Music Album Details ♪ Music by: Tanishk Bagchi, Vishal-Shekhar, Rochak Kohli, Pranaay Rijia, Sachet-Parampara, Bappi Lahiri & René Bendali ♪ Lyrics by: Shabbir Ahmed, Tanishk Bagchi, Panchhi Jalonvi, Ginny Diwan, Gurpreet Saini, Gautam G. Sharma & René Bendali ♪ Music Label: T-Series ♪ Music Released On: 7th March 2020 ♪ Movie Released On: 6th March 2020
Baaghi 3 is an Bollywood action film starring Tiger Shroff, Shraddha Kapoor, and Riteish Deshmukh. The film is directed by Ahmed Khanand produced by Sajid Nadiadwala.Introduction to this film franchise is futile, everyone knows about it and everyone also knows how it is just stretching itself longer than it can hold. Ah, well, going by the reviews, I can see a ‘Baaghi 4’ has bleak prospects, but that is all the more reason for the filmmaker to actually make a ‘Baaghi 4’. Anyway, the film franchise boasted of an all-original album for the first film, followed by a bearable album for the sequel. Here comes the second sequel in the franchise, and in this age of remakes and recreations, I’m not surprised that the first four songs of ‘Baaghi 3’ are remakes! Hoots and cheers for the remake artist Tanishk Bagchi for handling two of these remakes, while Vishal-Shekhar successfully claimed rights to their song ‘Dus Bahane’ and remade it themselves, and Pranaay comes back to recreate his theme song that features in all ‘Baaghi’ films till now. As such, one awaits the original compositions by Sachet-Parampara and Rochak Kohli. Let’s see just how well this remake rebellion fares.
Vishal-Shekhar risk entering a multicomposer album in order to salvage their 2005 hit ‘Dus Bahane’ (Dus) which is the opening song for ‘Baaghi 3’. Dus Bahane 2.0 definitely lacks the punch that the original had, and just increasing the tempo of the original track makes the song sound a bit weird, making K.K. and Shaan’s voices sound highly processed. Tulsi Kumar’s portions are awkwardly low in pitch, and composed really uncreatively. That kind of makes me think if Vishal-Shekhar really did contribute any new melody to the remake or just asked Meghdeep Bose to create a ‘Vishal-Shekhar Mix’ or something, of the Tanishk Version. That being said, the beats are well placed, and the song works as a crowd-pleaser, since this is clearly what pleases the crowd these days.
Moving on to Tanishk’s actual remakes, he picks up yet another Bappi Lahiri classic after ‘Yaar Bina Chain Kahan Re’ was remade in ‘Shubh Mangal Zyada Saavdhan’. This time ‘Ek Aankh Maarun’ (Tohfa) gets chosen to be recreated. The song’s catchphrase Bhankas becomes the title of the remake, and all that I notice in the first listen is the good choice of singers — Dev Negi and Jonita Gandhi. They bring the fun of the song to the forefront, and while Bagchi’s beats are just a modern mix of South kuthu beats with that 80s dhakkachika rhythm, the beats kind of work to the song’s favour. Songs like this do not really need their lyrics to be talked about, so I will do just that and go on to Tanishk’s next remake in the album, this time that of a foreign song, Do You Love Me by René Bendali. The song has already been remade by an English pop artist TroyBoi, and now T-Series picks it up for a Hindi reinterpretation. The Arabian setup isn’t new to Bollywood; we have had many original Hindi songs better than this, with the same musical setting. The new compositions with Hindi lyrics barely fit into the hook, but the creativity in the programming and beats makes it worth a listen. Nikhita gets not much space to shine, with very simplistic lines to sing, and before you know it, the song is thankfully over. Also, the Hindi lyricist for the new lyrics hasn’t been mentioned, so I’m guessing it is Tanishk.
Moving over to the franchise theme song by Pranaay, Get Ready to Fight Reloaded, which is probably the most ignored song from every ‘Baaghi’ album, but the makers still seem to be revamping it in hopes that it will get noticed by the audience this time around. The first time, it released as a single after the entire album released, so it went under the radar, while in the second album, it was very badly promoted. And this time, I finally do feel like it will get noticed. First of all, Pranaay packs it with a punch, and some interesting elements like EDM, electronic tablas, whistles, and a groovy beat coupled with Siddharth Basrur’s powerful vocals. The song doesn’t try too hard to be a ‘theme’, as in it doesn’t try too hard to do too much just to stick in the audience’s head, like the previous two versions of it, did. There is also a melodious antara to the song, and Ginny Diwan’s lyrics too make the song worthy of your attention. So this year, we saw the third version of ‘Bezubaan’ in ‘Street Dancer’ failing, but we get to see the third version of ‘Get Ready to Fight’, succeed in the same year. 🙂
Lastly, the two original, melodious songs of the album, one each by Sachet-Parampara and Rochak Kohli, two of the music composers that really impressed me with their original music last year. Sachet-Parampara follow their usual ‘Khwabfaroshi’ (Jabariya Jodi) and ‘Dilbara’ (Pati Patni Aur Woh) template in Faaslon Mein, a melancholic Bhatt-ish song that makes you wonder why nobody has taken them to Vishesh Films’ office yet. The piano, intense never-ending lines of singing, followed by a line of singing without any music in the background, and Parampara joining as background vocalist halfway through, the song contains all the standard elements of a Sachet-Parampara song, and that is scary — it means they have been typecast so soon into their career. The song ends with a brilliant strings piece accompanied by a chorus, and even though the composition seems underwhelming, at least Sourav Roy with his arrangements and Sachet with his vocals, have done a good job.
Rochak Kohli brings on board Shaan for his song Tujhe Rab Mana, getting him his second song in the album, if ‘Dus Bahane’ can be counted since it didn’t make him re-dub anything new. The song is a melodious ode to brotherhood, sort of like Rochak’s friendship anthems ‘Atrangi Yaari’ (Wazir) and ‘Tera Yaar Hoon Main’ (Sonu Ke Titu Ki Sweety). However, the song is musically set in a different space, intermediate to both of those aforementioned songs. Not as lively as the former, but not as melancholic as the latter, it finds its niche somewhere in the middle. The composition is sweet and uses the phrase “Tere jaisa yaar kahaan” in its lyrics, so that is enough to strike the brotherly string in Indians. 😂 Shaan delivers the piece with finesse, and Rochak aptly arranges strings, guitars and piano pieces to accompany the composition. However, I wouldn’t voluntarily go and listen to this song, it being around 5 minutes long.
As expected, ‘Baaghi 3’ relies on its remakes to propel it forward. And when the remakes actually do seem to be made and promoted with more efforts than the original tracks, it says a lot. Rochak and Sachet-Parampara’s songs are good but just that. The only great song was the ‘Get Ready to Fight’ remake by Pranaay. An album where not even one song is memorable.
Total Points Scored by This Album: 5.5 + 6 + 5 + 7.5 + 6 + 6.5 = 36.5
Album Percentage: 60.83%
Final Rating for This Album: सा < रे < ग < म < प < ध < नी < सां
Note: The letter which is underlined is the final rating.
Recommended Listening Order: Get Ready To Fight Reloaded > Tujhe Rab Mana > Faaslon Mein = Bhankas > Dus Bahane 2.0 > Do You Love Me
Which is your favourite song from Baaghi 3? Please vote for it below! Thanks! 🙂
Music Album Details ♪ Music by: Sandeep Shirodkar, Arko Pravo Mukherjee, Mithoon, Gourov-Roshin, Pranay M. Rijia, Laxmikant-Pyarelal & Panjabi MC ♪ Lyrics by: Ginny Diwan, Javed Akhtar, Arko Pravo Mukherjee, Sayeed Quadri, Kumaar & Channi Khannewala ♪ Music Label: T-Series ♪ Music Released On: 20th March 2018 ♪ Movie Released On: 30th March 2018
Baaghi 2 is a Bollywood action film (read comedy) starring Tiger Shroff, Disha Patani, Manoj Bajpayee, Prateik Babbar, Darshan Kumar, Randeep Hooda and Deepak Dobriyal in crucial roles. The film is directed by popular dance choreographer Ahmed Khan, and produced by Sajid Nadiadwala. If you remember, the first film (which I hated) had a quite likeable album, by Meet Bros., Amaal Mallik and Manj Musik. A “bonus” song by Pranay Rijia was released later. For this album, the music composers of the first film are completely forgotten, and except for Pranaay, they have all been replaced, by Sandeep Shirodkar, Gourov-Roshin, Arko Pravo Mukherjee and Mithoon. Now, I basically know that there will be a horde of remakes in this album, just by looking at the composers’ names — Sandeep Shirodkar and Gourov-Roshin have basically just created almost only remakes ever since they debuted. Arko and Mithoon’s songs do pique my interest, but nothing like “Oh, I’m so excited, I’m dying of excitement”.. nothing of that level. Anyway, let’s see just how well this album upholds the reputation (or demolishes it) of its predecessor.
Just because he has two songs, both remakes, Sandeep Shirodkar becomes lead composer for Baaghi 2. (It was Meet Bros. in ‘Baaghi’). His first remake is Mundiyan, a remake of Labh Janjua’s ‘Mundiyan Toh Bachke Rahi’. I must say, though, the song is quite enjoyable. Sandeep gets the Bhangra vibe right, and that’s the most important in such songs. Navraj Hans and Palak Muchhal make for some interesting vocals — especially Palak, who explores such songs once (okay, maybe twice, but not more) in a blue moon. She even raps! Navraj Hans is a vocal powerhouse as it is; there’s no use writing that he’s done well (it was taken for granted that he would). The one place Sandeep does mess up though, is the uncountable vocal breaks, disturbing proceedings many times, slowing down the pace of the song.
He doesn’t fare as well in his second song Ek Do Teen, remake of the song with the same name from ‘Tezaab’. Now, this is a very iconic song, not so much for its composition and music, (which was quite clichéd, if I may say so) than for Madhuri’s iconic moves on the dance floor. But even then, the flak the song is receiving is quite unjustified. Maybe it’s because the dance moves have been slaughtered (they have), or maybe it’s because the remake trend has achieved this abominable level these days. But the song isn’t that bad. Shreya substituting for Alka is a great decision; she sounds okay in the mukhda but amazing in the antaras. At least we haven’t gotten somebody like Neha Kakkar in charge of this song. The music is functional at best, with nothing remarkable in Sandeep’s new arrangements, except the easy-to-miss electric guitar riffs, and the spunky Bappi-ish disco sounds. Also, why does she only count till 20 here! That’s destroying the point of the song! 😂
Mithoon’s Lo Safar is a better result of his composition sung by Jubin Nautiyal, than the last one, which was ‘Tum Mere Ho’ (Hate Story IV). Here, at least, the composition isn’t overly sensuous, and not even trying to be. It is just a humble typical Mithoon melancholic melody, supposed to be a romantic song but playing more like a sad song. Jubin sings it well, and Mithoon’s arrangements consisting of nice guitar riffs, an amazing rap on many drums at the same time, and a serene flute, work wonders. Sayeed Quadri’s lyrics are just not the kind of lyrics he’s known for. Having written so many beautiful lyrics (especially the amazing ‘Ji Huzoori’ from ‘Ki & Ka’) for Mithoon, this should have been much better.
Gourov-Roshin’s Soniye Dil Nayiis also a remake of some T-Series pop single, whose credits on YouTube are so vague, they don’t credit the original composer, even in the video for the original song! The only good thing about this song, is that it doesn’t let Ankit Tiwari’s lazy voice get too much control over the song, because Shruti Pathak arrives at the right times to save us, with amazing aalaaps. Her portions are amazing, but the composition both of these singers have to sing is lazy, boring, dull and any other negative adjective you can think of. The composers try their best to ape Ankit’s composing style, so that his lines always end with us expecting a “Sunn Raha Hai Na Tu..” or a “Teri galliyan..” to follow. Too much said about this song.
The only composer repeated from ‘Baaghi’ is Pranaay Rijia, whose song ‘Get Ready To Fight’ from ‘Baaghi’ I neither reviewed nor heard (except in the movie) because it released late as a single track. Here he comes back to present Get Ready To Fight Again a song which you should be ready to fight again. That’s about it. I won’t tell you about the horde of singers roped in to sing a worthless song, and I won’t tell you about the actionless arrangements, even though this is probably the background song for when Tiger Shroff is showing off his stunts. This time the song gets a more folksy vocal treatment, thanks to Jatinder Shah’s vocals. Benny Dayal in the original song sounded terrible. (Let’s just put that out there since I hadn’t reviewed that.)
The best song of the album, more out of helplessness, than actually on its merit, is Arko’s O Saathi, a romantic melody sung by Atif Aslam, which fits perfectly into the Arko template of romantic songs. It might be a rehash of ‘Nazm Nazm’ (Bareilly Ki Barfi) and ‘Tere Sang Yaara’ (Rustom), with the exact same duff rhythm, and strings, and everything else, but it nevertheless sticks with you, because it is charming in spite of being heard before. Payal Dev’s humming lends the song a serene quality. The antara of the song is amazing; it follows a really unconventional composition, at least unconventional for Arko’s music. Atif sings it impeccably, especially the “Allah Mujhe” line. The hookline’s tune seemed forcibly stretched to cover about fifteen seconds of runtime each time it plays.. that’s about a minute that could’ve been spent in adding another antara! But I must say, Arko’s lyrics are beautiful, especially the mukhda!
While I still listen to ‘Baaghi’s music album sometimes even now, when I’m bored, I doubt I’ll listen to this album even one month from now. While “‘Baaghi’s album had zero remakes, this has four. While “‘Baaghi’s album was not a ‘BAAGHI’ (rebel) at all, this one totally is!
Total Points Scored by This Album: 7.5 + 6.5 + 7.5 + 5.5 + 4 + 8 =
Album Percentage: 65%
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: O Saathi > Lo Safar = Mundiyan > Ek Do Teen > Soniye Dil Nayi > Get Ready To Fight Again
Which is your favourite song from Baaghi 2? Please vote for it below! Thanks! 🙂
Music Album Details ♪ Music by: Sachin-Jigar ♪ Lyrics by: Vayu, Priya Saraiya & Raftaar ♪ Music Label: T-Series ♪ Music Released On: 17th August 2017 ♪ Movie Releases On: 25th August 2017
A Gentleman Album Cover
To hear the full songs of this album on Saavn CLICK HERE
To buy this album on iTunes CLICK HERE
A Gentleman is an upcoming Bollywood action comedy, starring Sidharth Malhotra, Jacqueline Fernandez, Suniel Shetty and Darshan Kumar in lead roles. The film is directed by Raj Nidimoru & Krishna DK and produced by Fox Star Studios. The film features Sidharth Malhotra in a double role, one being Sundar Susheel, and the other ‘Risky’. Hence the tagline of the film, ‘Sundar Susheel Risky’. The music of the film is given by the go-to music composers for Raj & DK, Sachin-Jigar. Going by the music of ‘Shor In The City’, ‘Go Goa Gone’, and ‘Happy Ending’, I’m sure this one’s also going to be a treat for people who love quirky music, and the genre of action comedy would give amazing song situations as well! Sachin-Jigar’s discography this year boasts of as many as seven film albums (with ‘Hindi Medium’ being a multicomposer one), and this one is the third to release. ‘Meri Pyaari Bindu’ remained my favourite album of the year until Pritam’s gigantic ‘Jab Harry Met Sejal’ released. I can just hope that this one follows suit and becomes another favourite of mine this year!
“Aaja ve hila denge hum aaj angana,
tere naal karke beat drop nachna,
Dil disco disco bole saari raat SAJNA!!”
Sachin-Jigar’s third album of the year starts off with a very filmy disco song. Is filmy bad or good? Let’s find out. The composition is very catchy, especially the cross line that goes “Aaja Ve Hila Denge Hum Aaj Anganaa“. That part sounds so much like a retro number. The hookline is a typical Bollywood fare, but still manages to hook the listeners. I, for one, found this song more instantly appealing than any of the others on the album (because they took time to grow). The mukhda and antara follow suit, and don’t let the interest of the listener waiver. The major reason you are hooked to the song till the end, must be the short duration. Sachin-Jigar keep the song at a crisp 2:47, neither too long nor too short. The arrangements are great: the disco-esque feel comes out through the nice bass,drums and guitars, and a totally unexpected tumbi (Tapas Roy). The tumbi is what actually makes the song sound very experimental. It gets a nice solo portion in the interlude and towards the end. The vocals are entertaining; Can Benny Dayal ever disappoint in a club number? I love how he pronounces “sajna” as “sajjena“! Sachin-Jigar help Shirley Setia get her first Bollywood song, and despite everything against her on social media, she really handles the song well, and Sachin-Jigar with their genius thoughts, know how to use her voice to the best effect — in a club song! However, she does mumble a bit in the antara, but I guess the song called for that. Vayu’s lyrics are the usual Hinglish lyrics of Bollywood, but work quite well in the filmy song. A totally filmy disco song!
“Hum dono aur yeh saari raat, sharaabi ho jaaye toh,
Band ho kamre mein hum do, aur chaabi kahin kho jaaye toh!
Toh baat ban jaaye!!”
– Priya Saraiya
Here onwards in the album, things get a bit more Sachin-Jigar-ish, in that you take more time to get accustomed to the song and like it. The time may be two listens, three listens or even more, but the song is actually are wonderful once you listen to them, with close attention to the music. This one here, is a beach party number, and again, it has a bit of a retro touch. It starts off with a very contemporary vibe, the composition flowing like a romantic song. However, it takes an unexpected turn in the cross line (“hum dono aur yeh saari raat“) where, if you pay close attention to the music, a retro vibe kicks in. The composition for the hookline is a trademark Sachin-Jigar one, and makes you groove instantly, especially the hoots after the words “baat ban jaaye” have been sung. The antara is where the song loses pace and we lose interest; that composition is quite heard-before. Luckily enough, this song is short too, which makes the cross line come back soon enough. The arrangements are fantastic here, and suit as a beach party number. Acoustic guitars start the song off, giving the freshness to the song, as a beach number should be. The retro vibe I talked about consists of amazing guitars played in a retro manner. The digital beats are more heavy in this song, and quirky sounds decorate the song. The vocals are good, Siddharth Basrur leading the way in getting the listeners hooked. However, Priya Saraiya seems a bit too much autotuned here, and it loses the charm of her actual voice. Her lyrics too, are an ordinary fare, but suit the situation well, especially the hookline. A party song that seems ordinary, but will grow!
“Maari tuney aisi entry, hil gayi poori country,
Mere dil pe dent permanent pad gayi, nazrein jo mili,
Hadd se bhi zyaada cute tu, mere karmon ka fruit tu,
Koi hai gagan mein toh heaven jahaan se aakar tu giri!”
The next song throws us back into the years, with a characteristic rock and roll/hard rock vibe to it. It slightly resembles what Sachin-Jigar had done in ‘Yeh Jawaani Teri’ (Meri Pyaari Bindu), but in a more Westernized manner. The composition again, takes time to grow, and till then all you can really focus on is the music. The guitars and drums are groovy as expected in a rock and roll song, but of course, Sachin-Jigar add a surprise element every time, and here, it is that sensuous saxophone, which sounds amazing every time it plays. The composition is good too, and like I said, it just takes time for you to catch on. The hookline is the mukhda, making it very short yet again. Two antaras follow, and also an interlude by Jonita. I loved the effect Sachin-Jigar have given to the last line of each antara — “Mud Mud Ke Na Dekha“, and “mujhe ek bhi paise ka”. There’s another amazing saxophone solo in the interlude before Jonita’s portions, and that’s even more impressive. The characteristic piano played in that retro manner, is mind blowing too. The vocals are amazing. I mean, how can Vishal Dadlani fail to crank up the energy? His husky voice is all you need to make this song entertaining. Jonita gets a very small part to sing, which is more like an interlude, but she nails it, in the traditional ‘Bollywood girl’ ‘I’m-Not-Interested’ manner. Vayu’s lyrics are fun as well, and kudos to him for using a name like Chandralekha for the girl, and also to Sachin-Jigar for fitting it into the tune so perfectly! A retro rock song that is really stress-busting!
“Iss tarah chaahun tujhe, Chaahun bhi toh tujhse main, Ik pal ko bhi door na reh sakun.. Chaahe judaa,tere mere, raaste hain magar, Aa main manzilein jod doon! Rishta sa hai yeh, judne lagaa jo, Chahoon kabhi na yeh toote! Laagi na choote… Laagi na choote!”
– Priya Saraiya
After three upbeat numbers, and after much thought about whether the album does indeed have a soft and mellow number or not, here pops up a romantic song. Actually, this song was the last to release, so the makers successfully kept the romantic song a secret till the very end. The song falls into the category of ‘Slow Poison’ romantic songs — as you can tell, the song does take time to grow again! However, this time, the amount of time it takes is relatively less, thanks to the amazing composition! It has shades of Sachin-Jigar’s own ‘Thoda Thoda’ (Jayantabhai Ki Luv Story), but is way more intense. The mukhda is very trademark Sachin-Jigar, and the way the female portions are composed in the lower octave, is also, very characteristic of Sachin-Jigar’s previous works. It increases the magic manifold. The hook is something you just can’t forget soon! It has been made to stun us, and stun it does! The flow of the song is just so powerful, you are attentive till the end. Again, a short duration helps that to happen; your attention doesn’t wander somewhere in the middle. The arrangements are minimal and digital beats make up most of the background of the song. But the piano at the beginning and throughout is just so captivating, that you can’t dislike it. The guitar in the interlude also sounds unconventional. As for the vocals, Arijit and Shreya always make a good pair, and this time, Arijit takes the high portions while Shreya quite expertly handles the low portions, a role we see her taking up quite rarely. Well, Sachin-Jigar even made Rekha Bhardwaj (who is know for her beautifully high-pitched voice) to take up an amazing low-pitched voice in ‘Mileya Mileya’ (Happy Ending) and ‘Judaai’ (Badlapur), so I guess it’s just an innate trick that they use! Priya Saraiya’s lyrics are good too, and she keeps them simple and sweet, avoiding heavy philosophical ideas. A beautiful romantic song, with nothing new, but really has you hooked!
5. Bandook Meri Laila
Singers ~ Ash King & Jigar Saraiya, Rap Performed by ~ Sidharth Malhotra & Raftaar, Lyrics by ~ Vayu, Rap Written by ~ Raftaar
“Aaye haaye haaye, yeh goli daayein baayein jaaye, Har disha mein yeh visphot kardi ae, Jaaye jaaye jaaye, jiya na jaaye jaaye jaaye, Meri jaan pe yun chot kardi ae, Seene mein tuney, bullet utaari toh, Udey jugnu haan, udey jugnu, Le gayi dil ko, kudi tu shikari, Bana Majnu main, bana Majnu! Bandook meri Laila!”
Now this was the song everybody was waiting for ever since the motion poster of the film had released. It is described by the makers as an action song, and an action song it is! The song is probably some of the most addictive stuff to have released in the recent years. The hook has had everyone grooving to it for a long time. I don’t know why, maybe because of high expectations, the song seemed very flat the first time I heard it. However, with every subsequent listen, it grew more and more. The composition is addictive; the mukhda is awesome, and the hookline is world-famous now. The rest of the song is mostly rap. Now, about the rap. The rap by Sidharth Malhotra seems very odd, and it seems like a publicity stunt. Earlier this year, Sachin-Jigar made Parineeti sing a ghazal ‘Maana Ke Hum Yaar Nahin’ (Meri Pyaari Bindu), and she aced it. However, here Sidharth seems a bit dull, and when Raftaar performs his rap, you can tell the huge difference between both of them. Of course, Raftaar is a professional rapper and that’s the reason, and I feel he should’ve gotten to sing the entire rap. The ‘Ban meri Laila‘ hooks are very addictive, and the way they sing ‘Laila!!‘ after that line is amazing! The arrangements are international sounding, and very impressive. It falls into the Tropical house genre which Pritam introduced earlier this year with the ‘Raabta’ title track. The EDM is highly impressive. It starts like a Chainsmokers track, and gets better than any Chainsmokers track as it progresses! The action theme is brought out amazingly through the arrangements. Ash King as the leading vocalist, does a fabulous job; it’s been a long time since we’ve heard him in such a groovy song! And Jigar Saraiya sounds great on the hookline. Vayu’s lyrics are fun and interesting as well. The song has a proper international touch to it, but it could’ve been better without Sidharth’s rap!
A Gentleman is yet another Sachin-Jigar album that doesn’t disappoint. It’s so tough to have an album in which all the songs have repeat value, and especially for an action film. Thankfully enough, Sachin-Jigar and Raj & DK always make a good team, and all of their albums together have been quirky and cool, not to mention catchy. And such albums are the ones that become chartbusters right away. After ‘Meri Pyaari Bindu’, Sachin-Jigar provide another wholesome album with ‘A Gentleman’! Sachin-Jigar are two gentlemen who hardly ever disappoint!!
Total Points Scored by This Album: 4 + 4 + 4 + 5 + 4 = 21
Album Percentage: 84%
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:Just listen to the album! 🙂
Which is your favourite song from A Gentleman? Please vote for it below! Thanks! 🙂
Music Album Details ♪ Music by: Tanishk Bagchi, Javed-Mohsin, Vishal Mishra, Pranay M. Rijia, Gourov-Roshin, Meet Bros. & Tanishk-Vayu ♪ Lyrics by: Kumaar, Danish Sabri, Sabbir Khan & Tanishk-Vayu ♪ Music Label: Eros Music ♪ Music Released On: 21st June 2017 ♪ Movie Releases On: 21st July 2017
Munna Michael Album Cover
To hear the full songs of this album on Saavn CLICK HERE
Munna Michael is an upcoming Bollywood dance/action film starring Tiger Shroff, Nidhhi Agerwal and Nawazuddin Siddiqui in central roles. The film is directed by Sabbir Khan, and produced by Viki Rajani and Eros International. The film revolves around a dance competition, in which a vagabond played by Shroff decides to participate, until he is entangled into teaching the local villain how to dance, and they both fall in love with the same girl. So, the typical *yaaaaaawwwwwwwnnn* Bollywood plot. The music is by multiple composers, featuring songs by Tanishk Bagchi, Javed-Mohsin, Vishal Mishra, Pranay M. Rijia, Gourov-Roshin, Meet Bros. & Tanishk-Vayu. I’m not excited about anybody’s song particularly, except maybe Tanishk’s solo song and Tanishk’s song with his ex-co-composer Vayu, who he partnered up with again for this song after 2015’s smashing debut for them, ‘Banno’ (Tanu Weds Manu Returns), so let’s just see what the album is about and we might just get surprised!
1. Main Hoon
Singer ~ Siddharth Mahadevan, Music by ~ Tanishk Bagchi, Lyrics by ~ Kumaar
This is a tribute to Michael Jackson, since the film is a dance film and the main character is probably an MJ fan, if we can deduce anything from his name. Tanishk’s composition is bland. Hookline is oddly-placed, but the Antara has a bearable tune. Arrangement and mixing are chaotic, as if Tanishk was adamant on using all techno sounds there are. The impactful vocals dont help either. Lyrics worth avoiding. When an oddly placed hook spoils almost the entire song!
2. Ding Dang
Singers ~ Amit Mishra & Antara Mitra, Rap by ~ Parry G, Shivi & Danish Sabri, Music by ~ Javed-Mohsin, Lyrics by ~ Danish Sabri & Sabbir Khan
A tribute to Jackie Shroff (atleast lyrically). The generic composition leaves you unflinched. Typical tapori arrangements with random backing vocals of “Aah-aah”. Both vocalists fail to make the song better, and the rappers fail miserably. Lyrics are cheap, trying-to-be-funny but failing miserably again. The hook lyrics make you go, “Sorry, what???” Ding dung?
3. Pyar Ho
Singers ~ Vishal Mishra & Sunidhi Chauhan, Music by ~ Vishal Mishra, Lyrics by ~ Kumaar
A very soothing romantic composition but quite heard-before, and the arrangements too remind of some songs heard in the past. The strings, guitars and digital arrangement still win your heart, though. The composer himself has sung as if he wanted Arijit to have sung it and Arijit would have been apt. Sunidhi is her usual perfect self while Neeti Mohan seems to have done backing vocals, but hasn’t been credited! Lyrics are very staid and nothing new. Best of the album but nothing creative.
Singers ~ Brijesh Shandilya & Pranay M. Rijia, Music by ~ Pranay M. Rijia, Lyrics by ~ Kumaar & Sabbir Khan
A very situational song for a performance of Nawazuddin’s character. And they have tried to make it sound so-called “cool”, but it doesn’t work much. That instrumental loop that keeps repeating throughout the song is catchy, and the digital beats are cool, but sound very similar to an English song that I can’t recall. Brijesh’s vocals are the fun part of the song, but Pranay’s interruptions could have been avoided. Lyrics are bad, again. Except for Brijesh and that instrumental loop, a forgettable song.
Singers ~ Siddharth Basrur & Nandini Deb, Music by ~ Gourov-Roshin, Lyrics by ~ Kumaar
This is one of Gourov-Roshin’s rare songs that are not recreations, and surprisingly, it starts off quite promisingly, in a retro-sounding prelude. The composition is still good, but a duration of six minutes is way too far-fetched, because the song is also very repetitive, and after one antara the song gets too boring. Arrangements are the same techno sounds that featured in the other songs, and many times in the past too. A rock interlude somewhere in the middle makes your ears bleed. Siddharth Basrur does a good job, but his cosinger, Nandini Deb, doesn’t impress. Again, lyrics are unimpressive. It is a song Hrithik Roshan should have got in 1999.
6. Shake Karaan
Singers ~ Kanika Kapoor & Meet Bros., Music by ~ Meet Bros., Lyrics by ~ Kumaar
I see the credits for this song.. and I prepare myself for another ‘Baby Doll’. And sure enough, those pop sounds and ladies shrieking feature in this song. I admit that the composition is catchy but not as much as previous Meet Bros-Kanika songs. The sound is a welcome change from the overpowering disco theme of the rest of the songs. Kanika’s voice is enjoyable as always. Lyrics continue to be the sloppiest they can be! A welcome change from the overbearing techno sounds of the album, but not innovative at all!
7. Feel The Rhythm
Singer ~ Rahul Pandey, Music by ~ Pranay M. Rijia, Lyrics by ~ Pranay M. Rijia & Sabbir Khan
Pranay’s next song is actually quite impressive. The composition is a perfect example of a catchy MJ-ish tune, complete with glitzy arrangements that Pranay aces. The techno sounds here and the techno sounds in the other songs differ so much in the freshness quotient. This one is on the lines of ‘Iss Tarah’ (Meri Pyaari Bindu) and that’s how it impressed me. Rahul Pandey sings a bit like Yash Narvekar and Benny Dayal, and sings impressively too. Again, the lyrics are the usual. A nice and fresh-sounding dance song!
8. Beat It Bijuriya
Singers ~ Asees Kaur & Renesa Baadchi, Music by ~ Tanishk-Vayu, Lyrics by ~ Tanishk-Vayu
Tanishk-Vayu return after two years (‘Banno’; ‘Tanu Weds Manu Returns’) with another folksy song, this time with a techno twist, obviously. The song has a very superficial tune, and hard to grip. Also it sounds inspired from Tanishk’s own ‘Badrinath Ki Dulhania’ Title track. The arrangements match those of their first song; folksy harmonium, dhols and other techno sounds make for an entertaining listen. There’s an amazing fiddle interlude. Asees sings like never before, with a grunge in her voice in the hookline. The lyrics are a kind of funny Hinglish that I couldn’t grasp at once. Entertaining but limitedly.
9. Pyar Ho (Redux)
Singer ~ Sunidhi Chauhan, Music by ~ Vishal Mishra, Lyrics by ~ Kumaar
Sunidhi sings this Redux of ‘Pyar Ho’ solo. It has a melancholic arrangement, with those slow and mellow piano notes, that gets quite boring to hear after some time. The strings are good enough though. Sunidhi’s solo rendition though, is a treat to the ears. The composition is the same, and the lyrics have been tweaked to make it sound sad. Not something I’d like to listen to often.
10. Swag (Rebirth)
Singer ~ Pranay M. Rijia, Music by ~ Pranay M. Rijia, Lyrics by ~ Kumaar & Sabbir Khan
‘Swag’ had apparently died while the rest of the songs were playing, so its ‘Rebirth’ appears now. Now, whatever little elements ‘Swag’ had going for it, are all removed in this Rebirth. It has even been stripped of all melody (whatever little it had) and now sounds like a funky instrumental that makes you cringe because of the way Pranay chants those lines creepily. The arrangements are fresh here, but there’s nothing like a good tune or good vocals to accompany it. So that’s a wasted opportunity. I prefer the song in its last life.
Munna Michael sounds like a very badly done ‘ABCD’ album. Then again, if ‘ABCD’ would’ve had such music, we wouldn’t have had a sequel. The overdose of (badly done) techno music really sounds useless. One song gets it right, but no others impress. When you can groove to only one song in a dance film’s album, the album’s got problems. Also, when a director or producer asks for “Give me one Kanika song, one tribute to Jackie Shroff, one to Michael Jackson, one funky Hinglish song, many wannabe retro songs”, the results are bound to be bad. ‘Munna’ is a name usually used for small kids. So may I say that these Munna Multicomposers failed miserably?
Total Points Scored by This Album: 2 + 2 + 3.5 + 2.5 + 2.5+ 2.5 + 3.5 + 2.5 + 2.5 + 1.5 = 25
Album Percentage: 50%
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: Pyar Ho = Feel The Rhythm > Swag = Beparwah = Shake Karaan = Beat It Bijuriya = Pyar Ho (Redux) > Main Hoon = Ding Dang > Swag (Rebirth)
Which is your favourite song from Munna Michael? Please vote for it below! Thanks! 🙂
M.S. Dhoni: The Untold Story is an upcoming Bollywood sports biopic, based on the life of the current captain of the Indian cricket team, Mahendra Singh Dhoni. The movie stars Sushant Singh Rajput as Dhoni, Anupam Kher as Dhoni’s father, Bhumika Chawla as his sister, Disha Patani as his ex-girlfriend and Kiara Advani as Sakshi Dhoni, his wife. The movie has been directed by Neeraj Pandey, abd produced by Arun Pandey and Fox Star Studios. The movie, which releases tomorrow, chronicles the journey of M.S. Dhoni and how he became the successful man he is now. The music of the movie has been given by Amaal Mallik, and what’s special is, that after successfully spending two years in the industry, he has finally got his first full solo album to compose, wih nobody else interfering, and I’m glad because if not anybody else, he is the one person who really deserved that. So let’s see, whether Amaal can hit Dhoni’s famous helicopter shot with this album!!
1. Besabriyaan Singer ~ Armaan Malik
Amaal starts off his first solo album with a soothing motivational song, sung by none other than Armaan. The song starts off with a wonderful piano solo, followed by guitar strums that will tell you that you’re in for something very calm. And sure enough, Amaal fulfills your desire by making the rest of the song live up to the starting. The composition is perfect for that of an inspirational song, depicting M.S. Dhoni’s years of training and hard work. The mukhda gives the song a perfect start, with a tune that instantly grabs the listeners’ attention. The way Amaal puts that high-pitched line in the mukhda, right before the hookline, is beautiful! That line makes a difference, and it is then when you realize how much you’re really going to enjoy the song. The hookline is wonderfully composed, though comprising only one word, and again, that is something commendable. The antara keeps the soulfulness going, and again, the high-pitched line comes to captivate you and also brings with it a lot of gooseflesh. 😀 Amaal uses various common instruments, but the way he uses them just goes to remind you how great a musician he is. The guitars (Ankur Mukherjee & Meghdeep Bose) are amazing as usual, but it is the violins (CMA Musicians, Mumbai; Conducted by Suresh Lalvani) that grab most of your attention throughout the song. The interludes are wonderfully graced by the sound of the violins, and they sound extraordinary in the song. There are also flutes (Tejas Vinchurkar) which leave you mesmerized. The electric guitar too, plays in the interlude and the acoustic guitar leaves you awestruck in the hookline of the song. There is a beautiful piano piece in the second interlude, very easy to miss, sandwiched between the guitars and the violins, but do go back and notice it and how extravagantly it has been played. Coming to the vocals, Armaan sings the song with utmost ease and elegance, bringing out the calmness as well as the inspirational touch very well. Again, it is because of him, that the high-pitched notes that Amaal had thought of, work out so well. The way he glides from one note to the other in the hookline, is enough to make anyone fall in love with his voice, yet again! Even Amaal, for that matter! 😀 Manoj Muntashir’s lyrics are apt for the situation, and very meaningful as well. They do a good job in making the song sound good, and if it weren’t for this man’s lyrics, the tune by Amaal could just as well have gone to some romantic song in another film! Thank God though, that it didn’t happen! 😀 An awe-inspiring and otherwise inspiring start to the album! after hearing this one, my besabriyaan (impatience) to hear the rest of the songs increases!#5StarHotelSong!!
2. Kaun Tujhe Singer ~ Palak Muchhal
The mellow notes of the piano welcome you to the next song, a melancholic love song from the point of view of the girl. The song is a gem, in that it is a beautiful, and perfect blend of emotions, soulfulness and beautiful music that you can relax to. Amaal seems to have put his entire soul into making this song, as is evident from what is in front of us. The composition is something that haunts you even after you hear it only one time, and you instantly fall in love with it. We heard a similar song to this just last month, which was ‘Jab Tum Hote Ho’ (Rustom), a sad love song from the female point of view, but this one seems to surpass that as well. Amaal’s composition is a very matured one, and doesn’t seem overdramatic at all. The mukhda itself is something that gets you attuned to what is going to follow; it is a wonderful line with haunting notes played in a very beautiful sequence. The hookline has the notes going a bit higher, and it seems as though it is a part of the mukhda itself. It is actually the vocals that make the hookline sound outstanding, and makes us see it as an independent part of the song. What excel in the composition by Amaal though, are the brilliant antaras. The melancfoly of it all is concentrated in these parts of the song, and this is when it actually hits you very strongly. The line just before the antara ends, “meri nigaahein, hain teri nigaahon pe, tujhe khabar kya, bekhabar” is something I would love to listen to over and over and over and over and over again, and I mean it!! The brilliant humming by Palak after the hookline is something you find yourself waiting for after each time the hookline plays! The arrangements are graceful, with strings leading the song, and digital beats beautifully providing the mellowed-down atmosphere of the song. Guitars (Ankur Mukherjee & Meghdeep Bose) are audible in the hookline, and they are wonderful. There is a beautiful flute (Tejas Vinchurkar) and strings interlude after the first antara, and that is something to hear on loop. And then, the vocals. Palak has done an outstanding job, with probably the best performance in her entire career. She sings both the low and high portions with ease, and also, she doesn’t try to copy Shreya Ghoshal here!! 😀 Her voice too, seems to have matured a lot, and maybe it must be a miracle brought about by Amaal’s programming, but either way, I’m up for more songs like this by her!! Manoj’s lyrics perfectly describe the feelings of a girl in love, and are cute as well as emotional, especially when we come to know that this song is going to be picturtised on Dhoni’s first girlfriend, who had passed away in an accident. Amaal has outdone himself with this one; a beautiful love ballad from the female point of view!#5StarHotelSong!!
3. Jab Tak / Jab Tak (Redux) Singers ~ Armaan Malik / Armaan Malik
Amaal brings the next song in two versions, and this is yet another love ballad, this time, picturized on Dhoni and his now-wife, Sakshi. This song follows a more cheerful composition, and is more dreamy in the sense that there is absolutely no melancholy kicking in. The composition is again, very matured, and Amaal has done a good job in making it very appealing. The mukhda starts with the song title itself, and it is a line that you will never forget once you hear it. It has that instant magically appealing effect on the ears. Though it starts off a bit slow, you will start falling in love with it after the hookline starts — “mere paas tum raho, jaane ki baat na karo“. The line makes you feel free and transports you in a different world altogether. And Armaan’s humming after the line, is hauntingly, magically, mesmerizing! And just then Amaal comes up with another beautiful antara, but it ends so soon, you fond yourself craving for more. “Well, no worries”, says Amaal, “I’m here with a redux too!” The redux has the same basic composition, but a faster tempo to it, and where the first version would be a matured romantic song, the redux would probably be one made for a more lighter situation, or maybe even just for the delight of the listeners. The main point is that, the song is longer due to longer interludes, and this one too, doesn’t leave you. Well, Armaan sounds mesmerizing in the first version, while he seems to be enjoying himself a lot in the redux, much to the delight of the listeners. Amaal’s arrangements in both versions are spot-on. While the first version has a mellowed-down, very dulcet atmosphere around it, and makes you feel very light, as if you’re flying, the second version has a more Amaal-ish instrumentation, with peppy guitars (Ankur Mukherjee), both rock and acoustic, and even drums. The first version accomplishes its dulcet nature with strings (played by the CMA Musicians and conducted by Suresh Lalwani) that really make you shiver at their grandeur. (That’s a compliment. Sorry if it doesn’t look or sound like one, but everything isn’t what it seems! 😉 ) The highlight of the first version’s arrangements though, are intensely grand trumpets, that steal your breath away whenever they play, much to your surprise, because this kind of a symphonic arrangement is rare in Bollywood, though Pritam, Ajay-Atul and A.R. Rahman (and maybe others) have tried it previously. The lyrics by Manoj Muntashir are beautiful in both versions, and are one of the reasons the song stands out – because of its simplicity. Something that will be on my playlist forever!!#5StarHotelSong!!
4. Phir Kabhi Singer ~ Arijit Singh
And of course, the next song is what all the so-called music lovers that show themselves on Twitter and Facebook before the release of every album, asking composers if the album has any song by Arijit Singh, were waiting for. It is yet another romantic song (God, is Dhoni even gonna play anything in this movie?????) This time too, Amaal gives the song a nice, pleasant and breezy touch, and it appeals to the listeners’ ears immediately. The composition, though treading very familiar territory, instantly stands out. Amaal tunes the mukhda beautifully, the high notes working well as usual. The hookline has a nice, breezy feel and can be heard on loop. The antara too, is very soft to the ears, and very simple. Amaal excels in the arrangements; having gone to great lengths to arrange the instruments in a beautiful manner. This song is the most extensively arranged song on the album in my opinion, with guitars doing a great job in making it seem so. The ukelele played by Ankur Mukherjee really adds a beautiful oriental touch to the whole song. African ethnic vocals in one of the interludes made me think M.S. Dhoni somehow got transported to Ashutosh Gowariker and A.R. Rahman’s Mohenjo Daro. :p They sound awesome nonetheless! And harmonicas wonderfully steal the show in their charming portions. Arijit is the perfect choice for the vocals, and he handles the composition very gracefully. Those fans on social media aren’t idiots after all, are they? Manoj’s innocent lyrics really help the listeners connect to the song very well, and help the song reach heights. This song stands out in that it is so simplistic and innocently heard-before, that I loved it!!#5StarHotelSong!!
5. Parwah Nahin Singer ~ Siddharth Basrur
The next song is a rock song, very heavy in its treatment, and something that I believe Amaal is doing for the very first time. As a first attempt, the song has turned out to sound exceptionally good. The composition is something you can conveniently groove to and tap your feet to. The song starts with whispers that have been sung in a grungy voice. This part isn’t something that would instantly grab your attention, but it is the rock guitars that arrive next, that make you listen ahead. The mukhda, is quite nicely composed, with a nice catchiness to it. The hookline is something that could’ve been composed better, though. The antara as well, is a typical rock composition, and is good as a whole. Amaal has put in many efforts as is evident. The arrangements are electrifying, with the mandatory electric guitars (Jeenti Dutta, Keshav Dhar & Armaan Malik), and drums (Jai Row Kavi) infusing the spunk into the song. The interludes have wonderful, elevating portions of rock, with the electric guitars playing wonderful tunes. Whoever has played the electric guitar in the second interlude, kudos to him! Siddharth Basrur, an otherwise very efficient singer, doesn’t really seem at comfort in this song though. Though he gets the grunge and huskiness into the song, it all just doesn’t work as a whole. Manoj Muntashir, again, writes a great song, with a good inspirational and motivational message to it. A song that will work in the film, but not as an audio song.
A very out-of-place dappankuthu rhythm starts the last song on this album, and it isn’t until you understand what the song is actually about, when you start loving it with all your heart. The song is a peppy, fun number, probably picturized on the lead character as small kids. It sounds like Dhoni’s sister is lecturing him about how he should study, but the smart kid that Dhoni was, argues in a very fun manner, and in the bargain, we get a wonderful song from Amaal. 😛 The composition is enjoyable, the hookline in particular being the peak point in the song. Though invoking memories of Amaal’s own ‘Chaarr Shanivaar’ (All Is Well), the song manages to appeal. The mukhda gives a good headstart to the song, while the antara dwindles a bit, but soon comes back to the catchiness of the other parts. The line before the hookline, sung in a very cute way by the little boy, is something very well composed by Amaal as well. The arrangements are enjoyable as well, especially the percussions (Dipesh Verma, Omkar Salunkhe & Keyur Barve; Arranged by Dipesh Verma & Daboo Malik) which are definitely the highlight of the music. And then there’s that shehnaai (Omkar Salunkhe) in the interlude and antara which grabs your attention. The peppy way in which all this falls into place, is worth hearing. And now, to talk about the singers. Ananya Nanda, winner of ‘Indian Idol Junior Season 2’ (yet another singer from the season debuting this month, after Nahid did in ‘Rajj Rajj Ke’ from ‘Akira’) plays the role of elder sister well, and her voice sounds mature and pleasant to listen to, while it is the cute and innocent voice of Adithyan A. Prithviraj, which steals the show. What a cute Dhoni he plays. And the words given to him make him sound even cute, thanks to Manoj Muntashir. He makes the two singers sing lyrics that are so funny at parts, especially when Adithyan sings against studies. 😀 OUTSTANDING! A fabulous end to the album!#5StarHotelSong!!
M.S. Dhoni: The Untold Story turns out just as expected. Amaal hits that helicopter shot and wins to his credit an album that would be remembered in the list of his greatest works. Though the filmmaker seems to have concentrated on Dhoni’s love story a lot more than his sports career, Amaal caters to his vision and cooks up a great album with six songs that will bring the story forward. Amaal scores a century in his first solo album!!
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: Jab Tak > Kaun Tujhe > Besabriyaan > Jab Tak (Redux) > Phir Kabhi > Padhoge Likhoge > Parwah Nahin
Which is your favorite song from M.S. Dhoni: The Untold Story? Please vote for it below! Thanks! 🙂
Raman Raghav 2.0 is an upcoming Bollywood psychological thriller, starring Nawazuddin Siddiqui in the titular role of Raman Raghav (Psycho Raman), and Vicky Kaushal as a cop. The film has been directed by Anurag Kashyap, abd produced by him along with Vikas Bahl, Vikramaditya Motwane and Madhu Mantena. The movie is based on the life of the notorious serial killer, Raman Raghav (1929-1995) who operated in Mumbai during the late 60s. However, Kashyap says it is not a biopic and the character that Nawazuddin plays is merely inspired by the life of Raman Raghav. 🙂 All that being said, let’s veer over to the music department. The music has been given by Ram Sampath, who left us with a great soundtrack to ‘Bangistan’ last year and a below average single song in ‘Tere Bin Laden Dead Or Alive’ earlier this year. It isn’t his first time composing for a thriller — ‘Talaash’ was one of his bests — so I expect something great from him here as well. He has given us four songs, with one version = five tracks. I hope all five stand out as great ones individually! Let’s see how “deadly” an album Ram has offered!!
1. Qatl-e-Aam / Qatl-e-Aam (Unplugged) Singers ~ Sona Mohapatra & Yash Divecha / Sona Mohapatra
A Ram Sampath album without his wife, Sona Mohapatra singing a song, is like the world without water. Indeed, Ram gives the very first song of the album to his wife, to sing with her amazingly addictive voice, that we mostly get to hear only in his albums, unfortunately. The song traverses the club genre, with foot-tapping EDM, dubstep and trance. Ram’s composition is very ghazal-like, and instantly strikes a chord with the everyday Bollywood listener as well as listeners who are up for something more unconventional. Ram has wonderfully blended the two genres together to produce a trippy song. The hookline is so addictive, you can’t get it our of your head once you hear it. Ram really knows how to gain the attention of his listeners. And he’s really good at it. The second antara takes an unexpected turn to the lower octave, and Sona singing in that low pitch just wins over your heart. Her high pitched portions are amazing as well! It’s a shame we don’t get to hear her more often! The composition, with three short antaras, doesn’t leave your attention wandering while it plays, and that’s the magic. Sona sings the song with a very sensuous tone, that really makes you fall in love with her voice yet again. Her co-singer, Yash Divecha, who has also done the additional arrangements, gets a very little part after the hookline, which is really cool, though. The way he sings that “Qatl-e qatl-e” is so dark, grungy and cool! A small part, but provijes the necessary darkness to the song. Varun Grover’s lyrics are great with very ghazal-like words, the essence of which can truly be enjoyed in the “unplugged” version of the song. In this version, Sona shines like never before. It reminds one of ‘Dil Aaj Kal (Unplugged)’ (Purani Jeans) which also had been sung by Sona. The guitars here are much better than the EDM in the original version (which were great, too!) The arrangements in this version suit the theme, lyrics and Sona’s voice way much more than those of the club version did! Guitars by Pawan Rasailly steal the limelight from Sona in this one, but Sona does her best nonetheless. Interludes are blissful, with the guitar showing off to the fullest. While the EDM/club freaks will enjoy the first version, the music lover will enjoy the second. The composition is beautiful, and so, for me, sounds beautiful in both versions!! Both versions are a#5StarHotelSong!!
The next song on the album takes us back to Ram’s ‘Talaash’ days, the jazz, the sinister music and the unconventional female vocals, not sweet at all, but mischievous. Nayantara Bhatkal, who was all sugar in her last song ‘Main Jo’ (NH10), gets into the salt and pepper mode for this song, and gives a very impressive rendition, suitable for the 60s jazz theme that Ram has given to the song. The composition is really addictive, yet again, and something that will grow on you. The slow and sultry tune really works wonders for the song. The hookline is very catchy, with the line “Tu saccha behooda” or “Tu aisa behooda” repeating, and the singer singing various other lines in between the lines that repeat. I always love when that style is used in songs. It sounds so impressive. Backing vocalists are barely heard, because all the voices sounded quite the same to me! However, that repeating “ooh ooh ooh ohh ohho” is mindblowingly attractive! Ram wins with the arrangements, as well. Jazz guitars, strings make it a melodious listen, and drums provide an engaging beat to sway to. A sound like a xylophone impressed as well. Nayantara’s rendition, as I said before, is really impressive. It reminded me of Suman Shridhar’s rendition of ‘Muskaanein Jhoothi Hain’ from Ram’s album to ‘Talaash’. Varun Grover has written lyrics that suit the theme, with a girl describing Raman’s character in the wildest ways possible. It is fun to hear and entertaining as well as sinister at the same time! Ram takes jazz to a new level, with a sinister take on it. Nayantara’s husky voice helps the song to sound very addictive, and Grover writes clever lyrics! Ram teachers the right way to do a evil character-based theme song. Not like ‘Veerappan’!#5StarHotelSong!!
The next song is a calm, thoughtful number. A surprise in an album to the psychological thriller, this one has been soulfully composed by Ram and just as beautifully sung by Siddharth, accompanied by Ram. Ram’s composition is pleasant and soulful, but not appealing at all. It is slow, and slow doesn’t really strike a chord with the listeners always, unless arrangements help it there. The tune has a number of twists and turns, that are pretty hard to digest, and it gets boring after about half is over. The arrangements start off with acoustic guitar and slow strings for the first half, and slowly breaks into soft rock with electric guitar and drums, but again, it sounds so typical and heard-before, that it fails to make any impact. Siddharth sounds a lot like Benny Dayal with a more grungy side to his voice. I feel Benny with his soft and smooth voice would’ve done this song better than Siddharth. Not that Siddharth hasn’t done a bad job. Ram accompanies him very well. Varun writes perfect lyrics with a dominant touch of demotivation and melancholia. I really don’t have much more to write about this one. It is pleasant, but too heavy for the ears, somehow. 😦
4. Raghav Theme (Instrumental)
The last song of the album is a theme song, with a pulsating electronic beat to it. Ram has come up with a gripping theme to the film, but the problem is that it is so passive and uneventful! Nothing big happens in it, and it just seems like the same techno beats are being repeated over and over again, and for five minutes! I think this might be used during some chase scene, or critical scene in the film, and the whole track is the BGM for that particular scene. That explains the length. The album could’ve done with just a glimpse of this, though. Two minutes would’ve been just fine. The only attraction besides the beats, is the barely audible sarangi in the background. It is too muffled, though. A gripping theme song, perfect for the screen, but not suitable as something to put in an album. A bit more variation was welcome… With this, I just felt like I played some video game!
Raman Raghav 2.0 doesnt quite meet up to my expectations. One of my expectations was met, though. That was the expectation that Ram would show us a different side of his music, and he did, with an impressive cocktail of slow, melodious and gripping, sinister songs. However, he didn’t quite impress as much as I wanted him to. The first two songs, and the unplugged version of ‘Qatl-e-Aam’ were impressive. The remaining two didn’t quite gain my attention. Nevertheless, infusing melody into an album which didn’t require music, let alone melody, was a very impressive and commendable job he did! Though Ram could’ve done better, he has definitely shown us a glimpse of Ram Sampath 2.0 with this album!!
Final Rating for This Album: सा < रे < ग < म < प< ध < नी < सां
Note: The letter which is underlined is the final rating.
Katti Batti is a Bollywood rom-com film, which starred Imran Khan and Kangana Ranaut in the lead roles. The film was directed by Nikhil Advani, and produced by him along with Siddharth Roy Kapur. Vivan Bhatena also starred in a supporting role in the film. The story is about two people Madhav (Maddy) and Payal, played by Imran and Kangana respectively, who are in love, but a sudden turn of events makes Payal leave Maddy. So the plot of the story goes something like that. Nikhil Advani, who had also directed “Hero” this year, releasing a week before this, now comes back to his forte, that is rom-com. The film flopped inspite of such a great hype; maybe a fault in the storytelling. Anyways, how does that concern me? Let’s talk about the music. The music has been given by Nikhil’s favourites for rom-coms, Shankar-Ehsaan-Loy. After the success of their album to Zoya Akhtar’s “Dil Dhadakne Do”, I expect them to do exceptionally well in this album. a) because they are awesome at composing for rom-coms — they have been stunning us right from ‘Kal Ho Naa Ho’ and albums like that, and b) because their collaborations with Nikhil, I believe, are always awesome, and should be in the future too! They have composed five songs for the movie, now only to see how much they appeal to me. So, here we go!! 🙂
I worship Shankar-Ehsaan-Loy when it comes to club songs. Here, the album starts off with a similar club song, as they used to give in the past, with full on techno sounds and more techno sounds and even more techno sounds. However, let me confess to you, that this time, I didn’t find anything special in the song at all! Starting with techno sounds that make you go, “Oh, the same typical club beats… Let’s see what comes up ahead.” this song doesn’t have the trio going beyond the usual things that they put in every club song, making it sound pretty stale than the other club songs. Their experimentation power is very high, as we know from other songs, then, I wonder why they didn’t use that power of theirs here! The song starts with techno sounds that sound a lot like they’ve been played on a keyboard, followed by guitar strums which are really energetic and enthusiastic. Neeti’s intermissions saying “Fizool hai” are also good enough to make you feel that something extraordinary just might be around the corner. But when Siddhartha starts to sing, the tune of what he sings, carries a very heavy déjà vu feeling, something we have heard from Shankar-Ehsaan-Loy many a time in the past, and so it doesn’t click right away. What’s more, the mukhda does not even get over, or so it seems, before the hookline starts, very abruptly and it sounds pretty odd, as if the trio was in a hurry to get to it. However, the hookline itself is catchy as far as composition goes. Arrangements are nothing special though. As we progress towards the antara, the composition does get a little interesting, or at least more than the the previous parts. Arrangements, however, stay dull and bland. There comes a point when you start wondering why they didn’t put any arrangements other than the typical EDM, techno beats, just as a small attraction somewhere in the interlude or something. Well, that’s because the interlude is reserved for some new rapper called Qaran Mehta (what’s up with the spelling? Is it just to make it look cool? Because he didn’t rap that good.. It’s really annoying the way he raps) The composition has its shares of interesting and dull moments, whereas the arrangements are ordinary all throughout the song. Vocals by Siddharth and Neeti are good, but just that, nothing more. No variations, no anything. Lyrics by Kumaar though, are worth hearing — they do connect with today’s audience, though they are nothing extraordinary or funny like his other songs. Something which the trio has done so many times, the magic has just worn off now, and results in an unattractive song. Not such an impressive start to the album!
2. Sau Aasoon Singers ~ Shankar Mahadevan & Rasika Shekhar
What I was actually expecting from the trio from the first song in the album, comes a bit late, but it comes better than expected. Better late, than never, right? There’s nothing like a sad, romantic, soft rock number from Shankar-Ehsaan-Loy. On top of that when it’s sung by Shankar himself, the expectations are tripled. Even though it’s a soft, sad number when we hear the tune, it takes on a really addictive form when we hear the arrangements, and Shankar’s versatile vocals suit the mellow song. High notes and low ones alike, he sings with great ease, as always. The song starts off with a wonderfully captivating guitar riff, joined a few seconds later by another awesome electric guitar playing beautiful notes. Shankar, when he steps in, deliberately sings out of the regular beat, pretty much like what the trio made Arijit do in ‘Mast Magan’ (2 States). He starts when you least expect it, because the guitar riffs mislead you. But it sounds exceptional when he jumps into the song unexpectedly. The hookline is something that you would feel like hearing over and over again forever. Rasika’s husky voice, though it might be sounding a bit too much autotuned, has this addictive tone to it, which makes anyone fall in love with it. However, in this song, she has two different roles: the humming and once or twice to sing the hookline. The first job she executes very well, but our heavy and husky voice just isn’t cut out for singing the hookline, which I would’ve preferred in Shankar’s husky yet soft voice. The antara has a very sweet and touching tune, including many variations, executed perfectly by Shankar. The backing chorus also supports well in these parts. Towards the ending we witness a beautiful jugalbandi of sorts between Shankar and Rasika, and it ends the song on a marvellous note. Arrangements consist of guitars, both acoustic and electric, sounding really great together in the same song. The drums have been added which increase the addictive nature of the song. To give the song a polished appearance, we have the piano, a misfit in a rock song, but sounding exceptional here particularly! Kumaar’s lyrics, are meaningful here, and again he surprises me with his immensely great ability to write both meaningful and meaningless songs with the same dedication or carelessness respectively. 😂 A complete Shankar-Ehsaan-Loy show from start to end! The song will get you pondering after it’s over and leave a huge impact!#5StarHotelSong!!
Youngsters Nikhil D’Souza and Ritu Pathak (credited wrongly as Phatak :p ) bag the next song, a cute little romantic song revolving around “kissiyaan” (kisses). The main element of this song that enters right from the starting and stays till the end, and because of which you keep listening, is the quirkiness of it. Shankar-Ehsaan-Loy try to make a quirky, catchy and youthfully mad song, and succeed with distinction! I mean, the great composers that they are, how would they fail? Nikhil has been employed very effectively and he brings the Westernized flavour into the song, while at the same time, Ritu Pathak brings in the desi flavour and gives the best performance of her career, in my opinion. She keeps aside all the cheapness she brings into every other song and sings this one with all possible naughtiness, but without the cheapness. A time in the song comes when she goes totally nasal into Shamshad Begum mode, and another when, in the interlude, she says “O Sajnaa Veeee” in an unmistakable Richa Sharma voice. In fact, she kind of sounds similar to Richa Sharma throughout the song! Wonderful attempt! Nikhil is his usual casual, carefree a sounding self, and his fresh voice is always a pleasure to hear, unless the composition isn’t interesting. Shankar-Ehsaan-Loy’s composition took no time at all to grow on me, and in no time, I found myself humming the tune many times! The tune of the line “Main yaaaar tenu miss kardi, tenu yadaan vich kiss kardi…” is just too cutely addictive! The arrangements, too are unmatchable! A beautiful vocal rhythm starts off the song and the same rhythm forms the pillars for the song even later on in it. Acoustic guitars, saxophone, some quirky Amit Trivedish sounds, work together to make it a wonderful listening experience. Drums and some Arabic percussion also make an appearance later on in the song. Kumaar uses some gimmicky terms and his Hinglish lyrics are tough to forget, but very easy to remember. They have an instant youth connect and may be the reason why this song worked so much! In short, the song is something you must not miss, if you’re looking for something new, fresh, breezy et al!! Extra marks for the way Ritu Pathak has been made to sing!!#5StarHotelSong!!
4. Ove Janiya / Ove Jaaniye (Reprise) Singers ~ Mohan Kannan / Sayani Palit
Yes, I know. I’ve written the spelling of the reprise version differently right? :p Contact Zee Music Company for more details. I myself have no idea why it’s named like that! 😀 Anyways, after hearing the song, all of Zee’s mistakes are forgiven. Shankar-Ehsaan-Loy present a soft, slow and calm, sad number sung beautifully by Mohan Kannan. When he last worked with them for ‘Chaandaniya’ (2 States), it resulted in an awesome sad song, with a groove to it that was hard to forget! This time, the song has no catchy groove as such, but it is the composition, which hooks you…if not instantly, then at least after two or three listens. The arrangements, though as minimal as possible, have the capability to soothe you down, and the song is just as effective as a lullaby to lull you to sleep, and I mean that in a positive way. First of all, mild piano notes start off the song, and an African-style percussion instrument gives the rhythm along with guitars and shakers and even the cymbals of drums, but all used in such a tranquil manner, that you wouldn’t believe it. Mohan renders the composition beautifully, and his voice just increases the serenity of the song manifold. His sargam portion in the first interlude stole my breath away. Otherwise too, he is spot-on with his rendition. Kumaar has written meaningful lyrics again, in Punjabi, romantic and emotional at the same time. The words have a unique ring to them, thanks to the trio’s unusually soft but beautiful composition. The reprise sees classical singer Sayani Palit come behind the mic, also making her Bollywood debut. Her version wasn’t as hooking as Mohan’s to me, but that would vary from person to person. Of course, her technicalities in singing the song are more perfect than Mohan, but it makes her version sound more difficult to connect with and less youthful and less contemporary than Mohan’s. This version has been sung on a backdrop of only very soft piano, and nothing else at all! Those piano arrangements are wonders to behold and the trio deserves a huge applause for them. If only somebody whose voice had more weight, maybe Kavita Seth or Rekha Bhardwaj had sung this version, it would have done way better. Or, if they had to retain Sayani, a nice clasica backdrop would’ve been more than enough to make me delighted, complete with tablas and sitar and the likes. The original is beyond all expectations, while the reprise falls just below them! Anyhow, both versions have scintillating arrangements, and lyrics, and the composition can’t be missed at any cost!!#5StarHotelSong!!
To conclude the album, we have something very unusual. Taking a glimpse at its name, you would think it is some bhajan, but press the play button and your ears seem to be playing tricks on you. It is a high-energy rock song, with a little folkish touch to it, sung with immense energy and dynamics by four singers with heavy voices. Well, I have to admit, the composition isn’t bad, and while it plays, you will enjoy it to the utmost, but the drawback is that, after it gets over, you will practically forget it. Shankar-Ehsaan-Loy try to bring that one crazy song that each of their albums nowadays have, but they do not quite surpass the bar that they themselves have raised to a very high level with the very recent ‘Gallan Goodiyaan’ (Dil Dhadakne Do). Siddharth Basrur, with his Vishal Dadlani-like voice, gets a bit too loud at times, but overall does good. Raman Mahadevan, who was a Shankar-Ehsaan-Loy regular atone particular time, and Digvijay Singh Pariyar, newcomer, and whose voice falls between that of Sanam Puri and Divya Kumar, do well too. The sole female singer, Rasika Shekhar, getting her second song in the album, sounds perfect here, contrary to being a misfit in ‘Sau Aasoon’. Arrangements are good but lack anything extraordinary. A fusion of rock and Punjabi folk, has been heard before, and hearing the way they have been used here, definitely doesn’t make it stand out as a composition by Shankar-Ehsaan-Loy. The tumbi part particularly sounds very ordinary. The rock guitars and drums sound better and if the song would have been purely rock, I wouldn’t have minded, but probably the script called for a Punjabi twist. If so, the trio had the capacity to work wonders with that! Kumaar, however, saves the trio by writing interesting lyrics, a boys vs. girls faceoff. As I said, the composition is great, but it has no repeat value. I am only hearing it now, because I didn’t have time when it released. :p I might be the only person, other than Imran Khan, Kangana Ranaut and everyone else associated with the film, who must be hearing it now! Not bad, but not excellent like the trio usually does! Vocals are good, so is the composition, and so are arrangements. But only the lyrics are great!
Katti Batti definitely doesn’t score among Shankar-Ehsaan-Loy’s best works, having two downright average songs (above average if compared to other composers’ work at present) and the rest awesome. There used to be a time when each and every song in an S-E-L album used to be stellar, enticing and magical in its own way. Since their mainstream comeback with ‘Bhaag Milkha Bhaag’ in 2013, this has definitely got to be their most underwhelming album. And yeah, that’s counting the ‘One By Two’ album and their two songs in ‘Darr @ The Mall’! The others, ‘2 States’, ‘Kill/Dil’ and ‘Dil Dhadakne Do’ had very few of the dull moments and compared to that, this one has too many!! And I’m not saying this is a bad album — not at all, because it is good in its own way. Just that it’s not the usual awesomeness that is expected from Shankar-Ehsaan-Loy. That said, I’m on a temporary ‘katti’ with Shankar-Ehsaan-Loy henceforth, till their next Bollywood album ‘Ghayal Once Again’ releases, from which I’ll be keeping immense hopes nevertheless! 😁
P.S. I’m already ‘batti’ with them because of their stellar soundtrack to Marathi movie ‘Katyar Kaljat Ghusali’!
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: Ove Janiya > Lip To Lip > Sau Aasoon > Ove Jaaniye (Reprise) > Jaago Mohan Pyaare > Sarfira
Which is your favourite song from Katti Batti? Please vote for it below! 🙂