddu Rangeela’ and ‘Bombay Velvet’ were really outstanding. So, an outstanding album is expected here, too! Amit has created six songs for the album, with one being reprised, so that makes it seven tracks in all. Let’s see, how many of these seven tracks, cross the standards that Amit has made with his previous works!


1. Chitta Ve
Singers ~ Shahid Mallya, Babu Haabi & Bhanu Prtap, Lyrics by ~ Shellee

A movie that revolves around a rockstar, better have a full-on rockstar-styled number. So Amit decides to place that song right in the beginning of the album. But, it is not full-on! This rock number is totally Amit Trivedi style! I’ll explain. While normal rock songs have an overdose of electric guitars and drums, with hardly any place left for the singer to make any noise, this rock song has left a good amount of place for the singer to leave his mark. Instead of the usual rock instruments, Amit has arranged this song completely on a techno base. Amit’s usual quirky sounds grace the song and that is actually the best part of the song. The song starts off very disappointingly, though. After a great techno tune, with some groovy beats, there comes a rap by newcomer Babu Haabi, that seems pretty forced and also, unnecessarily long! The rapper seems to be imitating Badshah, but fails to create anything engaging (not that Badshah always impresses.. That’s rare) so I don’t get the reason behind choosing a newcomer? However, the part that follows after the rap is good enough to at least provide an enjoyable first-time listen. Shahid Mallya’s folksy voice has been utilized unusually well in an upbeat song. Bhanu Prtap, Indian Idol 4 contestant, accompanies him well. Amit’s composition, though, falls flat. It seems like a repetition of the same tune over and over again, and it frankly gets pretty monotonous after a while. The rap interspersed throughout the song just makes it worse. However, Amit saves his weak composition with excellent arrangements. Techno arrangements, and very, very minimal rock guitars (it is hard to catch them.. Hear the rap carefully! 😀 ) and various sound effects lift up the song fantastically. The beats are just boomingly awesome. The flute interlude (Inapakurti D Rao) is just too cute, and again, easy to miss because the song isn’t really too engaging. Shellee’s lyrics are strictly related to the theme, and situational. Nothing great. Enjoyable for the first couple of listens, but gets tiring later on. A decent start to the highly-awaited album!

 

2. Da Da Dasse
Singers ~ Kanika Kapoor & Babu Haabi, Lyrics by ~ Shellee

The next song starts off with the mesmerizing sounds of bells and chimes, which make way for an odd-sounding synthesizer tune that’s really quirky and cute, too! Kanika, with her ever-so-unique voice, starts singing with that distinct twang in her voice, which is so attractive. Amit has composed a beautiful tune for her to sing, a really catchy and addictive one. The hookline is something that is unconventional, but still appeals a lot. The mukhda that leads up to the hookline is just as addictive and groovy. When you first hear the song, it won’t be something which you would think could ever be called as ‘catchy’ of ‘addictive’, let alone ‘soulful’! Though it is not the ideal ‘soulful’ song, it gives you that sense of calmness. It is soulful in a totally different way. The antara has the exact same tune as the mukhda. In fact, there is a rap by Haabi after both the stanzas, and this time, his rap actually works in favour of the song, and doesn’t irritate like it did in ‘Chitta Ve’. The next thing that must be praised is Trivedi’s instrumentation, which actually has a negligible number of actual instruments, everything being totally based on electronic sounds. However, those sounds are entrancing like they never are! Those beats in the hookline are half the reason why it sounds so groovy and addictive. All throughout the song, Trivedi’s unusual, but cool sounds engage the listener, and male the song complete in a sense. Rock guitars and acoustic guitars can be heard in the background in places, but their role is very obscure, being overshadowed by the electronic sounds. Shellee’s lyrics here actually mean something, and are pretty haunting; Trivedi has masked that with his kind of jolly-sounding composition. A highly impressive and innovative track from Amit Trivedi, and a break from Kanika Kapoor’s incessant lifeless dance tracks. #5StarHotelSong!!

 

3. Ikk Kudi / Ikk Kudi (Reprised Version)
Singers ~ Shahid Mallya / Diljit Dosanjh, Lyrics by ~ Late Shri Shiv Kumar Batalvi

The next on the album is a romantic track of the type we rarely hear nowadays. Late Punjabi poet, Shri Shiv Kumar Batalvi’s poem, ‘Ikk Kudi Jihda Naam Mohabbat Hai’ has been revived to feature in the movie, and the way Trivedi has composed it is outstanding. Now this is what I would call ‘soulful’ without any doubts. The universally accepted ‘soulful’. Trivedi’s composition has shades of the 70s in places (I don’t know… I just felt that), and other parts are so contemporary-sounding, that I wonder how those two eras have sounded so well together. There is no actual hookline, as that is the line which starts the song and it doesn’t seem like a hookline because it isn’t forced onto the listeners at every single moment of the song. The mukhda is totally composed on low notes, whereas the antara majestically treads higher octaves, and how! Kudos to Shahid Mallya for managing those high portions so gloriously! It is like some magic to the ears. In the other version, Diljit doesn’t manage to do even half as good, though. He seems to have got stuck where the variations come in. And it doesn’t sound so romantic, either. Also, he doesn’t do all that high-pitch beauty in the antara, and that makes it sound flat. Going on to the arrangements, Shahid’s version has a soothing acoustic guitar arrangement. (Sanjoy Das) It starts off with beautiful guitars, strings and carries on with the magic throughout. A metronome ticks brilliantly to keep the beats, and soft drums grace the song. However, the reprise has a mishmash of rock guitars (Irshad Mistry) and acoustic guitars (Ankur Mukherjee), with more heavily played drums (Darshan Doshi), which reminds one of Amit’s arrangements in ‘Tere Liye’ (Fitoor). It sounds pretty forced. Batalvi’s lyrics shine in the song, and make for a very soothing, romantic listen. A soothing track right after two hard-hitting electronic tracks! Beautiful work by Trivedi! #5StarHotelSong!!

 

4. Ud-Daa Punjab
Singers ~ Amit Trivedi & Vishal Dadlani, Lyrics by ~ Varun Grover

While ‘Chitta Ve’ did have the title of the movie in its hookline, the actual title song comes in now, with the title warped to suit the Punjabi setting of the movie. And what can I say about this track? Whatever I say is too less. Such an electrifying track, with such a groovy beat and energetic vocals, I’ve not heard for a very long time! (I know you think I’m saying that for all songs; well, so be it, because it’s true!!) The composition is something that takes nanoseconds to grow on you, so basically, when it starts, it has fully grown on you. The tune is that catchy, and especially the hookline, which is what it should be for an ideal song. Again, the tune of the mukhda and antara is the same, and again, they are both followed by a rap, quite like the structure of ‘Da Da Dasse’, but after the second rap, the mukhda plays once more, here. This time the rap goes to Vishal Dadlani. The firs time I saw the singers’ names in the credits, I thought it would be some duet with each of them singing some lines like ‘Guddu Rangeela’ (Guddu Rangeela), but then I found out that Vishal Dadlani is only and ONLY in charge of the rap!! And I applaud Trivedi for trying such an experiment. Anyone else, might have given Vishal the whole song too. But here, Trivedi, confident in his own voice retains his voice for the actual song while Vishal handles the rap (which is equally important for the song to be so likable). Trivedi’s unique voice works wonders for the composition and makes it seem like it has been sung in a carefree manner, which is kind of the main gist of the character of a rockstar, isn’t it? And seeing that Vishal too could’ve done it equally well, it was a brave choice to retain his own voice. Luckily, it turned out splendid. The arrangements are just as electrifying and addictive as the other pats of the song. Mostly, they are techno sounds again, but this time, the quintessential Punjabi tumbi plays an important part in the song. The dhols take Vishal’s first rap forward very enjoyably. The plucked strings (guitar?) are awesome, and can be heard in almost every line. The dubstep in Vishal’s second rap is great too, again, later joined by dhols. Varun Grover’s lyrics are suitable for the look of the film — grungy, carefree, rowdy, but nevertheless enjoyable! One of the most electrifying works from Amit Trivedi, and one of his best performances as a singer, clearly showcasing his versatility! #5StarHotelSong!!

 

5. Hass Nache Le
Singer ~ Shahid Mallya, Backing Vocals by ~ Shadab Faridi, Suhas Sawant, Arun Kamath, Lyrics by ~ Shellee

Acoustic guitars coupled with a wonderful aalaap start off this song, to be later joined by divine harmoniums, strongly indicating a genre I love very much, Qawwali. When Shahid Mallya starts off with his singing, you can’t help but get lost in the mesmerizing music. Amit Trivedi’s composition is nothing new or great; in fact, it is quite similar to the tunes of his previous songs of similar genres — and I can smell ‘Sahebaan’ (Guddu Rangeela) and ‘Luv Shuv Tey Chicken Khurana’ (Luv Shuv Tey Chicken Khurana) very strongly. However, the way he has executed it is hands-down beautiful. He knows where to put the right notes, to make it a beautiful song as a whole. The hookline is divine and mesmerizing, as is the mukhda, while the antara treads familiar territory (Luv Shuv…) Shahid has sung both the songs I mentioned above, so the déjà vu is even more. But the way he sings here, is so divine that you might forget about those songs and this song will just throw them out of your brain and establish a place for itself in your brain. It actually feels as of you are in a gurudwara and that is a very unmatchable feeling. 😀 Backing vocalists accompany Shahid well. The hookline sounds a bit like ‘Ude Jab Jab Zulfein Teri’ (Naya Daur), but that makes it better! The arrangements here are just as mesmerizing as everything else. The sublime rhythm produced by the dholaks (Raju Sardar) along with the harmonium (Akhlak Hussain Varsi), is again, out of the world. The acoustic guitar surprisingly fits well into the song. And I don’t know whether there are tablas or not, because the dholaks are sounding suspiciously like them. So let’s say, theyre in there somewhere. 😛 Shellee’s lyrics are also good, and functional for this genre. May i note that they were similar in ‘Luv Shuv…’ too. 😛 The Amit-Shellee-Shahid give another Qawwali, and give nothing new or innovative, but it tricks you and works its magic on you so much, that you end up loving it! #5StarHotelSong!!

 

6. Vadiya
Singer ~ Amit Trivedi, Lyrics by ~ Shellee

An addictive techno tune starts off the last song in the album. The way it has been programmed, to seem as if it is coming closer to you, is awesome. And when Trivedi starts singing, it sounds like some foreign song, so international-sounding the tune is! The EDM really transports the song to some other level, which is enough to compete with songs of international artists. The tune is so entrancing that you are pretty shocked that it has been arranged on an EDM base, because Bollywood usually uses that for club songs which are loud and noisy, and Bollywood also usually uses it wrong (with Pritam and Vishal-Shekhar being the masters, and Amaal Mallik with his ‘Sooraj Dooba Hain’) But Trivedi had used it in a similar way in ‘Shaam Shaandaar’ (Shaandaar), which seemed forced, and also ‘Rangaa Re’ (Fitoor), which was just an oddball in the soothing Kashmiri folk album. After trying decently twice, his hard work actually bears fruit on the third try. Here, he has done better at EDM than he has ever done, and it works out so brilliantly. It feels as if it is a DJ remixing a song, but not as messily as DJs always do. The entrancing tune gets even more enrapturing due to the EDM. The actual composition is not too much, but Trivedi has added interesting interludes of EDM. programming by Trivedi and Sourav Roy is fantastic. I never felt like I’m hearing a Bollywood song; the level of programming is so high. Trivedi’s voice gets drained behind the wonderful programming, but even if the programming wouldn’t have been there, it would’ve sounded beautiful. His steadiness on those long notes is noteworthy. Shellee’s lyrics too, and bewitching and intoxicating. A spectacular grand finale to the album, with a great use of international a level EDM, and an intoxicating composition and lyrics! #5StarHotelSong!!


To be honest, I wasn’t expecting something this good from Udta Punjab after tgey released the first two songs — ‘Chitta Ve’ and Diljit’s ‘Ikk Kudi (Reprise)’. However, little did I know that all the songs I would like were to be released with the full album! And I was surprised like anything! Amit Trivedi has gone to such lengths to make such addictive songs, most of them having attractive electronic music. Never have i respected electronic beats so much; here, they have been done very classily. And also, thanks to Amit Trivedi for actually representing Punjab positively, and not withh those irritating hip-hop, rap and disco numbers that Bollywood has stereotyped Punjab with. Trivedi has created a whole new music for Punjab, and that Punjab, I would call as Trivedi’s Groovy Punjab!!

 

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: This is more difficult than sin cos tan! So I would say hear them all in the same order they have been given in the album… With “Chitta Ve” first so that your listening won’t be spoiled!

 

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

 

Next “dish”: Do Lafzon Ki Kahani, Chefs: Amaal Mallik, Babli Haque, Arjuna Harjai & Ankit Tiwari

PRITAM’S MUSICAL MASTERPIECE!! (PHANTOM – Music Review)

Music Album Details
♪ Music by: Pritam Chakraborty
♪ Lyrics by: Amitabh Bhattacharya & Kausar Munir
♪ Music Label: T-Series
♪ Music Released On: 10th August 2015
♪ Movie Released On: 28th August 2015

Phantom Album Cover

Phantom Album Cover

 

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

To buy this album on iTunes CLICK HERE


Phantom is a Bollywood action thriller film, starring Saif Ali Khan and Katrina Kaif in the lead roles. The film is directed by Kabir Khan, fresh from the success of his ‘Bajrangi Bhaijaan’, and produced by Sajid Nadiadwala and Siddharth Roy Kapur. The film is loosely based on Hussain Zaidi’s novel, ‘Mumbai Avengers’, which was based on the aftermath of the 26/11 attacks on Mumbai. It opened to mixed reviews from the public, but what have I got to do with that?? I’m only concerned about one thing — the music! And the music for this film is by none other than Pritam Chakraborty, working with Kabir Khan for the second album in a row! After the commercial success of both the album and film ‘Bajrangi Bhaijaan’, I couldn’t wait to see what this one had to offer. Also, this was the last album Pritam had composed before going on that long one-year break, which interestingly released after ‘Bajrangi Bhaijaan’! 😀 The album consists of three songs, with one of them appearing in four versions, so one hopes that since not quantity, it will definitely offer the be in terms of quality! Short soundtracks in Bollywood have usually proved themselves this way! So, let’s tale a look at what Pritam has to offer to the music lovers out there, with this short soundtrack! 🙂


1. Afghan Jalebi (Ya Baba) / Afghan Jalebi (Film Version) / Ya Baba (Fitna Farebi) / Afghan Jalebi (Dumbek Version)
Singers ~ Syed Asrar Shah & Akhtar Channal / Akhtar Channal / Nakash Aziz / Akhtar Channal, Lyrics by ~ Amitabh Bhattacharya

Pritam discovers a new singer, from Pakistan and gets him ready for a grand debut in Bollywood with this song. Syed Asrar Shah, or simply Asrar, has been roped in to do the honours with this song, and another man who we’ve heard in Coke Studio, Akhtar Channal accompanies him. The song is a whacky, zany song with those exotic Arabic arrangements and even the tune screams Arabic all the way. Claps and other techno arrangements grace the song in places. And not to mention the flute! It is what steals all your breath away! Wonderfully crafted! The first version, Ya Baba, has been laid on techno sounds, whereas the film version has a slight inclination towards rock and also folk, and the third version by Nakash has different lyrics but similar arrangements, while the last “Dumbek Version” is the one that intrigued me the most, with Pritam’s use of simply Afghani folk instruments. In all versions the singers excel, except in Nakash’s version, it seems that he was drained of all his energy before starting the recording. That makes it pretty dull, which isn’t ever expected from Nakash. The song is recorded such that it sounds as though the singers are actually singing live at some function on a mic. The tune is something that makes you say in an instant, “Bhai Waah!” Amitabh’s lyrics are just as zany and crazy and catchy and make a good camaraderie with the tune. All I can say is that, the superhit machine, Pritam, is now back in the true sense!! #5StarHotelSong!!

 

2. Saware
Singer ~ Arijit Singh, Lyrics by ~ Amitabh Bhattacharya

I’ve said it time and again, and here I’ll end up saying it again — there’s no one better than Pritam to bring out the best from Arijit. Leaving us before his year-long break with the album ‘Holiday’ containing three great songs by Arijit, all of different genres, and not using him in ‘Bajrangi Bhaijaan’ after that, it is fair enough that he gives him a chance in this album. And that, he does! The first time you hear the song, you might not think that it is something extraordinary and might connect it to some of the other songs that have been releasing nowadays that fall into the same category of soft rock romantic ballads, sung by Arijit. But as you keep listening to it over and over again, you will definitely find something special in this song. The tune is way more deep and emotional than that superficially wannabe emotional tune that most of Arijit’s songs have lately. It touches the heart and makes you feel wonderful. Instrumentation by Pritam is no less beautiful. It starts off very entrancingly, and proceeds just as soothingly, with minimal arrangements until the first hookline is reached, when the impactful soft drums and guitars enter. Arijit’s voice sounds perfect for the song, and even though it is tailor-made for him, the song doesn’t invoke any feelings of disgust at him for singing the similar type of songs. Pritam’s composition is melancholic and very appealing, especially in the second antara, which has a different tune as the other stanzas of the song, more intense and soothing. The beautiful electric sitar before that stanza is sure to make those goosebumps instantly appear on your skin! Amitabh has yet again written unique words, something that most people wouldn’t really think of soon, and it shows that he must’ve taken some time to crack the lyrics, even though he is the literary genius that he is! Though the song stands over five minutes, it doesn’t seem like it is over when it is, because you just want to play it over and over on loop until you get satisfied, which I guess would be never!! Arijit and Pritam are an eternal combo, which can never go wrong, and they prove it yet again in this song!! Haunting!! #5StarHotelSong!!

 

3. Nachda
Singer ~ Shahid Mallya, Lyrics by ~ Kausar Munir

The third (and last — :O ) song in the album makes it presence felt with a very unusual title for a song in such a movie — ‘Nachda’. One finds himself wondering what for such a name might be needed for a song in a political thriller film. Everything, however, gets cleared once the song starts. The song itself is a song with a captivating, thrilling tune, that plays on loop throughout the song, not sounding monotonous even for one moment inspite of the repetitions! Shahid Mallya, who had been brought into the limelight by Pritam himself four years ago with ‘Rabba Main Toh Mar Gaya Oye’ (Mausam), joins hands with Pritam again after many collaborations after that, and together, they give us a track that is worth cherishing, due to the thrilling and hooking tune that Pritam has so expertly crafted. The intense and haunting antaras are the only parts when the tune diverts from the otherwise ever-prevailing loop tune that makes up the whole song, and makes for a pleasant diversion from that hook tune. Especially the high-pitched first antara, gives you the chills that run down your spine. Pritam also scores full marks with the orchestration, with the Arabic-flavoured Oud taking the predominant role in the arrangements, only to be supported by other instruments occasionally, like the wonderfully pleasing Middle-Eastern percussion and electric guitars. The song is the only song not written by Amitabh Bhattacharya in the album, instead, it has been penned by Kausar Munir, another lady who can’t stop impressing with her words, following Priya Saraiya closeby. She uses pure Punjabi words to convey her thoughts, and ends up conveying them very effectively. Something very devotional and spiritual is hidden behind those words that she has written, making the song sound really powerful. A perfect song to end the album with, and also my personal favourite from the album! Haunting, captivating and a very effective grand finale to a short album! #5StarHotelSong!!!


Phantom is the true comeback of Pritam — the Pritam who I remember had gone on a break, who would churn out catchy yet melodious music with a snap of his fingers. And this album seems to be a collection of just that! Pritam at his best, with all the songs appealing and catering to a certain portion of the audience — ‘Afghan Jalebi’ and its variants for the masses, ‘Saware’ for the lovebirds and ‘Nachda’ for the classes. With such a short soundtrack, it was sure that the songs wouldn’t have much to do with the promotions, and have been placed only for valid reasons. However, the one massy song has managed to gather the popularity that it required! After a totally massy ‘Bajrangi Bhaijaan’, with Pritam not quite into his regular form, this ‘Phantom’ proves that the former Pritam is still there, just waiting for yet another masterpiece to deliver!! A masterpiece by Pritam, haunting and thrilling to the core!!

 

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: Nachda > Saware > Afghan Jalebi (Dumbek Version) > Afghan Jalebi (Film Version) > Afghan Jalebi (Ya Baba) > Ya Baba (Fitna Farebi)

 

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

 

And once again, thanks for bearing with me — I know how EARLY I’ve posted this review! 😝 🙂

HARMLESS MUSICAL “SOOIYAN”!! (GUDDU RANGEELA – Music Review)

Music Album Details
♪ Music by: Amit Trivedi & Subhash Kapoor
♪ Lyrics by: Irshad Kamil & Subhash Kapoor
♪ Music Label: Zee Music Company / Sony Music
♪ Music Released On: 19th June 2015
♪ Movie Releases On: 3rd July 2015

Guddu Rangeela Album Cover

Guddu Rangeela Album Cover

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

To buy this album on iTunes CLICK HERE


Guddu Rangeela is an upcoming Bollywood action/comedy film, starring Amit Sadh and Arshad Warsi in the titular roles of Guddu and Rangeela respectively. The film also stars Aditi Rao Hydari in the lead female role, and Ronit Roy in a negative role. Subhash Kapoor, National Award-winning director for his last film, ‘Jolly LLB’, and director of ‘Phas Gaye Re Obama’, returns with yet another unconventional-looking film. The film is about two cousins living in North India, who try to make ends meet in the crime-infested surroundings. Their messing with a political gangster, and how they manage to overcome him together, is what the tale is all about. The film has been produced by Sangeeta Ahir. Subhash’s last outing ‘Jolly LLB’, for which he bagged himself many National Awards, was appreciated by critics and received mostly positive reviews from audiences. Moreover, the music of the film had a massy appeal as well, composed by ‘Tanu Weds Manu’ franchise fame, Krsna. However, this film, set in rural areas of the country, seems to be having a more massy touch to it, and so, the music should be just as massy, as well as catchy and energetic. This time, Subhash chooses Amit Trivedi to compose for his film, giving him a very short soundtrack to compose, with just three songs. After the success of the unconventionally great music of ‘Bombay Velvet’, both Amit and his fans must’ve been dying to see him back in his usual quirky form, and this album does contain some prospects for that to come true. On top of Amit’s three songs, the director Subhash himself, plays the guest composer for one song. So let’s see, how much buzz Amit manages to create for Subhash until this quite small-scale film hits the theaters!


1. Guddu Rangeela / Guddu Rangeela (Remix)
Singers ~ Amit Trivedi & Divya Kumar / Divya Kumar & Shahid Mallya, Backing Vocals (in Remix) ~ Keshia Braganza & Gwen Dias, Music by ~ Amit Trivedi, Lyrics by ~ Irshad Kamil

Those who were complaining about Amit Trivedi losing his ‘magic touch’ in ‘Bombay Velvet’ (Believe it or not, there were such complaints, which is totally fine!!) will definitely be satisfied with Amit’s work in this track. Right from the beginning, that T-cube (Typical Trivedi Touch) is present, and it just takes you back to the days when Trivedi used to compose all those massy albums like Ishaqzaade, Aiyyaa, Luv Shuv Tey Chicken Khurana etc. The same quirk that Amit loves to infuse in all of his massy albums, is evident in this song. And the genius thing is that, along with making the song sound desi, Trivedi has also managed to add a very obvious Irish touch to it! The bagpipe-like techno notes follow a very recognizable Irish/Scottish kind of tune. And the percussion consisting of dhol-taashe, and other unusual sound effects, sounds just spectacular when mixed with the techno sounds. The guitars wonderfully support the other instruments, and so do those beautiful bulbul-tarang interruptions! The second interlude witnesses rock guitars and bulbul-tarang, played on a splendid rock template, supported by drums! The composition, as stated before, is a very typical Amit Trivedi thing, but doesn’t fail in the entertainment department, with that nursery-rhymish catchy tune, and the wonderful vocal harmonics, that are a must in a Trivedi song. Divya Kumar, who was introduced to Bollywood by Amit, and then sang a few songs for him, the last being ‘Allah Meherbaan’ (Ghanchakkar), returns in his camp after all those Sachin-Jigar songs, and coincidentally, the song he gets, is quite similar to ‘Allah Meherbaan’ in terms of the composition. Anyways, he renders all the silly and crazy lines perfectly, and is given great support by Amit, singing in his non-perfect yet attractive and unique voice. Divya also carries out his high-pitched harmony parts very beautifully! Irshad’s lines as just as silly, and describe in a very entertaining manner, the relation between the two brothers, Guddu and Rangeela. All the words used to describe them, like “Thaali Ke Baingan”, are really something that nobody would think of, except the genius Kamil. Next comes the “Remix”, which isn’t a remix at all! It is a different version of the title track we already heard! 😀 In this, Amit aptly replaces himself with Shahid Mallya, who sings his parts greatly. Amit also appoints wonderful backing vocalists, Keshia Braganza & Gwen Dias, who turn up the quirk factor even more. This version is a more quirky rendition of the same title track. Techno sounds have been used great! Where the first version resembled ‘Allah Meherbaan’, this one bears a great resemblance to the title song of Bombay Talkies! 😛 Lyrics are unaltered, but the tune has been changed and the arrangements and tempo pepped up! The presence of Shahid and other fun factors make this one also an enjoyable listen! Both versions are fun and enjoyable, and both resemble an Amit Trivedi song of the past! But very creative arrangements and lively vocals!! And commendable lyrics!! #5StarHotelSong!!

2. Sooiyan
Singers ~ Arijit Singh & Chinmayi Sripada, Music by ~ Amit Trivedi, Lyrics by ~ Irshad Kamil

After the brotherly love, it’s time for some breezy romazce between the male and female leads. And for this, Trivedi goes into sublime mode, and dishes out some of the best notes, arranges them together and Voila! the result is ‘Sooiyan’. Starting with a  pleasant guitar riff, the song instantly makes you feel that whatever follows, will be worth the four minutes of your life. On top of that, singers like Arijit and Chinmayi are bound to get you excited. The last time they came together was for ‘Mast Magan’ (2 States) under Shankar-Ehsaan-Loy’s direction, and they gave us something beautiful. This time, they get to sing for Amit. Chinmayi is surprisingly singing for him for the first time, surprising because her voice is so great, I was expected this to happen way earlier! Amit has composed a pleasant and cheerful tune which doesn’t sway from its ‘romantic’ tag for even one second, yet manages to entertain for the whole time. The nok-jhok number like old Bollywood songs, gets a re-entry into Bollywood with this song, with the two leads teasing each other. Irshad Kamil’s lyrics are another highlight of the song. Very smartly he’s penned down what would happen if a boy is behind a girl, who’s clearly not interested. Amit has done extraordinary programming, too, apart from the wonderful tune. Though it starts unlike an Amit Trivedi song, with guitars playing in the background, as it progresses towards the hookline, it turns more and more Trivedi-ish and in the hook, you can feel the full-on Trivedi Touch. The genius that Amit is, has introduces wonderful matka with banjo in the hookline, giving it a desi yet country cowboy-ish feel. And it sounds just heavenly! The mukda and antara are both adorned with awesome and unusual arrangements, and those in the antara are bound to soothe you down very much. The singers, of course, play a great role here, and all the expressions are carried out perfectly by the two. Chinmayi’s rendition of the line “Yun Galat Patey Pe Chitthiyaan…” just touches the heart! Arijit sings in a composition, the kind of which he hasn’t been heard in much, and aces it too! All-in-all, a spectacular affair, with Trivedi successfully bringing heaven to earth! #5StarHotelSong!!

3. Sahebaan
Singers ~ Chinmayi Sripada, Shahid Mallya & Amit Trivedi, Music by ~ Amit Trivedi, Lyrics by ~ Irshad Kamil

This song also starts with guitars, but somehow, it immediately is understood that this song is going to be more mature than the previous song. And the sarangi which follows the guitars, proves the point even more. Where in the previous track, it seemed like an amateur love, or a love just for fun, in this track, things change, and the love has matured into real and serious love. The Amit touch vanishes, and he sets all his stereotypes aside, and churns out a sublime melody, which really seems surreal, thanks to the wonderful arrangements, sugary vocals, mature lyrics and lilting melody. Chinmayi sings for Trivedi for the second time in one album itself. And that shows how much he was impressed by her, and it clearly shows in the song that his reasoning was totally right. She carries the melodic piece almost alone on her shoulders, and it seems like things can’t get any better, but right when you think so, Shahid Mallya enters and blows your breath away! His rustic and earthy voice really suits the composition, and he returns in the romantic avatar in which he sang his first popular song, ‘Rabba’ (Mausam) for Pritam. Trivedi also comes in to conclude the song with slightly modern vocal rhythms, which end the song on a note very different from how it started. He also hums in parts of the song when Chinmayi is singing. Arrangements are also beautiful. They are mostly soft and calm guitar riffs in Chinmayi’s part, but the sarangis in interludes really make a huge impact. However, the real magic starts when Shahid comes in. He is supported by wonderful, rustic sounds of sarangi and above all, the great beats of the dafli. The mouth organ also makes appearances in places. Last but not the least, Irshad Kamil’s lyrics really make it sound even more mature. The romantic line he wrote in ‘Sooiyan’ and in this song really contradict each other, and show that the romance has grown and matured. Sugar-coated, and filled with lots of love!! Lovely vocals, arrangements, composition and lyrics!! #5StarHotelSong!!

4. Mata Ka Email
Singer ~ Gajendra Phogat, Music by ~ Subhash Kapoor, Lyrics by ~ Subhash Kapoor

To end up the album, we have something wacky, insane and something that has been tried innumerable times in Bollywood, but has always failed. An attempt to compose a mata ka jagrata. We last heard one in ‘Dilliwaali Zaalim Girlfriend’, where it was very poorly composed. However, here, the director Subhash Kapoor takes over. As soon as it starts, you know Amit hasn’t done it, because the whole feel is different. Even if you don’t read the credits you can tell Amit hasn’t composed it! Heck, even a newborn will think Amit hasn’t done it and he’ll be awarded for his great music sense! 😜😜 Anyways, this jagrata doesnt actually fail as such, because Subhash had made sure it has a catchy ring to it. At the same time, it seems like he’s mocking the tradition of these jagratas. The Indian banjo (bulbultarang) opens up the track, and harmonium accompanies it later, followed by dholaks and dholakis, which give an awesome bass effect. Other arrangements are also spot on. The microphone effect is also great, and so are the claps. Gajendra Phogat, a Bhojpuri singer who sings these jagratas in his own albums, has been roped in to sing it, and does sing good. Where the song fails, though, is the composition, which only manages to attract attention for a short time. The fact that the song is 2½ minutes long, might surprise you, because you might be thinking that there wouldn’t be anything to be disappointed with in such a short period of time. But there is! And also, the lyrics are just the cheap kind of humorous. So, apparently, the Goddess has sent this guy an email and invited him to Facebook. Her website is http://www.mata.com and her profile picture is a lion. This is the gist of the lyrics. 😂 Crazy, aren’t they? Hear it, but don’t expect to love it! Just expect to like it as something to pass your time with.


Guddu Rangeela is surprisingly, a very good album, considering the low status the film has managed to get itself, because of the limited appeal it has. Amit comes back to his own territory after treading Bollywood legends’ territory in ‘Bombay Velvet’, and makes an album that, all in all, turns out to be an entertaining affair. Though the director’s song doesn’t have much scope to be loved by all, the other songs are sure to be loved, but just need good promotion, especially ‘Sahebaan’. Irshad’s genius lyrics really help in the appeal of the songs, too. And the singers behind the songs would attract listeners like flowers attract bees. I would conclude by saying that, the sooiyan (needles) of this album are musical and totally harmless! Well done, Amit Trivedi, again!

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: Sahebaan > Sooiyan > Guddu Rangeela > Guddu Rangeela (Remix) > Mata Ka Email

SHAADI KE SIDE/EFFECTS (MUSIC REVIEW)

Finally I get to review an album, in which the majority of songs are composed by my favourite music director, Pritam!! This movie’s songs were a big hit, but they died away just like the movie did because it didn’t do well. Sadly, this is the truth. Just because the movie didn’t work, people neglected the songs, which were super-hits, after they heard the fate of the movie. Unlike ‘Highway’, this movie’s songs did have a life outside the movie as well, but like ‘Highway’, everyone seems to have forgotten the songs, except one. Since the music was great, and praised by everyone from public to critics, I’ve decided to chose Shaadi Ke Side/Effects as the sixth album to feature in this category! 🙂


Album Details:-

Music by:- Pritam Chakraborty, Mikey McCleary | Lyrics by:- Swanand Kirkire, Mayur Puri, Amitabh Bhattacharya, Ankur Tiwari | Music Label:- T-Series | Music Released On:- 8th February 2014 | Movie Released On:- 28th February 2014

Shaadi Ke Side/Effects Album Cover

Shaadi Ke Side/Effects Album Cover

 

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

Hear “Ahista Ahista” on Youtube:-


Shaadi Ke Side/Effects is a romantic comedy which released on 28th February 2014. It is the sequel to ‘Pyaar Ke Side Effects’ and is directed by Saket Choudhary. It featured Farhan Akhtar and Vidya Balan in lead roles, and Vir Das in a supporting role. Even thought its music was doing very well, the film did not work, and sadly, the music was nearly forgotten by many people. Ever since it was announced that the music director for this film is Pritam Chakraborty, I was very excited and couldn’t wait for the music to release. However, due to Pritam’s habit (I don’t know whether it’s good or bad 😀 ) of re-dubbing songs with different singers and also making changes to it until the last minute, all of his albums are released pretty late, but it is always worth the wait. He is like the Aamir Khan of music. After his extraordinary year of 2013 with many hit albums and songs, I was very keen on knowing how great he will score for this film! And I got just what I wanted! So let’s see how much I liked the music of ‘Shaadi Ke Side/Effects’ and whether I am still enjoying it or not! However, one thing should be clear. Just because he’s my favourite does not mean I will be biased towards him! 😉


1. Harry’s Not A Brahmachari:- Singers ~ Jazzy B, Divya Kumar & Rap by IshQ Bector (Version 1), Jazzy B, Divya Kumar & Rap by IshQ Bector (The Original Song), Lyrics by ~ Amitabh Bhattacharya, Music by ~ Pritam

When this song released as a single in January, I was very disappointed. First of all, this wasn’t the song which had made me so excited after watching the trailer! I had definitely heard a better version of this song! Anyways, this version starts with techno beats which do not leave you till the end. Pritam has made a great Punjabi composition which is very catchy! Anyways, as I said, this version is nothing once you hear ‘The Original Song’. It starts with the famous Punjabi instrument, Tumbi, followed by a catchy rap by IshQ Bector. The fun starts when Jazzy B enters, and when he starts singing, you might as well get up and dance! The antara, sung by Divya Kumar, has an awesome tune which is a bit hard to sing, but he has carried it out with tremendous ease. The other version doesn’t have all those variations when the singers say ‘Naag ichchadaari…’ and I instantly didn’t like it because of that reason itself! However, ‘the original song’ has many variations, not just in that line, but other lines too! ‘The original song’ also has some additional rapping by IshQ Bector, which, frankly speaking, wasn’t needed, but still it entertains! Amitabh’s lyrics, are unusual as always! With such great music, no wonder it was such a huge hit! Perfect for DJ’s, clubs, parties etc. An instant hit! Go for ‘The Original Song’!

 

2. I’m Sorry Par Tumse Pyaar Ho Gaya (The Hey Song):- Singers ~ Nikhil Paul George, Neeti Mohan, Mili Nair, Lyrics by ~ Swanand Kirkire, Music by ~ Pritam 

Starting with some very catchy vocals by Nikhil, which will instantly draw your attention totally towards the song! The magic which follows is indescribable. After ‘Barfi!’, Nikhil is back behind the mic for a Pritam composition, and he repeats the greatness which he had made in ‘Barfi!’ as well. It is a very sweet, cute and simple romantic song, which you will fall in love with! The vocals ‘Tuliyuliappapey..’ are so catchy and sweet! Swanad Kirkire’s lyrics are also very cute. There are too many cute things in thus song to sit and count them all! One thing I couldn’t understand is where Neeti sings, and where Mili does. The female voice in the song sounds as if it is of a single person. I could feel a slight difference in voice in the starting of the second antara, but it again started sounding like Neeti. So I guess they have the same voice! 😛 The ‘Hey..’ part is just too catchy and again, sweet! The music is a bit retro like that of ‘Barfi!’. The mouth organ has been used very nicely in the in the second interlude. The drum beats and snaps which are audible throughout the song take the song to another level of catchiness altogether! A very sweet, cute and simple melody, which is too catchy to forget easily! It is a  #5StarHotelSong!

 

3. Tauba Main Vyaah Karke Pachtaya:- Singers ~ Shahid Mallya, Poorvi Koutish & Alam Lohar (Original Version), Arif Lohar, Poorvi Koutish, Shahid Mallya & Alam Lohar (Punjabi Version), Lyrics by ~ Mayur Puri, Music by ~ Pritam

This is something highly innovative by Pritam! It is a Punjabi Wedding Song, which describes the ‘side effects of marriage.’ It can easily be called the title or theme song of this film. It was originally a song by Alam Lohar, whose voice they have retained in the song. Pritam had remade it in the prequel of this film itself, as ‘Pyaar Karke Pachtaya’ sung by Labh Janjua. This time they have kept the same title ‘Vyaah Karke Pachtaya’ because this film is about ‘vyah’ or ‘shaadi’. It starts with a shehnaai tune which is always associated with marriage, but Pritam has changed its tune a bit, to give a new feel. The mantras which follow have a tinge of humour, because of the coughs, and the funny stuff is present throughout the song. Indian Idol find Poorvi Koutish has done great rapping, and she sounds like a really ‘khadoos’ wife, which I guess she is supposed to! Shahid Mallya gets to sing a song which is of his typical genre, Punjabi, and he does very well. Though all these elements in the song are great, the highlight has got to be the lyrics of this song! If you pay very careful attention to the Hinglish lyrics, written by Mayur Puri, you might laugh so hard, that tears will come out of your eyes! Yes, they are that funny! Take this line– ‘Phantom chhodo uski biwi chalta phirta pain, pit-pitke hi neela pad gaya main, hai ghar mein aake jaale saaf karta Spiderman, woh Hulk hai nanga, kapde phaade biwi din air rain.’ Just too funny! This level of humour is constant in the lyrics of this song, and they will force you to repeat it over and over again. The tune is very nice too, and the music is awesome with dhols used throughout the song and trumpets making an entrance towards the end. The Punjabi version has been sung by Alan Lohar’s son himself, Arif Lohar (‘Cocktail’ and ‘Bhaag Milkha Bhaag’ fame) and he sings with utmost energy. The only differences in this version is that the lyrics have been translated into Punjabi, and some techno beats have been added in the background. Instead of the loud Band Baaja ending to the original song, the Punjabi song has a relatively softer ending. A light, ear-friendly song, even though it is loud. Mayur Puri has written great lyrics, and the singers have carried it out very well. Go for both versions! It is a  #5StarHotelSong!

 

4. Desi Romance:- Singers ~ Arijit Singh, Suchi (Suchismita Das), Lyrics by ~ Swanand Kirkire, Music by ~ Pritam

When it starts with very soft piano notes, you would instantly get hooked to it! Then a magical voice starts, and that would be of Suchismita Das a.k.a. Suchi. This is her first Bollywood song, and she doesn’t even sound like a newcomer! A very experienced newcomer, she is! Her lines are some classical lines, which are very, very catchy! Then Arijit enters and does his magic, with some contemporary lines, after which the song turns into a full-fledged club song. The way Pritam has fused the two parts (Classical and Club) together, is just plain great!! Arijit and Suchi complement each other very well! The most innovative song of Pritam till now, I can say! The hook line, in which Suchi has joined Arijit by singing her classical part, right in the middle of the hook-line, is awesome! After that the long techno beats follow and the beautiful antara will blow you away! With Arijit singing a soft line, and Suchi singing her classical part after that, it is probably not going to leave your head until a long time. Though it is a club song, it will release such positive vibes that you will feel a calming effect! However, I can’t hear it anymore on TV or radio as frequently as I used to before the release of the movie. This is very shameful that such a genius composition has been rejected npby people just because of the bad fate of the movie! :/ Anyways, it’s an awesome song, which you should definitely try, no matter what type of songs you like, because it has a classical portion as well as a contemporary portion! A very light, and calming song, with a bit of everything! Another  #5StarHotelSong!

 

5. Yahaan Vahaan:- Singer ~ Farhan Akhtar (Original and Reprise Versions), Lyrics by ~ Swanand Kirkire, Music by ~ Pritam

Starting with some acoustic guitar riffs, followed by Farhan’s husky voice, this song will instantly grab your attention, because it is such a sweet song with just as sweet lyrics. It is like an apology song, and the other person is trying to ‘manaofy’ the person who is ‘khafa.’ 😛 Jokes apart, the composition is very nice, and Farhan, who is usually known for singing upbeat, high-tempo rock songs, carries this out with ease too! The simple tune, is the plus point of this song, because such a song would not work if the arrangements and tune are too complex and heavy on ears. Swanand has written perfect lyrics! The other version, with the same lyrics and tune, just has one difference and that is the background on which the song has been played. While the first version has an acoustic guitar, the reprise has electric guitars, and more drums, to give a soft rock feel, which Pritam is an expert at! With nothing much more to say, I conclude that this song is a treat for everyone!

 

6. Bawla Sa Sapna:- Singers ~ Mohit Chauhan (Original Version), Diva Roy (“The Children Come To Sing” Version), Lyrics by ~ Swanand Kirkire, Music by ~ Pritam 

The ‘Ala Barfi’ trio come back to make a song just as sweet as the former! Pritam, Swanand and Mohit are back with a story song. It is a lullaby, but it is so sweet that the baby won’t sleep, instead he will keep smiling until it is over! It starts with plucking of a string instrument, which comes and goes throughout the song. Mohit’s metallic voice suits this song very well. While ‘Ala Barfi’ was the story of Murphy, this is the story of a man called ‘Sapna’ which means dream in Hindi, and how he tries to catch the moon for his son ‘Sapnu’! It was obvious that Mohit would do well, but it wasn’t known that in the other version (The Children Come To Sing) a small 5-year old girl would do so, so good! Yes, Diva Roy, the daughter of singer Pritha Majumdar, has sung the other version of this song, and despite her age, she has sung it near perfectly! In her version, the arrangements are a bit softer, and piano is used instead of the plucking of the string instrument. Her voice is very cute. A sweet lullaby, with sweet lyrics, and sweet singing in both versions! Highly recommended for Barfi fans, so that means everyone! 😀  #5StarHotelSong!

 

7. Ahista Ahista:- Singer ~ Farhan Akhtar, Lyrics by ~ Ankur Tiwari, Music by ~ Mikey McCleary

The second song sung by Farhan has been composed by Mikey McCleary. It is another sad song, and again, Farhan has sung great out of his comfort zone, too! The lyrics by Ankur Tiwari are typical sad lyrics. Mikey’s music is also very ordinary, and compared to the great songs filled in this movie, this song didn’t appeal to me as much. The best part of thus song is Farhan’s singing and the basic tune. Go for it, if you didn’t like the other songs.

 

Overall:- Shaadi Ke Side/Effects is one of the best albums of Pritam and one of the best albums of the year so far. With songs that would appeal to mass, as well as class, and with a diverse range of songs (a party song, a romantic song, a club song, a Punjabi wedding song, two sad songs, and a lullaby) it will definitely not bore you. It has a little for everyone and it is very ear-friendly, unlike the last album I reviewed, ‘Highway’ which was very heavy on ears. One thing I didn’t like is the decline of this album on music charts, after the film bombed. :/ Mikey’s song as a guest composer is also a good attempt, but in front of Pritam’s songs, it seems very ordinary. After many hit albums last year, Pritam is being very consistent with his songs. A Must-Listen Album!

 

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

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

 

Next “dish”:- International Special (Firangi Paani): Million Dollar Arm, Chef:- A.R. Rahman and From Previous Albums of 2014:- Queen, Chef:- Amit Trivedi