A TRIPLE-DEBUT TREAT TOILET!! (TOILET: EK PREM KATHA – Music Review)

Music Album Details
♪ Music by: Vickey Prasad, Manas-Shikhar & Sachet-Parampara
♪ Lyrics by: Siddharth-Garima
♪ Music Label: T-Series
♪ Music Released On: 13th July 2017
♪ Movie Releases On: 11th August 2017

Toilet – Ek Prem Katha Album Cover

 

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

To buy this album on iTunes CLICK HERE


Toilet – Ek Prem Katha is an upcoming Bollywood satire, starring Alshay Kumar, Bhumi Pednekar, Divyendu Sharma and Anupam Kher,  directed by Shree Narayan Singh, and produced by Aruna Bhatia, Shital Bhatia, Abundantia, Viacom Motion Pictures, Arjun N. Kapoor and Hitesh Thakkar. The film comes in support of PM Modi’s ‘Swacchh Bharat Abhiyaan’ by raising fingers at the issue of open defecation, prevalent in remote and underdeveloped parts of the country. Now it is a really good topic, but somehow, by the trailer and promos, I am not sure whether it will be carried out in a humorous way without looking dramatic. Anyway, the music, very surprisingly, has been scored by three debutant music composers, two duos and one individual. Vickey Prasad, Manas-Shikhar and Sachet-Parampara are the five lucky people who got to debut in Bollywood with an Akshay Kumar album, and how wonderful an opportunity is that!! I hope they make great use of it though, and provide us with a nice and clean ‘Toilet’! {Sorry for the desperate joke!}


1. Hans Mat Pagli

Singers ~ Sonu Nigam & Shreya Ghoshal, Music by ~ Vickey Prasad

The first newcomer starts off the album with a cute romantic song which sends off a great rural-setting vibe. The song’s composition is nothing innovative as such, but it still manages to hook the listeners, since it is so cute and such a throwback to Bollywood of the 90s. The only grouse I have with the composition is that the hookline sounds a lot like the antara of ‘Pardesi Pardesi’ (Raja Hindustani), which would be where the 90s vibes are coming from. The song is structured quite oddly, with a male mukhda, a male antara, and then a female mukhda followed by a female antara. Why couldn’t they just club the mukhdas together and the antaras together? That way, the listener would get some variation from male to female and then back to a male voice. Anyway, as they wish. The composition for all these stanzas is very cute again. The recording seems a bit faulty and raw, but that’s probably deliberate? The arrangements are again, not anything new or innovative, but that soft Qawwali setting to the hookline gives a soothing feeling, and the dholaks have been played beautifully, as are the plucked string instruments throughout the song, and the guitar itself. There is a wonderful rapid tabla piece before Sonu sings his antara. The rhythm is heard before, but the cuteness of the composition helps you listen to such a rhythm yet again without complaining. The vocals send you back to 2005-2007, when Sonu-Shreya duets were the thing. Every director wanted a Sonu-Shreya duet in their film; sadly, nowadays, that happens only in films where the director knows only about the old singers, and hence his music ends up sounding outdated. But here, there is no datedness whatsoever. It is more like a nostalgia. Both singers do an amazing job, though I somewhere thought that Shreya was struggling with such a high-pitched line in the antara. Siddharth-Garima choose the perfect line for the hookline; it increases the cuteness quotient of the song. The rest of the lyrics are cute too, but not too innovative. A good song to start the album with, but it has its own faults.
Rating: 4/5

 

2. Bakheda

Singers ~ Sukhwinder Singh & Sunidhi Chauhan, Music by ~ Vickey Prasad

Vickey has the second song to his credit as well, making him the main composer on this album. This song takes a more lively route, but stays a romantic song. As soon as it starts, the folksy vibe hits you, and you are also relieved that Vickey has used a more modern recording style for this one; it proves that the recording was deliberately done that way for the previous song. The composition is a lively one, but the hookline is really a letdown — it is so staid and bland. Also, we have heard such a hook so many times where the mukhda builds up to it, and then after a pause, the hookline takes the song forward. The antaras are very well composed. Sukhwinder, at his usual energetic self, renders the song with ease, and creates a good impact on the listeners. The problem lies in Sunidhi’s vocals, which seem less energetic as usual. It really sounds like she wasn’t interested, or maybe the pitch was too low. That makes her portion sound very odd, despite the beautiful composition of the antara. The arrangements are lively folksy arrangements with the percussion leading, and a nice plucked instrument entertaining throughout. A sarangi can also be made out occasionally. The percussion is the star of the song though. Siddharth-Garima, again, write an effective song to go with the film, but the impact of the lyrics doesn’t reach the audience out of the film. A functional song, but won’t really stay with you for long.
Rating: 3/5

 

3. Gori Tu Latth Maar

Singers ~ Sonu Nigam & Palak Muchhal, Backing Vocals ~ Umesh Joshi, Vijay Dhuri, Swapnil Godbole, Karan Kagale & Rishikesh Patel, Music by ~ Manas-Shikhar

The Rahman vibe hits you as soon as this one starts with the beautiful chimey music at the beginning. Manas-Shikhar, another debutant duo, enter the album with this song, and with only one song to prove their worth, they seize the opportunity and let me tell you, they make the best use of it, better than both of the other composer teams on this album! They employ a very lively setting to a supposed-to-be sad song. It is the festival of Holi, but of course, Bhumi Pednekar’s character is mad at Akshay’s character, because of we know what! So this is a situational song, in which Akshay pleads to her for forgiving him. Against the backdrop of a Holi song, a very emotional song, and I’ve heard something like this for the first time. Siddharth-Garima’s lyrics reveal all the emotion in the best way possible. Now let’s go back to Manas-Shikhar’s music. Their composition is just so catchy, especially the mukhda, which should be catchy in order to hook the listeners right away. It sounds like something straight out of a Rahman song. The hookline also succeeds in being a very beautiful, and catchy line. The antara is the female part of the song, and it has a very beautiful tune as well, which will remind you of the 90s songs, that used to slow down in the middle for the female parts. There’s a nice tempo-rise towards the end, in which we hear the already popular “Radhe Radhe” chorus. Sonu Nigam renders the tune with such brilliance, knowing when to emote which emotion, and wonderful aalaaps. Palak too, sings beautifully, and the brilliant composition of her portion helps her do that wonderfully. The arrangements are ever fluctuating, with the emotional and soft sound from the mukhda alternating with the usual Holi sound of the dholaks and other percussions. The shehnaai is played in a very beautiful tune. Those bells at the beginning are the most beautiful though. A wholesome song that defines what Bollywood is all about — colour, festivity, emotion and dance! Oh, and congratulations to Manas-Shikhar for a smashing debut!
Rating: 5/5

 

4. Subha Ki Train

Singers ~ Sachet Tandon & Parampara Thakur, Backing Vocals ~ Sukriti Kakar & Rituraj Mohanty, Music by ~ Sachet-Parampara

The last of the debutants bring up the finale of the album, which happens to be yet another cute romantic song. This one is a little less folksy than the others, but it does have the effect that it should. Sachet Tandon and Parampara Thakur have composed a lilting melody, that, though situational, and very predictable, still makes you smile and feel good. The prelude gave off some vibes of “Tere Sang Yaara” (Rustom). The mukhda is very sweet and simple, and instantly grabs your attention. The letdown here is the hook, which is as staid and heard-before as imaginable. But the antara is mind-blowing; especially the second line of it. The arrangements too, follow a very simple template, with that cute Duff rhythm, and in a wonderful second interlude, the flutes assortment and strings orchestra just mystifies. The first interlude with the mouth organ is splendid too. Sachet and Parampara handle the vocals themselves, and strangely enough, employ Rituraj Mohanty and Sukriti Kakar as backing vocalists for the aalaaps. Parampara’s is a voice to look out for, while Sachet’s voice just blends in with the multitude of new male voices we have in Bollywood, other than Arijit. 😅 Again, Siddharth-Garima stick to situational yet catchy lyrics; the hook lyrics made me smile. A good finale, and a promising debut, but not a song that will stay in my head for more than a month.
Rating: 3.5/5


Toilet – Ek Prem Katha is an album just like Akshay Kumar movie albums usually are — fun, vibrant and groovy, but with an overbearing romantic theme. What makes it even more special is that all the composers are debutants and it is commendable of the makers to have accepted the three for a film which will reach so many people! Seizing the opportunity, all three newcomers do a good job, and especially Manas-Shikhar do an amazing one. The album is a triple-debut treat!!

 

Total Points Scored by This Album: 4 + 3 + 5 + 3.5 = 15.5

Album Percentage: 77.5%

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: Gori Tu Latth Maar > Hans Mat Pagli > Subha Ki Train > Bakheda

 

Which is your favourite song from Toilet – Ek Prem Katha? Please vote for it below! Thanks! 🙂

MUBARAKAN! A FLOP ALBUM HAS BEEN BORN! (MUBARAKAN – Music Review)

Music Album Details
♪ Music by: Gourov-Roshin, Hassan Jahangir, Amaal Mallik, Rishi Rich, Yash Anand & R.D. Burman
♪ Lyrics by: Kumaar, Badshah & Hassan Jahangir
♪ Music Label: T-Series
♪ Music Released On: 6th July 2017
♪ Movie Releases On: 28th July 2017

Mubarakan Album Cover

 

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

To buy this album on iTunes CLICK HERE


Mubarakan is an upcoming Bollywood romantic comedy of errors starring Arjun Kapoor, Arjun Kapoor, Anil Kapoor, Ileana D’Cruz, Athiya Shetty and Ratna Pathak Shah in the lead roles. The film is directed by the only director in Bollywood who still insists on doing comedies with a cast larger than a herd of cows, Anees Bazmee and produced by Ashwin Varde, Murad Khetani and Balwinder Singh Janjua. The film’s plot consists of such never-before-tried aspects like — double roles, a love quadrangle, a huge Punjabi family and Punjabi dance numbers. It is going to redefine Bollywood, I’m sure of it. 😏 If you didn’t get that sarcasm, moving on. The music is by T-Series, and that means multiple composers. Thankfully, one name out of the three composers, is a relief, it being the name of Amaal Mallik, the young composer proving his mettle out there. He gets two, upbeat dance tracks, so I hope those are catchy! The next two composers are Gourov-Roshin, returning after treating us to a small break from their remakes, and sadly they have three songs, and Rishi Rich with Yash Anand, who have composed the title song of the film. Let’s just get this over with, eh?


1. The Goggle Song

Singers ~ Sonu Nigam, Armaan Malik, Neeti Mohan, Tulsi Kumar & Amaal Mallik, Music by ~ Amaal Mallik, Lyrics by ~ Kumaar

A wedding song to start the album, this one is an enjoyable tune from Amaal. Not the best he can do for sure, but it still makes you groove to the beat. The beat itself is infectious, with the composer adding quirky sound effects making it sound better. The ensemble of singers does really well for a wedding song, and for once, Tulsi sounds better than Neeti. The lyrics are mediocre, but hilarious at times. A good wedding track, but not very innovative.
Rating: 3.5/5

 

2. Mubarakan (Title Track)

Singers ~ Yash Narvekar, Juggy D, Sukriti Kakar & Badshah, Music by ~ Rishi Rich & Yash Anand, Lyrics by ~ Kumaar, Rap by ~ Badshah, Yamma Yamma Credits: Music by ~ R.D. Burman

“This is the Rishi Rich beat.” The song starts with this obvious statement, and an unexpected incorporation of some portions ‘Yamma Yamma’ (Shaan). The actual composition falls flat, but it is saved by R.D. Burman’s old song, which plays throughout, and its addition was quite creative. Vocals are horrible. Lyrics are horrible. Rap is horrible. Arrangements are not so horrible. (Mostly, it is the awesome oud from the old song). In short, a horrible song, but for the arrangements and the old song’s portions.
P.S. I wouldn’t call this a Remake as such.
Rating: 2.5/5 (0.5 bonus for using that old song wisely)

 

3. Jatt Jaguar

Singers ~ Vishal Dadlani, Navraj Hans & Apeksha Dandekar, Music by ~ Amaal Mallik, Lyrics by ~ Kumaar

Another typical Punjabi song, the Punjabi flavour accentuated even more by a mediocre composition that barely manages to grasp your attention, except at the hook. Even Vishal doesn’t sound as energetic as always, but Navraj does. Lyrics are typical. Arrangements are typical, but there are traces Amaal’s digital quirks. At many places the tune seems like some old song I can’t recall! 😥 Not the best Amaal can do.
Rating: 2.5/5

 

4. Haathon Mein Thhe Haath

Singers ~ Papon, Altamash Faridi, Aditi Singh Sharma & Arpita Mukherjee, Backing Vocals by ~ Rinku Giri, Music by ~ Gourov-Roshin, Lyrics by ~ Kumaar

A typical Pakistani pop-esque song follows, and it immediately strikes me as Papon’s worst song after a long, long time. The composition is staid and clichéd, his vocals do not help at all. Aditi sounds over stylish as usual. Those typical digital beats add to the melancholia. Backing vocalists add to the staleness, especially the Sufi one. Lyrics are something you won’t even notice. A song that clearly doesn’t know where it belongs.
Rating: 2.5/5

 

5. Hawa Hawa

Singers ~ Mika Singh & Prakriti Kakar, Original Composition by ~ Hassan Jahangir, Music Recreated by ~ Gourov-Roshin, Lyrics by ~ Kumaar

The hit Pakistani pop song remade, with a typppppical kuthu beat and rhythm! Mika singing increases the headache, and the new composition is just unbearable. The hookline is good, but the other parts fall flat. The female vocals by Prakriti sound good though. Lyrics belong to a Sajid-Wajid soundtrack. Why????
Rating: 2.5/5

 

6. Dil Dhadke Louder Louder

Singers ~ Rinku Giri & Puja Basnet, Original Composition Traditional, Music Recreated by ~ Gourov-Roshin, Lyrics by ~ Kumaar

Another Punjabi folksy song ends the album, this time a mélange of two Punjabi folk songs, ‘Kala Doriya’ and ‘Baari Barsi’. The composition doesn’t hook you at all; in fact it sounds like ‘Jatt Jaguar Part 2’. The new singer Rinku Giri is the typical Punjabi male singer affair, he sounds like Diljit Dosanjh. Arrangements are “louder louder”. Lyrics are typical. A song that relies on folk songs to propel it, but fails.
Rating: 2/5


Mubarakan is yet another feather in Bollywood’s cap of Punjabi albums. All of the songs are very staid, heard-before ones, that don’t really help generate any interest. Amaal does okayish in one song, but showcases his quirk in the other. The others perform subpar, with the exception of Rishi Rich, who has made quite a catchy song. But even with its catchiness I couldn’t rate it higher than 2.5. So, for anyone counting, Mubarakan! Another flop album has been born! 

 

Total Points Scored by This Album: 3.5 + 2.5 + 2.5 + 2.5 + 2.5 + 2 = 15.5

Album Percentage: 51.67%

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: The Goggle Song > Mubarakan = Jatt Jaguar = Haathon Mein Thhe Haath = Hawa Hawa > Dil Dhadke Louder Louder

 

Remake Counter:
No. Of Remakes: 18 (from previous albums) + 02 (from Mubarakan) = 20

 

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

PURAANA ZAMAANA NAYA HO GAYA!! (BEGUM JAAN – Music Review)

Music Album Details
♪ Music by: Anu Malik
♪ Lyrics by: Kausar Munir & Rahat Indori
♪ Music Label: Junglee Music / Times Music
♪ Music Released On: 7th April 2017
♪ Movie Releases On: 14th April 2017

Begum Jaan Album Cover

 

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

To buy this album on iTunes CLICK HERE

To hear “Murshida” on Saavn CLICK HERE

To buy “Murshida” on iTunes CLICK HERE


Begum Jaan is an upcoming Bollywood period film, starring Vidya Balan, Ila Arun, Gauhar Khan, Pallavi Sharda, Mishti Chakraborty, Raviza Chauhan, Priyanka Setia, Flora Saini, Ridheema Tiwary, Poonam Rajput, Gracy Goswami, Pitobash Tripathy, Ashish Vodyarthi, Chunky Pandey and Naseeruddin Shah. The film has been directed by National-Award-Winnig Director Srijit Mukherji, and produced by Mahesh Bhatt, Vishesh Bhatt and Play Entertainment. The film is the official Bollywood remake of Srijit’s Bengali film, ‘Rajkahini’. The film, set in 1947, is about a brothel, and how the Radcliffe line that decided the borders of India and Pakistan during Independence, passes right through the middle of it. The struggle of the ladies at the brothel, and their fight for their home, os what constitutes the story. The concept seems great, and with great actors, it is sure to get amazing response. The music of the film has been composed by Anu Malik, and it is a perfect choice; he would be able to do the music of the era better than most of the younger composers. Anu himself says he hasn’t heard the music of the Bengali original film, so as not to be influenced by it, and I haven’t heard it either, so as not to compare. Anu Malik has composed five songs for the movie, with one of them having two versions, making it a total of six tracks. So let’s see how the album turns out!


1. Prem Mein Tohre / Prem Mein Tohre (Reprise)

Singers ~ Asha Bhosle / Kavita Seth, Lyrics by ~ Kausar Munir

“Parde mein tohre, Chori chori chori chori, jiya jaaye na,
Parde mein tohre, chori chori chori chori, mita jaaye na,
Aata hai chhupke tu mere dar par,
Ghayal dil aur dhadkan banjar,
Ghayal dil aur dhadkan banjar!
Haldi mali jo ghaanv pe tohre, har zakhm mera hara ho gaya,
Yeh kya ho gaya?”

– Kausar Munir

Of course, this song was the one about which rumours were pouring in right from the day Anu Malik must have recorded it. And why? The answer is simple — none other than living legend Asha Bhosle had sung it. So headlines like “ASHA BHOSLE, LIVING LEGEND, GIVES VOICE TO VIDYA BALAN”, or “ANU MALIK AND ASHA BHOSLE COMBO BACK TOGETHER” popped up at me many a time. Yes, the song has been sung by Asha Bhosle, who was last heard in a forgettable (and already forgotten) song from ’31st October’. This song, however, has no chance to be forgotten. The composition is a serene, classical composition, which just touches your heart right away. Yes, it might take time to grow for some, because it is quite slow-paced, and, being a classical song, it has quite a paucity of aalaaps and murkis, but then, you can’t expect all classical songs to be replicas of each other, can you? So the tune that Anu Malik finally presents to us is amazing, though it has got some barriers in some places, like I said before, the slow pace. The composer makes up for this with the wonderful classical arrangements, which make a breeze of fresh air blow against your (ears???) face. The tanpura paves the way for something marvellous right in the beginning, and surely, a wonderful oud takes over, and booming, grand percussions join after some time, accompanied by the innocent sound of the paayals. One highlight in the arrangements is the wonderful second interlude, which features a RAVISHING sitar instrumental piece which just steals your breath! And the antara that follows is a musical masterpiece; something that only the old composers of Bollywood are capable of doing. That stanza has a wonderful tune, a wonderful strings background, and then, when the tabla finally joins the song (quite late, but still worth it!) you feel utterly satisfied with the song! The paayal jingle at the end of the song signifies a beautiful end to it. The song has two version, both of which have the same arrangements but differ in the vocals. One is by Asha Bhosle, while the other is by Kavita Seth. (By the way, I didn’t see any headlines saying “KAVITA SETH SINGS A SONG FOR ‘BEGUM JAAN'” before the album released.) Asha Bhosle’s version sounds more like a romantic song, with her very sweet voice, which is quite intact, as it was even twenty years ago, considering her age! When I first heard her version when it released I thought she hadn’t done some of the aalaaps properly, but then I heard Kavita’s version and automatically started liking Asha’s. Kavita sings the song more impactfully, demolishing any traces of it being a romantic song — she has sung a bit too loudly, and she misses even more aalaps and sings in a very plain and straightforward tone. It sounded weird at first, but it is passable. Kausar Munir’s lyrics are good but could have been better, more layered. A wonderful classical romantic song to start the album off.

Rating: 4/5 for the Original Version, 3/5 for the Reprise Version

 

2. Aazaadiyan

Singers ~ Rahat Fateh Ali Khan & Sonu Nigam, Lyrics by ~ Kausar Munir

“Reh gayi rassi pe chunari,
Reh gayi khoonti pe kurti,
Reh gayi woh laaj kahaan?
Reh gaya gumbad mein Allah,
Reh gaya furqat mein Rabba,
Reh gaya woh Ram kahaan?
Hain hari se woh kahaan, hain galeeche woh kahaan?
Pehle chaman woh bataao kahaan?
Hind pe tha naaz jinko, hain woh kahaan?”

– Kausar Munir

A pathos-filled, heart-rending melody is what follows the semiclassical romantic song. This song describes the pain and suffering of the people, who had to migrate to the other side of the border, after the partition of India. And very graphically, Anu Malik has brought that pain right into his composition. Right from the moment it starts, till the moment it ends, the song has a composition that will make it hard for you not to flinch in pain, just by hearing it. The mukhda is wonderful, and the “aah nikli hai yahaan” verse is very pleasant-sounding, but it has been written cleverly, sarcastically. Clearly, the distress that the people felt on leaving their homes was paramount. The antara is what makes the song as heart-rending as ever; it has strings of melancholic notes that hit right at the heart. The way each line sounds different from the other is amazing. It reminds you of Anu Malik’s ‘Border’ and ‘Refugee’ days. The only drawback I can think of about the song is its duration — over six and a half minutes long. (Almost all of the songs of ‘Border’ and ‘Refugee’ too, were that long! 😄) But it is kind of repetitive to be listening to for so long. Anyway, since the composition is good, I’m cool with it. The arrangements are very impressive. The beautiful use of the shehnaai throughout the song leaves you amazed. Furthermore, the second antara has a wonderful Sufi rhythm to it, and the percussion throughout the song is just ravishing. The nagadas at the beginning are really great in giving you the feel that something epic is going to follow. The twinkly (xylophone??) sounds that the song abounds in, are pleasures to the ears. Anu Malik has outdone himself wih the use of strings and percussion in the song. The two singers make this song enrapturing. Rahat’s rustic voice sets the atmosphere for a pathos-filled song, while Sonu Nigam accompanies him with an aptly moving rendition — his parts reminded me a lot of ‘Sandese Aate Hain’ (Border). Finally, it is time to talk about Kausar Munir’s colossally great lyrics. I must not spoil it for you; so please listen to them very carefully! This song won’t be noticed by too many people, at least not in this era dominated by raps and club songs, but whoever does notice it, would definitely love it!

Rating: 4.5/5

 

3. O Re Kaharo

Singers ~ Kalpana Patowary & Altamash Faridi, Lyrics by ~ Kausar Munir

“O re kaharon, Doli utaaro, pal bhar ko thehro toh zara,
Dil se lagaake, bas ikk dafaa ve, dene do gudiyon ko dua,
Teri bindiya nikharke, choodiyan bikharke, chunari mein chehke,
Tera kajra ho kaara, gajra ho pyaara, angana tera mehke.”

– Kausar Munir

Another poignant melody makes its way into the soundtrack, and this time it is a bidaai song, but of course, metaphorically. More about that later. The composition is a sinister and melancholic melody that effectively transfers its sadness to the listener. Anu Malik has composed this one with all his heart and soul, and again, it reminds me of some 90s song which probably Jaspinder Narula would’ve sung for him. The “teri bindiya nikharke…” verse is amazing, and very soulful. The title of the song comes as a bridge between two verses, or an ending to a verse, instead of using it as a hookline. The antara too has been composed very soulfully, and it instantly hooks you, especially the “soja soja gudiya soja” part. The arrangements infuse even more grandeur, in a very earthy way, into the song. The star of the arrangements is hands-down, the flute, which Anu has interspersed in between the poignant melody. The percussion is booming and very thought-provoking, and whatever is the intention of having it so booming and powerful, that intention has been served; the song is as impactful as it can get. I can just imagine what an impact it’ll have in the theatre. Again, Anu makes wonderful use of the paayals, and the strings, especially that wonderful crescendo of the strings in the beginning of the song, which really reminded me of Rahman’s ‘Rangeela’ songs. Kalpana Patowary, who is known as the Bhojpuri queen, has done such a song for the first time in her life, I guess! And she aces it! This avatar of hers is way better than all those weird songs she has sung before in Bollywood, and she handles all the nuances so expertly, that it is something to wonder why no composer has tried it out before. A big thanks to Malik for doing it. Altamash has a single line that plays multiple times, and it is like an interlude, not making much difference to the grand performance that Kalpana has already stolen away. Kausar Munir’s lyrics are literally bidaai lyrics, but there’s definitely a deeper meaning that could only be discerned after the film releases. I even have a theory, but let’s not hypothesize here. And I’m sure, wherever this song fits into the film, that scene would be enhanced manifold. Anu Malik concludes the song with a grand symphonic strings and flutes and percussion intersection. An extremely captivating composition, that amazes with its sinister sound.

Rating: 5/5

 

4. Holi Khelein

Singers ~ Shreya Ghoshal & Anmol Malik, Lyrics by ~ Kausar Munir

“Mor pankhudi udi udi,
Natkhat bansi baji baji,
Gagan giri, gopi saji,
Vrindavan ki gali gali,
Kanha ke rang khili khili, kanha ke rang khili khili,
Holi, holi, holi, khelein brij ki har bala, brij ki baaalaaa!”

– Kausar Munir

The moment this song starts, you know that it is a playful song, and after all that serious romance and pathos that filled the previous songs, you are nothing but ready for it! And what a pleasant surprise you get when you find that it is a purely classical Holi song (as if that wasn’t discernible from the title, but then… Whatever.) Anu Malik composed this song very intrinsically, every note resounding in your ears after it plays. The overall sound of the song itself, is so delightful, and it just goes to tell you, that Anu has gone a long way after he did that ‘Do Me A Favour Let’s Play Holi’ (Waqt) song that is oh-so-infamous among Indians. Yes, it has an old-world-charm to it, but happens to please you very much, with its happy-go-lucky tune. Every line sounds different from the preceding one, and again, just as in ‘Aazaadiyan’, that’s what makes the composition so special. The antara is even better in terms of composition, where things calm down, and it is extremely soothing. The arrangements make the song sound even more exquisite. The percussion throughout the song gives a very grand feel to the celebratory song, and folk instruments like the nagadas, bansuri, rabaab, tablas, and dholaks. The rhythm is a very traditional Holi rhythm, being played in so many Holi songs, but it doesn’t bore you due to the more modern way it has been arranged. The vocals are great, but Anmol’s amateurish parts seem like an interruption into Shreya Ghoshal’s professional-sounding parts. Shreya sounds as ravishing as ever, and as always, hits the high notes beautifully. She sang the “holi holi holi yeh kyaaaa ho gaya” so beautifully, no wonder she is called the Nightingale. Anmol doesn’t sound hideous, but still serves as a kind of unwanted interruption. At the end wonderful kathak bols make up a beautiful conclusion. Kausar’s lyrics are very sweet, and the Krishna connection she has made makes the song even more beautiful to hear. A treat for classical music lovers!

Rating: 5/5

 

♪ Bonus Song

5. Murshida

Singer ~ Arijit Singh, Lyrics by ~ Rahat Indori

“Pehli shart judaai hai, Ishq bada harjaai hai
Dil pe kisne dastak di, Tum ho ya tanhaai hai
Tujhe bhoole baithe thhe, Phir se teri yaad aayi hai
Dil pe kisne dastak di, Tum ho ya tanhaai hai?”

– Rahat Indori

So this song just only released today, as a bonus track. It is a beautiful, breezy Sufi melody, and has a very charming touch to it. Anu Malik’s composition barely sounds like an Anu Malik composition, it sounded more to me like something composed by a Salim-Sulaiman, or a Pritam. The reason will be clear to you after you hear its mukhda. The same charm that accompanies the songs of the two aforementioned composers, is present in this song. Until of course, Anu Malik takes the unconventional route and switches track to an amazing Sufi detour, which is probably the most welcome detour of the world. The antaras are amazing, but a bit ordinary as compared to the rest of the song. One line in the antara gets all sinister and dark, reminding one of Vishal Bhardwaj. But then the mukhda, with its beautiful notes, returns. The rhythm in the mukhda, where the guitars are played so soothingly, in a play-stop-play-stop manner, is so infectious, you just nod your head along to that rhythm. The other arrangements too, are very impressive, especially that majestic sarangi that starts off the song. In the Sufi detour that makes up the hookline, amazing tablas play, and that guitar keeps rocking. Arijit sings in his trademark charming voice, and changes from a feathery whisper of a voice to a blooming voice very easily. His effortless rendition really etches a place for itself in your heart. This song has been penned by Rahat Indori, the Lyricist who has worked with Anu Malik so many times in his peak time in the 90s, and the latest in ‘Gali Gali Chor Hai’ (2012). He has written such a poetic song, as he always has done in the past, and I just became so happy on hearing the lyrics. A perfect song to close the album!

Rating: 4.5/5


Begum Jaan is like a throwback to the songs of yore. Barring the new bonus track, the album has evident shades of nostalgic melodies that remind one of the old Bollywood songs, and Anu Malik does a great job in recreating the 1947-ish era with his music. The album is full of poignant melodies that are high on the musical quotient, if not high on repeat value (for some). All I can say is, puraana zamaana naya ho gaya, yeh kya ho gaya! 

Total Points Scored by This Album: 4 + 3 + 4.5 + 5 + 5 + 4.5 = 26

Album Percentage: 86.67%

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

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

Recommended Listening Order: O Re Kaharo = Holi Khelein > Aazaadiyan = Murshida > Prem Mein Tohre > Prem Mein Tohre (Reprise)

 

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

CATCHY TUNES IN A COVER OF EARTH!! (ANAARKALI OF AARAH – Music Review)

Music Album Details
♪ Music by: Rohit Sharma
♪ Lyrics by: Ramkumar Singh, Ravinder Randhawa, Prashant Ingole, Dr. Sagar & Avinash Das
♪ Music Label: Zee Music Company
♪ Music Released On: 6th March 2017
♪ Movie Releases On: 24th March 2017

Anaarkali of Aarah Album Cover

 

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

To buy this album on iTunes CLICK HERE


Anaarkali Of Aarah is a Bollywood film starring Swara Bhaskar, Pankaj Tripathi and Sanjay Mishra in lead roles. The film has been directed by Avinash Das, and produced by Sandiip Kapur. The film is about a singer in Bihar who earns a living by singing songs at village functions. As she gets entangled into a spat with the Vice Chancellor of a prestigious university, she seeks justice, and the movie is about her struggle for justice. The movie has opened to great reviews, but as usual, my writing speed has fallen behind, and so here I am. The music for the movie has been composed by Rohit Sharma, who is NOT a cricketer; you can find him over at @rohitdecomposer on Twitter. He has composed for a music album for a movie I was aware of, but didnt pay much attention to, Jimmy Sheirgill’s ‘Shortcut Safaari’, but now he comes with a definitely bigger album, and with ten tracks it is definite that the music will be completely situational and plot-oriented, which is to say, it will be quite rustic and earthy. Is it a problem for me? No! As long it is catchy, I will like anything! 😀 So let’s dive into this ten-track album!


1. Dunaliya Mein Jung (Anaarkali’s Umph)

Singer ~ Swati Sharrma, Lyrics by ~ Ramkumar Singh

The album starts with a song alternatively called “Anaarkali’s Umph”, which is probably a misspelled version of ‘oomph’, but I get the point. Anyway, the song is clearly for one of Anaarkali’s performances, and as soon as it starts, you get the situational feel of it radiating out of it. The composition is quite toned-down, with not much by way of catchiness, but goes on quite a clichéd route. I’m sure if you go to Aarah itself, this is the kind of folk songs you will hear. So it was a smart move to keep it simple. The tune does make you dance like crazy later on, but one problem is its duration. Over five minutes, the song is quite daunting to sit through because of its monotony. The arrangements are aptly folksy. The bulbultarang (let’s call it the ‘Indian banjo’ henceforth in the review because it is a common instrument in the songs and I’m too lazy to add the italics effect.) has been used gratuitously, as is the harmonium, and very aptly too, because it replicates the folk performances of the region. Swati Sharrma sounds very different from what she usually sounds like in songs, and it is nice to hear her powerful vocals yet again after ‘Banno’ (Tanu Weds Manu Returns), after which she hardly got any substantial songs. Again, she seems mellowed down in some places, and you wonder how the song is supposed to be so ‘oomphy’ because Bollywood has seen much more oomph that this. Maybe it is because of Ramkumar’s lyrics, which aren’t really creative. A decent start to the album; not-so-oomphy, but catchy to an extent.

Rating: 3/5

 

2. Lahanga Jhaanke (Accidental Firing)

Singer ~ Indu Sonali, Lyrics by ~ Ravinder Randhawa

Now this song is alternatively titled ‘Accidental Firing’ and I wonder what that means, unless there’s some situation in the movie. The song starts abruptly with the nice pungi/shehnai sound followed by the Indian banjo played in a very catchy tune. The composition for this one is quite more ‘oomphy’ than the last song, and you instantly get caught on to the rhythm, especially the percussion which has been done wonderfully! The composition is quite sultry and catchy, and the various twists in it really help propel it forward. The “sarak sarak sarakaile” hook is catchy. The antara takes a different route than the rest of the song, and the percussion changes very nicely; the seamless transition from one rhythm to another is a marvel to behold in this song. From rapid, it goes to slow and sultry, just to go back to rapid in a while. I think I’ve given enough away about the arrangements, so now about the vocals. Indu Sonali, a Bhojpuri singer, is an apt singer for the song and her nuances give the song an interesting touch, fun to listen. The lyrics here too are quite the same as the previous track, and I think it’s going to go on like this till the end of the album. A catchier song, that excels especially in arrangements.

Rating: 3.5/5

 

3. Aye Sakhi Ooh (Keh Mukri)

Singer ~ Pawni Pandey, Lyrics by ~ Ramkumar Singh

Next up comes the ‘keh mukri‘, which is basically a song where a lady describes qualities that sound like she’s praising her lover, and then denies it and says that she is talking about something else. We heard it in ‘Raanjhanaa’ too, if you remember! 🙂 This one is more sensual however, than that one, which seemed as sanctimonious as sanctimonious can get. The composition is, relevantly to the theme of the movie, quite sultry and sensual. The mukhda gives a perfect start to the song, while the antaras just continue it, and the hookline does its job. The arrangements are similar to the previous song, with a lot of amazing percussion consisting of dholaks and tablas. The Indian Banjo works its way amazingly throughout the upbeat song. Pawni Pandey’s vocals here sound very impressive, and not fake like they did in ‘Laila Main Laila’ (Raees). Rohit Sharma has also very interestingly tweaked her voice pitch in some places, providing a comic touch in those places. The backing vocalists efficiently do their job as men who are smitten by Anaarkali. Lyrics are the same. 😀 I should tell you though, that it isn’t like I was expecting better lyrics; it is perfectly fine here given the movie’s theme! Another catchy one!

Rating: 4/5

 

4. Badnaam Jiya De Gaari (Thumri)

Singer ~ Rekha Bhardwaj, Lyrics by ~ Ravinder Randhawa

Next up we have a thumri, and who better than Rekha Bhardwaj to pull it off!? So Rohit treats us with an aptly folksy, earthy and rustic Thumri, that, at the same time, pulls at our heartstrings. The composition is so beautiful, and has a very heavy old-world-charm to it. The melancholic notes hit the right part of your heart, and instantly. The mukhda has been composed on the common kaherwa taal, while, quite interestingly, the antara has been composed on the three-beat dadra. And the transition between the two different taals, which are individually so commonly (or were so commonly) used in Bollywood songs, is so seamless! It brings you shivering with goosebumps everytime that transition occurs. That brings us to arrangements. Of course, these taals have been played marvellously on the tablas. However, he interludes are something to watch out for, where the sitar will transport you back to Naushad’s music in ‘Mughal-e-Azam’. A wonderful sarangi interlude is something you shouldn’t miss. The harmonium gives a very light background music, and if you are listening carefully, you might catch it. Rekha Bhardwaj pulls off the thumri, with as much finesse as she always does. Nobody on today’s list of singers (and active singers) could’ve replicated what she did in this song. Her nuances are to die for, while the rest of the song, she carries with an aura of power and yet, sounds very simple. Here, the lyrics by Ravinder Randhawa are wonderful. A strong and powerful thumri that needs to be promoted!!

Rating: 5/5

 

5. Mann Beqaid Huva (Anaarkali’s Adieu)

Singer ~ Sonu Nigam, Lyrics by ~ Prashant Ingole

A guitar strum which starts off the next song, immediately tells you that it is quite different from he other songs of the album! And sure enough, this one is quite different in theme and therefore stands out. It has very little by way of earthiness, but there definitely is a gentle caressing breeze in the song. The breeziness can be credited to Sharma’s sweet composition. I was reminded of Anu Malik’s and Sonu Nigam’s collaborations in the 90s and early 2000s by this song. The line before the hookline, and the hookline itself, are so calming, and accentuated by the ravishing instrumentation. Usually such songs have very little in terms of orchestration, but this one is backed by a heavy strings orchestra, wonderful sarangi and if course, the acoustic guitar. Still, wonderful percussion of tablas can be heard in a line hat goes marvellously high-pitched in the antaras. Shakers too, are scintillating additions to the arrangements. Sonu Nigam carries the song with a charming aura, and his old songs are brought to mind instantly; not the middling compositions he had started singing in the middle. This song could have easily fit into a rom-com set in a rural region, and had it had some more urban arrangements, it could have also passed in an urban love story, and that’s why it becomes the odd one out in the album! Prashant Ingole (after a long time) writes marvellous, poetic lyrics, and it is a pleasure to hear him after a long time! Charming!

Rating: 4.5/5

 

6. Mora Piya Matlab Ka Yaar (Anaarkali in Studio)

Singer ~ Swati Sharrma, Lyrics by ~ Dr. Sagar

This song starts with a kind of sher, in Bhojpuri, and proceeds to form a rather staid melody, which only sounds impressive occasionally. The composition is not so innovative, and could’ve been better, if not excellent. The whole thing sounds very heard-before and hence, fails to raise eyebrows. The antara doesn’t make things quite better, and is quite dull. The only thing that can pass as catchy, might be the hookline. The arrangements take the form of heard-before Qawwali arrangements, the harmonium leading the way with dholaks following. The Indian banjo too, has been utilised in a very clichéd way. Swati Sharrma doesn’t sound as good as she sounded in her previous song, but still sounds better than all her other songs in other albums. The lyrics are cute, but you hardly have the scope to notice them, as the song won’t compel you to hear it again! A staid melody ruins everything.

Rating: 2/5

 

7. Sa Ra Ra Ra (Anaarkali’s Revenge)

Singer ~ Pawni Pandey, Lyrics by ~ Ravinder Randhawa

This track seems to be a crucial scene from the film, included in the music album. And it is a Reprise of “Lahanga Jhaanke”. The differences between the two songs are plenty though. This one aptly starts with dialogues, probably as they are from the movie. And it gives a better setting to the song, than the abruptly starting ‘Lahanga Jhaanke’. The premise of the song, we can easily gauge, thanks to the dialogue parts by the emcee of the event and Swara Bhaskar as Anaarkali. The composition, atleast for the first half of the seven-and-a-half minute long song, is the same as ‘Lahanga Jhaanke’ song, but the actual ‘Sa Ra Ra Ra’ part starts four minutes into the song, after a cutting outburst by Anaarkali at a particular man in the audience. And that part is savage! The tune is apt as ut sticks to the whole ‘revenge’ theme, and has a quite sinister feel. Rohit Sharma has added better arrangements in this version, than he did in the original. It is basically the same, but a wonderful backing chorus makes up for whatever void was left unfilled in the first version. In the new portion, booming percussion helps the Anaarkali’s anger come out even better, with the chorus supporting her very well. Strings work well to intensify that portion of the song, while Swara’s dialogues really work in favour of the revenge theme; of course, the great actress that she is, she has rendered the dialogues veryyyyy convincingly! The vocals by Pawni Pandey are very impressive! This is one of Pawni’s best performances, and she just infuses a lot of power into the rendition. The lyrics are well-written, and so are the dialogues. A nice song to go with the revenge situation!

Rating: 4/5

 

8. Mera Balam Bambaiya (Rehearsal Song) [Bonus Track]

Singer ~ Pawni Pandey, Lyrics by ~ Avinash Das

The next three songs have been titled as “Bonus Songs”, probably because they aren’t in the film, and if you notice, they haven’t been mixed, mastered and developed further than a mere scratch version. The songs do sound like scratch versions, and the makers seemed to have included them in the album just for the music lovers. Anyway, this particular song has a nice and catchy tune, another folksy tune that grips you instantly. It is a short song, and again, sounds like a scratch version, as is evident from the minimal arrangements, which makes the song sound raw. However, it doesn’t take anything from the song. Rohit’s composition nevertheless, is very catchy. The hookline is something everybody would enjoy at first listen itself. The arrangements, though minimal, with mainly a harmonium and tablas/dholaks, are enjoyable, giving a feeling as if you are actually at an event in a village, and the song is being sung there by the villagers. Pawni yet again, aces the vocals, sounding as fun as ever. She seems to be enjoying herself, and Rohit Sharma himself (I believe) accompanies her in some parts. The lyrics are functional, situational again. A catchy one, which is not hampered by the raw sound — I wonder why they didn’t develop it further!

Rating: 4/5

 

9. Hamre Jobna Pe (Anaarkali’s Swag) [Bonus Track]

Singer ~ Indu Sonali, Lyrics by ~ Avinash Das

The second “Bonus Song” has more of a generic tune, heard-before, and not-too-catchy either. The composition sounds quite like “Mora Piya Matlab Ka Yaar” in many parts; maybe this was its precursor, and not finalised. Again, it is very short, and hasn’t been developed further than a stanza. There’s not much to say about the composition, so talking about the arrangements, I must say that the synthetic sounds added to it actually make it sound like a Bhojpuri film song. And the dholaks and harmonium lead the arrangements here too. Indu Sonali sings the song aptly, in her husky voice. The lyrics are something I didnt quite understand for the most. Middling.

Rating: 2/5

 

10. Laal Laal Cheekwa (Anwar’s Intro) [Bonus Track]

Singer ~ Rohit Sharma, Lyrics by ~ Ravinder Randhawa

The last song of this long album starts off quite simply with a simple dholak rhythm, which I’m sure you’ve heard somewhere before. The composition again, is not up to the mark, and the song lasts for a short one minute. The dholak arrangements break into a digital beat halfway through the track, and I wonder why the song hasn’t been polished before that; it sounds odd to hear a song that has been only half polished. Rohit Sharma’s vocals sound like Udit Narayan in places. The lyrics are situational yet again, and nothing to rave about. Dissatisfying.

Rating: 2/5


Anaarkali of Aarah was an album that bravely stuck to it’s script’s demands. It didn’t feel the requirement to rope in a famous pop singer to make it commercially viable. And as it is, it impressed me because of it’s honesty. The tunes are catchy, and aptly rustic, and clearly stick to the script. Rohit Sharma must have done lots of hard work researching about this style of music from Bihar and U.P. Kudos to that. Last but not the least, kudos to the makers for keeping the tunes as they were needed. Of course, the rating might go down due to the three bonus tracks, but this album was one with catchy tunes, covered with a coat of earth! 

 

Total Points Scored by This Album: 3 + 3.5 + 4 + 5 + 4.5 + 2 + 4 + 4 + 2 + 2 = 34

Album Percentage: 68%

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: Badnaam Jiya De Gaari > Mann Beqaid Huva > Sa Ra Ra Ra = Aye Sakhi Ooh = Mera Balam Bambaiya > Lahanga Jhaanke > Dunaliya Mein Jung > Mora Piya Matlab Ka Yaar = Laal Laal Cheekwa = Hamre Jobna Pe

 

Remake Counter
No. of remakes: 08 (from previous albums) + 00 (from Anarkali of Aarah) = 08

Which is your favourite song from Anaarkali of Aarah? Please vote for it below! 🙂 Thanks!

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

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

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Sarbjit Album Cover

 

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

To buy this album on iTunes CLICK HERE


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


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

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

 

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

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

 

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

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

 

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

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

 

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

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

 

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

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

 

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

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

 

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

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

 

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

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

 

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

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


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

 

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

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

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

 

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

 

Next: A Surprise! 😀

AZHAR NE KIYA HAI ISHAARA, AMAAL KA HAI KHEL SAARA!! (AZHAR – Music Review)

Music Album Details
♪ Music by: Amaal Mallik, Pritam Chakraborty, DJ Chetas & Kalyanji-Anandji
♪ Lyrics by: Kumaar, Manoj Yadav, Rashmi-Virag & Anand Bakshi
♪ Music Label: T-Series
♪ Music Released On: 19th April 2016
♪ Movie Releases On: 13th May 2016

Azhar Album Cover

Azhar Album Cover

 

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

To buy this album on iTunes CLICK HERE


Azhar is an upcoming Bollywood biopic, based on Indian cricket team’s former captain, Mohammad Azharuddin. The movie stars Emraan Hashmi as Azharuddin, Prachi Desai as Naureen, his first wife, and Nargis Fakhri as Sangeeta Bijlani, his second wife. Supporting cast includes Lara Dutta, Gautam Gulati and Kunaal Roy Kapur. The film is directed by Tony D’Souza, and produced by Shobha Kapoor, Ekta Kapoor and Sony Pictures Networks. The movie highlights the famous and well-known events in the cricketer’s life, which resulted in his downfall and debacle. I wasn’t expecting some huge number of songs for this movie, but at 5, the number meets my expectations, being neither too less nor too much. What’s more, though the album was previously supposed to be composed solely by hit-machine Pritam Chakraborty, due to some health issues Pritam had, the task of matching up to his level and completing some unfinished business had to be handed over to none other than Amaal Mallik, who I regard as ‘Junior Pritam’, what with his consistent hits coming even after such a short time of being a composer. So here too, he’s expected to make Pritam (whose assistant he was before) proud. However, Pritam’s one song has been retained in the album. There is a remake of two of Kalyanji-Anandji‘s superhit tracks from the movie ‘Tridev’, done by DJ Chetas, but that’s like a bonus for me, as I wasn’t interested in it from the beginning itself after I read DJ Chetas’ name. With T-Series producing the album, hits are guaranteed, but there is still lots of curiosity and hopes that Amaal performs well on stepping into his master’s shoes. 🙂 So… Gajar ne kiya hai ishaara… It’s time to read my review! 😀


1. Bol Do Na Zara
Singer ~ Armaan Malik, Music by ~ Amaal Mallik, Lyrics by ~ Rashmi Virag

Amaal kickstarts this album, with a soft and mellow romantic song. Piano notes that will blow your mind away open up the song, and continue to fascinate you until Armaan with his soft and innocent voice starts singing in a lovely manner, which is sure to touch your heart. He has taken care of the whole song very responsibly and half of the magic of the song lies in his vocals, and I’m glad he hasn’t imitated Arijit in this one. Amaal is the star behind this greatness in the song. Besides choosing the right singer, he has woven up a beautiful song with notes that are pure and instantly likable when heard together. Instrumentation is subtle and minimal, but fascinating nonetheless. The aforementioned piano is there, guitars do play a role, electric and acoustic both. Strings can also be heard occasionally. Other digital beats complete the song wherever it seems incomplete. Armaan and his aalaaps in the beginning and end of the song are marvellous. The mukhda itself has the power to attract numbers of listeners and hook them all the way through the song. Imagine how good it must be, to be doing that! Rashmi-Virag’s lyrics are perfect for the theme of the song, not too over romantic, but stilll have the right measure of Bollywood romance in them. One thing i liked about Amaal’s composition is that it ranges greatly from low notes to high, and how seamlessly! Kudos to him for that. A wonderful synthesizer interlude will impress you a lot! With this one, Amaal starts off the album on a PERFECT note! #5StarHotelSong!!

 

2. Itni Si Baat Hain
Singers ~ Arijit Singh & Antara Mitra, Music by ~ Pritam Chakraborty, Lyrics by ~ Manoj Yadav

Pritam continues the magic in the album with something I believe he’s the best at. Romantic songs. Guitar plucks start off the song, and Arijit kicks in. For me, this song didn’t start off as well as the first, but instead, the magic lies in the latter part of this song. The tune with which Arijit starts off the song, did remind me a bit of ‘Wafa Ne Bewafai’ (Teraa Surroor), but only for a very very small time, after which it becomes totally different. The magic in the composition lies completely in its simplicity, something Pritam hasn’t done for a while, as he was giving us all those experimental romantic songs. However, this one is out-and-out simple and innocent, not trying really hard to impress and win hearts, but doing so anyways! Arijit carries forth the mukhda and first antara of the song beautifully, both having the same tune and structure. Antara takes over with the second antara, (Pun unintended, so please… 😒😂) continuing ever-so-gracefully. It’s something I never understand how she sounds so different in each song, and it is commendable, but she should carve out a niche for herself in the industry nevertheless. Here, she sounds sugar-sweet, but I can’t help but miss Neeti Mohan for this one. Anyways, Pritam has composed the best part of the song for Antara, and she does justice to it, being all sweet and goody-goody. Arrangements, too, are minimal. The song’s base is a digital rhythm that plays throughout. On top of that, Pritam has added beautiful sarod (Prateek Srivastav) and tablas (Jitu Shankar). Guitars (Pawan Rasaily) are a prominent part of the song. Towards the end of Antara’s part, both Arijit and Antara harmonize together wonderfully, reminding me somehow of Rahman in the 2000s. Manoj Yadav’s lyrics are sweet and simple too, but could’ve been better, too. A song that takes time to grow, but when it grows, nothing could be better! It all lies in its subtlety and simplicity! #5StarHotelSong!! 

 

3. Oye Oye
Singers ~ Aditi Singh Sharma & Armaan Malik, Music by ~ Kalyanji-Anandji, Recreated and Remixed by ~ DJ Chetas, Lyrics by ~ Anand Bakshi

Next up is the song I was least excited for — a remake/remix of the superhit ‘Gajar Ne Kiya Hai Ishaara’ (Tridev) by none other than the Mashup King of recent times, DJ Chetas. Where Sadhana Sargam, Alka Yagnik and Sapna Mukherjee led the old song, this one is led by a sole female singer, Aditi Singh Sharma, the one who is the best choice for club songs these days. Armaan does join, but later on. The surprise is that the whole song isn’t ‘Gajar Ne Kiya Hai Ishaara’, but Chetas has included the hookline of ‘Gali Gali Mein Phirta Hai’ (Tridev) as well, into the remake. That part is when Armaan gets his only line in the song. When it is a DJ remaking an old classic, all we can do is place our foreheads in our palms out of shame. Apart from Aditi adding unnecessarily stylish nuances to the vocals, DJ Chetas adds nothing but beats, that help in places but lower the song’s quality in other places. Armaan is the best thing that happened to the song, extracting an extremely different voice from what we usually hear him singing with. Lyrics are the exact same as the old song, and so is the composition. Though the song is groovy, due to the beats, Aditi’s singing isn’t really what I would’ve liked in the remake to this song. Also, it adds to the looooooonnnnnnnnngggggggg list of ‘Bollywood Classics Spoiled By Being Remade’. Had Amaal or Pritam remade it, it might’ve been better, and if they could’ve been made to compose an original club disco song with this theme, there would’ve been nothing like it. My favorite part of the song, if I had to choose, would definitely be the ‘Gali Gali Mein Phirta Hai’ lines by Armaan. Perfect song for clubs.

 

4. Tu Hi Na Jaane
Singers ~ Sonu Nigam & Prakriti Kakar, Music by ~ Amaal Mallik, Lyrics by ~ Kumaar

After that bombardment to the ears, here’s Amaal to the rescue, with a soft, soothing, lovable, calming and any-other-good-adjective-you-can-think-of type of song. Further, it’s Amaal’s first song with Sonu Nigam, the legend! It is a huge leap for him and a milestone in his career. The song starts off so calmly, it is a huge refreshment from the loudness of ‘Oye Oye’. And when Sonu starts off, it is heavenly! A beautiful composition is the strength of the song, and the song is perfect for Sonu Nigam, with the intense heartbroken nature of the lyrics, which he’s best at. Prakriti also, is a great choice for the song. Her Punjabi parts are so melodious and fascinating, that they have made a place for themselves in my mind and heart. Amaal’s arrangements are beautiful, the rock plus classical combination heard many times before, but seldom done as good as this. Electric guitars, drums on one side perfectly complement the tablas, flutes and a wonderful sarangi interlude. The soul of the song lies in the composition and vocals, while the arrangements hold the both together as one. Kumaar’s lyrics are out of this world! Once you hear them, you would fall in love with them yourself, and Sonu and Prakriti do a fantabulous job expressing the pain in the lyrics. Though it is a sad song, it doesn’t go over the top with melodrama nor does it fall short of emotions. It strikes the right emotions in you and might bring you to are as well! Oh, the magic! The antaras have been well divided between Sonu and Prakriti, each getting one. I can even imagine what situation this song would appear in the film, and it is pretty obvious too. Keeping it in mind, the song is perfect! A song that will make you speechless! 😍😍😍😍😍😍😍😍😍😍😍😍😍😍😍😍😍😍😍😍 One of the best songs of 2016, and welcome back FOR REAL, Sonu Nigam! Extremely well done Amaal!! #5StarHotelSong!!

 

5. Jeetne Ke Liye
Singer ~ K.K., Music by ~ Amaal Mallik, Lyrics by ~ Kumaar

The finale to the album brings K.K. and Amaal together once again after an unforgettable ‘Tu Bhoola Jise’ (Airlift). This time, a motivational song has been crafted by Amaal, and K.K. has sung it in his trademark style. The song is also tailor-made for him, being a rock song with an emotional touch. Amaal’s arrangements are very cool, with the electric guitars blaring and drums providing the rhythm to move our heads to. Acoustic guitars appear in the relatively calm antaras until the energetic, almost hard rock hookline comes. Strings too make a short appearance in the song. Amaal has composed the song quite well, and it suits the theme — a person who has lost hopes motivating himself to fight on and on and finally win the fight against bad situations. Kumaar’s lyrics perfectly explain it. Amaal’s composition is something that doesn’t appeal much at first, but when heard again and again, and when lyrics are taken into consideration, it sounds awesome! The impactful hookline is all that is needed to touch one’s heart. The finale to the album is indeed grand! K.K. at his best after a LONG time! #5StarHotelSong!!


Azhar is an album in which I was not expecting three out of five songs to be romantic. Azhar is an album which I was waiting for since last summer, because Pritam was going to compose for it. Azhar is an album in which the once-assistant of Pritam, Amaal Mallik, composes alongside his guru. Azhar is an album in which disciple overtakes the teacher, making the teacher extremely proud. Azhar is an album in which Amaal showed to the world that he can compose such beautiful stuff in such a short notice of two to three weeks! Incredible and fantastic. I would say, barring DJ Chetas’ song, Azhar is an album for a film in which such great music was never expected. Last but not the least, I would say that Amaal is the star of ‘Azhar’!!

 

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: Tu Hi Na Jaane > Bol Do Na Zara > Itni Si Baat Hain > Jeetne Ke Liye > Oye Oye

 

What is your favourite song from Azhar? Please vote for it below! Thanks! 🙂

 

Next “dish”: Sairat (Marathi Album), Chefs: Ajay-Atul

THE GOGAVALE BROTHERS HIT THE RIGHT CHORDS!! (BROTHERS – Music Review)

Music Album Details
♪ Music by: Ajay-Atul
♪ Lyrics by: Amitabh Bhattacharya
♪ Music Label: Sony Music
♪ Music Released On: 24th July 2015
♪ Movie Released On: 14th August 2015

Brothers Album Cover

Brothers Album Cover

 

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

To buy this album on iTunes CLICK HERE


Brothers is a Bollywood action drama film that released on 14th August, 2015. The film is directed by ‘Agneepath’ fame Karan Malhotra, and produced by Karan Johar, Hiroo Yash Johar and Endemol India. The film stars Akshay Kumar, Sidharth Malhotra, and Jacqueline Fernandez in lead roles, and Jackie Shroff and Shefali Shah in supporting roles. The story revolves around two brothers, who hate each other, and how situations arise that make them fight against each other in an MMA (Mixed Martial Arts) competition. David, the elder brother played by Akshay Kumar, is married to Jenny (Jacqueline) and their daughter suffers from a kidney ailment. How the two brothers eventually come together forms the plot of the story. Yes, I didn’t hear many excellent reviews for this film, nor am I eager to watch it anytime soon, but one thing I was really excited about, was the music. I know I’m late for the review, but I had heard the album the day it released and … Well, read the review to know! 😉 The music has been composed by the same duo that rarely is heard in Bollywood, by whenever they compose, they take the industry by storm. It happened about eight months ago when their song from ‘PK’ became a rage in the nation, perhaps even the world! Before that, their single in ‘Bol Bachchan’ and their album for ‘Agneepath’ was loved by the masses and classes alike. Now they’re back with the ‘Agneepath’ team, to provide the score for yet another movie. Yup, you guessed it! I’m talking about Ajay & Atul Gogavale!! After a long time, they’re coming to compose the full album of a Hindi movie, and expectation are pretty high. After all, they’ve set a very high bar to cross with ‘Agneepath’! So, do they cross the bar, or just miss it, or come nowhere near it?? Read on to find out! 🙂


1. Brothers Anthem
Singer ~ Vishal Dadlani

Enchanting, haunting piano notes start off the album to this drama film. And what follows just blew my mind away! The first one minute holds such wonderful magical stuff, that you are sure to fall in love with this song in the first one minute itself. And get this — it’s all just instrumental for that one minute!!! How wonderfully Ajay-Atul have arranged the instruments in different layers, each instrument kicking off after some eight beats, giving the prelude to the song an enormous depth. The piano notes, joined by the impactful percussions, which in turn are joined by awesome strings, and then an inspirational brass portion, followed by some majestic female humming. Once Vishal Dadlani starts, Ajay-Atul have already managed to create an anthemic atmosphere, one that gives you the energy and makes you enthusiastic enough to complete any task. And we know Vishal, he’s an expert in passing on his immense energy to the listener, just like a vibrating body passes on its energy to the air around it. And he does just that! The mukhda is less of a typical Bollywood mukhda and is more like a short introduction to what’s going to come next. After singing a few lines, the orchestra takes over again, and we are treated to a grand exhibition of various instruments, ranging from the motivational percussions, to a very energizing vocal chorus, some goosebump-invoking strings, and the regal trumpets! It altogether makes for a really interesting interlude before the so-called antara. And I’m calling it ‘so-called’, because its tune is more like that of a mukhda!! Some unusual composition Ajay-Atul have placed in front of us, yet making sure it has us captivated right from the beginning to the end. The backing vocals do a great job in keeping up the motivational aspect, not letting it die for even one second. Vishal has a wonderful portion to sing after the backing vocalists do their job; the tune of which is really motivational and anthemic in the true sense of the term. The second interlude brings forth an impressive drums solo piece, which would keep the listeners glued to the song! Other percussion in this interlude is also commendable. That hook tune, the haunting one, is really beautiful, and using it in this song was a great decision, because it sounds really motivational! Before the song ends, the tune can also be heard played on piano and sung by the choir. And the grand finale to the song is done by a haunting choir part, which increases the suspense and ends the song at the climax of the suspense! It leaves a huge impact on the listener! Amitabh has left no stone unturned in giving the song lyrics that would appeal to the youth, and also such that it would be suitable for an anthem! The words, when put to Ajay-Atul’s very fine and mature melody, really spring to life! An anthem indeed!! Something motivational, inspirational after a long time, and something which is perfectly PERFECT!! #5StarHotelSong!!

 

2. Gaaye Jaa (Female Version) / Gaaye Jaa (Male Version)
Singers ~ Shreya Ghoshal / Mohammed Irfan

Next up, we have a haunting, pensive melody, that is sure to make your eyes well up with tears. The strength of the melody is such that you can’t help but get emotional, no matter how rock-hard you and how much of a macho-man (or macho-woman, for that matter) you may be from the inside. First, we are introduced to the female version, sung mellifluously by Shreya, the modern nightingale of Bollywood music, and a regular in Ajay-Atul’s albums. The moment the song starts, with a showcase of her great command over vocals, humming a haunting tune, the suspense in you keeps on growing as to what for the song has been presented in such a dramatic way. Yes, the song does come across as overdramatic in places, but the absence of a trademark Bhatt stamp, helps listeners to swat that thought away, instantly. Ajay-Atul have woven a touching melody, that touches your emotional strings and makes sure it leaves you in a thoughtful state. The various attractions they have added throughout the song, like the church-templated chorus, and the beautiful instrumentation in the interludes, ensure that the listener does not go anywhere in the six-odd minute song. The female opera-like voice in places increases the haunting effect manifold and leaves an impact on the listener. Mohd. Irfan, though, in the male version, does not create even half the impact which Shreya creates in hers, maybe because of the expression he has unknowingly left out of his rendition. In all aspects other than the vocals, the song is unaltered, yet the choice of Irfan doesn’t seem perfect as that of Shreya had seemed for the former version. Where Shreya sounds like a mother singing for her son in her version, Mohd tries to bring in the aspect of a son singing for his mother in his version, succeeding only to some extent. Amitabh’s lyrics are just as touching as the composition, and if you miss them, the emotional impact of the song will be considerably less than it is when you do pay attention to them! Instruments like flute, strings beautifully grace the composition, and make it perfect as an emotional breakdown song. The antaras have been composed in a slightly lighter-to-the-ears manner, unlike the mukhda which initially scares you with its straightforwardness. Heart-touching stuff from Ajay-Atul, perfectly showcasing the mother-son relationship. A great combination of Indian Classical and Western music styles! Shreya’s version is more recommended than Irfan’s! #5StarHotelSong!!

 

3. Sapna Jahan
Singers ~ Sonu Nigam & Neeti Mohan

After the emotional melody that I’m sure brought your eyes to tears, it’s time for an enchanting romantic track. First of all, I don’t think Bollywood listeners are familiar with the magic Ajay-Atul can infuse into their romantic songs. The romantic songs they’ve given previously for Bollywood movies, fit perfectly into the “romantic song” category, and so naturally Bollywood music listeners have underestimated them in this genre. ‘Saathiya’ (Singham) and ‘O Saiyaan’ (Agneepath) were some of the remarkable compositions from them under this category, out of their previous albums; besides that, I don’t think they’ve given any memorable ones. But hold that thought just for a second… And listen to this song. Because I’m sure, when you’re done hearing this song, you’ll be shocked as to why they haven’t come up with romantic songs like this before in Bollywood — or did the makers of the films not need any? Anyways, this song will wash away all your previous misconceptions that Ajay-Atul can compose only typical romantic songs, and this idea will be immediately replaced by the idea that they can compose anything! Haunting, charming, melodious, lilting, call it whatever you want, but you will never find a single flaw in the song as far as the composition goes. Above that, when you’ve got someone as prestigious as Sonu Nigam lending his voice for your song, what’s the reason to worry? Sonu, another one of Ajay-Atul’s favourites (I really like the way in which they don’t steer clear of some of the seasoned singers even with the inflow of the newer ones) brings the touch of simplicity as well as complexity in each note, and the soft texture of his voice makes it sound all the more heavenly. As for Neeti, I can’t seem to fond anything perfect to say about her in this song!! She too imparts the soft, yet divine and supreme quality in her rendition, leaving the listeners spellbound. Arrangements are just as majestic, with the incredibly enticing piano notes, strings and those oh-so-lovely brass parts. The real magic lies in the awesome orchestration in the hookline “Mere Dil mein jagah khuda Ki khaali thi…”. The tune of that line is also enough to stifle a waah! from your lips, not to mention that wonderful exotic percussion. Neeti’s parts in the antara, are some of the best-composed lines in recent times of Bollywood music. I fell in love with them instantly, maybe because of that recognizable A.R. Rahman feel they carry, either knowingly or unknowingly done. Amitabh too leaves not a single stone unturned in making sure that his lyrics touch the soul. The concept of the lyrics itself is genius! When it’s Sonu with Ajay-Atul, you cannot expect anything less than this!!! But you can definitely expect more in the future!! Extraordinary! #5StarHotelSong!!

 

4. Mera Naam Mary
Singer ~ Chinmayi Sripada

After hearing those first three impressive songs and then finally coming to the end of the album, you feel as if you’ve reached the end of this album a bit too soon! But imagine your surprise when you find out that it is an item song that has been kept at the end of the album which has had very occasional dull moments till now! This very fact kills all the excitement. However, considering what Ajay-Atul had made in ‘Chikni Chameli’ (Agneepath), which I believe was quite tolerable unlike all the other songs of this genre, there was still some hope left in me that they could do the same thing with this song too. Much to my disappointment, I did not find anything all that interesting in the song. ‘Chikni Chameli’ was a recreated tune from one of the duo’s Marathi songs ‘Kombdi Palali’ (Jatra), but they had altered it in many places. Unfortunately, this one too is a remake of the other song ‘Ye Go Ye Ye Maina, also from ‘Jatra’ (it had only two songs :P) And Ajay-Atul have not seemed to make any effort in changing anything from the Marathi song while remaking it. Everything from the tune to arrangements are pretty much the same, except that the arrangements have been a bit more revived and infused with life (they were pretty dull in the original). Here too, they don’t sound that magnificent either! Another drawback is the very wrong choice of singer here. Chinmayi for a romantic song, and I’m fine with it, but for an item song?? Not okay!! With her soft voice, she contradicts the whole energetic aspect that an item song should ideally carry, and this kills the song. Definitely, Shreya or Shalmali could’ve done way better! As for the lyrics, Amitabh seems to have been in a hurry to write something, just so that it fits into the tune and rhymes. It doesn’t appear that he was interested at all whether whatever he wrote made sense. And lastly, how many times does it take to tell someone your name before it gets carved in their brain? Even a mathematics formula gets stuck in our head instantly. But Mary seems to think that she has to remind us every one minute what her name is and how sure she is of her love for us! Pathetic! If there’s anything that might make you groove to the song, it’s the traditional Marathi folk beats that just manage to get you dancing a bit, after which they lose their impact as well. By the time the song ends, you probably would’ve made up your mind never to hear it again! But you’ll have to hear it sometime or the other, because this is the country where such songs are the only ones that are noticed!! Not an ideal ending to an album that impressed so much with its other songs!


Brothers can rightly be called Ajay-Atul’s comeback to full albums. After leaving us craving for more after ‘Agneepath’, they finally decide to show up with their next full album after more than three years! And they do not leave without leaving us happy and enchanted. All four songs are of different varieties, out of which the item song is sure to fail because of less attention given. But barring that, the other songs have not much in them to complain about! Especially ‘Sapna Jahan’! So the Gogavale brothers show their immense talent in a short album, which will, unfortunately, also have a short playlist life too, because of the failure of the film. However, for true music lovers, it will always remain there as a source of calmness gifted to us by the wonderful Ajay-Atul! 

 

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: Sapna Jahan > Brothers Anthem > Gaaye Jaa (Female Version) > Gaaye Jaa (Male Version) > Mera Naam Mary

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

Finally, Thanks for bearing with my late, yet long review!! 🙂 And also, sorry for the delays!

 

Next “dish”: All Is Well, Chefs: Amaal Mallik, Himesh Reshammiya, Meet Bros., Mithoon & Anand-Milind