Music Album Details
♪ Music by: Vishal-Shekhar & Julius Packiam
♪ Lyrics by: Irshad Kamil & Raftaar
♪ Music Label: YRF Music
♪ Music Released On: 12th December 2017
♪ Movie Released On: 22nd December 2017

Tiger Zinda Hai Album Cover


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

To buy this album on iTunes CLICK HERE

Tiger Zinda Hai is a Bollywood action film starring Salman Khan and Katrina Kaif in lead roles. The film is directed by ‘Mere Brother Ki Dulhan’, ‘Gunday’ and ‘Sultan’ fame Ali Abbas Zafarand produced by Aditya Chopra. The film is a sequel to 2012’s ‘Ek Tha Tiger’, which was directed by Kabir Khan. The music to that instalment was given by Sohail Sen, with a guest composition by Sajid-Wajid, but this time, despite the director’s past associations with Sohail Sen, he goes for his the duo who made the music for ‘Sultan’, Vishal-Shekhar. Now, Vishal-Shekhar’s last album was ‘Befikre’ around the same time last year. After a whole year, they are returning to the scene with such a huge film. Also, seeing that the YRF-Vishal-Shekhar combo has been such an amazing one, I’m sure the album will be great too. Though an action film doesn’t have much scope for great music, it sure can be appreciable! Let’s see whether they build on Sohail’s base of a good commercial album, or go the unconventional and experimental way!

Vishal-Shekhar’s year-long hiatus seemed long, but with the first song of their comeback album, Swag Se Swagat, it seems they returned with all the wrong music. The song sounds like a hastily made Sajid-Wajid-Salman number, with a hook that is utterly banal and another line that desperately goes ‘Kuchnikuchnikuch‘. Lyrically it is one of the most mediocre works coming out of Kamil’s pen. A nice incorporation of Julius Packiam’s theme music for ‘Ek Tha Tiger’ makes the song at least a little catchy. Neha Bhasin’s vocals are great, but Dadlani’s usual energy doesn’t come across this time. The second song Dil Diyan Gallan, marks the duo’s first time working with Atif Aslam, and though there’s nothing new in the way they present his voice, what is new is that he is made to sing in Punjabi — a quite interesting combination, and sounds beautiful too. The composition is soothing and fit for listening on loop. The slightly retrograde arrangements can’t be a good sign: I’ve noticed so many composers falling back on the tried-and-tested tabla rhythm this year. The strings do make their presence felt though — reminds me of Vishal-Shekhar’s ‘Naina’ (Gori Tere Pyaar Mein). Irshad’s lyrics are good too. The song is seen in a much earthier Unplugged Version sung by Neha Bhasin, back in her ‘Jag Ghoomeya’ mode, and her amazing diction of the Punjabi phrases sounds yummy once again. The arrangements here are beautiful too, with a lilting Kashmiri vibe to them. There are places even, when Neha sounds like Kavita Seth. I would’ve also loved another version by Harshdeep Kaur, who suits the Punjabi template amazingly.
The next song, called Zinda Hai, can be called the title track, except it never says ‘Tiger’. Anyway, the song is an electrifying rock number, with Sukhwinder back in his energetic form, and Raftaar complementing him well. Vishal-Shekhar’s composition is good, but not great. Arrangements are also good, but will inevitably be compared to ‘Sultan’s title track, in front of which they pale in comparison. The rest of the album is a very different zone of music than that which one would expect in a Salman Khan entertainer. Daata Tu sees Vishal-Shekhar in the ‘Kahaani’ mode, a beautiful divine melody with Shreya touching the heart strings effortlessly. A wonderful Sufi portion towards the end redeems the song for those who got bored in the beginning. The soundtrack’s best is cleverly saved for the last, and it is Jyoti Nooran’s Tera Noor, a hard-hitting Sufi number, with amazing lyrics by Kamil. The rock is hard-hitting, and though Sufi Rock is almost always great, Vishal-Shekhar take it a notch higher with this one. The adlib at the beginning is heavenly. But beware that this one is highly experimental and will take at least a couple of listens to develop a liking to.

Vishal-Shekhar’s music has beautifully inverted the course of the ‘Tiger’ franchise. Where Sohail Sen & Sajid-Wajid were religiously commercial in the first album, Vishal-Shekhar dare to go experimental and melodious in this one!


Total Points Scored by This Album: 2.5 + 3.5 + 4 + 4 + 4 + 4.5 = 22.5

Album Percentage:  75%

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

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

Recommended Listening Order: Tera Noor > Daata Tu = Dil Diyan Gallan (Unplugged Version) = Zinda Hai > Dil Diyan Gallan > Swag Se Swagat


That was the last album for the year!! Wow, time flies fast! Do watch out for the December monthly awards, followed by the end of the year round-ups and lists!!



Music Album Details
♪ Music by: Sachin-Jigar
♪ Lyrics by: Priya Saraiya, Anvita Dutt, Vayu Srivastava & Utkarsh Naithani
♪ Music Label: T-Series
♪ Music Released On: 28th August 2017
♪ Movie Releases On: 22nd September 2017

Bhoomi Album Cover


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

To buy this album on iTunes CLICK HERE

Bhoomi is an upcoming Bollywood action thriller starring Sanjay Dutt, Aditi Rao Hydari and Sidhant Gupta in lead roles. The film has been directed by ‘Mary Kom’ and ‘Sarbjit’ fame Omung Kumar, and produced by Bhushan Kumar, Krishan Kumar and Sandeep Singh. The film is a revenge saga revolving around a father trying to avenge his daughter, who is a rape victim. Now, this filmmaker Omung Kumar, has been known for making loud and sobby dramatic films, but also, both of his previous films have had amazing music albums as well, featuring in the Music Mastani’s Top 20 Albums of the respective years they released in. While ‘Mary Kom’ featured music by newcomers Shashi-Shivamm, and ‘Sarbjit’ featured a nice mix of T-Series-affiliated artists (Amaal Mallik, Tanishk Bagchi, Jeet Gannguli), and newcomers Shail-Pritesh, this time Omung raises the bar by roping in highly busy composers Sachin-Jigar. Now this is probably the first time I remember seeing the duo compose for a drama like this, so it’ll be something new for them and for us. But expectations are still sky high because of Omung! So let’s see how far above the bhoomi (ground) Sachin-Jigar’s music flies!

1. Trippy Trippy

Singers ~ Neha Kakkar, Benny Dayal, Brijesh Shandilya & Badshah, Lyrics by ~ Priya Saraiya

Sachin-Jigar’s fifth album of the year starts off with a song I can’t believe they have made!! The song is a club song with a composition that I would expect from someone like Badshah or Yo Yo Honey Singh, and not Sachin-Jigar! The composition is very weird, and not in the good way. It is basically just a typical item song composition, and coming from Sachin-Jigar, that is quite shocking. The male portions especially, are very disappointing. Those are actually the parts that could’ve been the best. Also, the antara is quite similar to their own “Teri Mahima Aprampaar” (Entertainment). The hookline is just Badshah belching out the words in an expressionless tone. Here, it is evident the composers were trying to experiment, just to make the song sound a bit better, but sadly, they couldn’t make those experiments work. For example, the flute and dhols arrangement was clearly done to increase the quirkiness of the song, but it backfires, sadly. The beats too, aren’t addictive or anything — it is just a straightforward song to listen to and forget. The vocals by Neha Kakkar are very disappointing after that amazing rendition of hers in ‘Ghungta’ (Babumoshai Bandookbaaz)! Here she doesn’t even sound half as energetic as she did there! Benny Dayal and Brijesh Shandilya (and of course Badshah) are used very less, and their portions are just repeated over and over. Good, because those parts are very irritating. Also, the ‘Hicky hicky’ sung by Neha is kind of irritating too! The lyrics by Priya Saraiya are the usual fare we get to hear in such songs, and nothing really makes sense. A song that must be a mistake!!

Rating: 2.5/5


2. Lag Ja Gale

Singer ~ Rahat Fateh Ali Khan, Lyrics by ~ Priya Saraiya

Next up, the composers present a romantic song, very saccharine-sweet, and following a Sufi template to the tee. Again, it is shocking that Sachin-Jigar’s music gets so predictable, but let’s not complain just yet. The composition here is very beautiful, and doesn’t take time to like. The mukhda and antara are especially very beautiful. It is the hook line “tere mere pyaar nu“, that is very predictable and sounds out of place, in an otherwise beautiful song. I can’t remember which, but it sounds an awful lot like a very famous 90s song too. The presence of Rahat almost impeded me from liking the song a lot. His voice has been making songs heavy and inaccessible these days (Like it did for ‘Mere Rashke Qamar’ from ‘Baadshaho’), but thankfully, Sachin-Jigar have employed his voice prudently, and not overdone the high pitch or the aalaaps, and it comes out very beautiful. The “Rab Varga” loop gives the song a very unconventionally abrupt start, and it’s one of the best effects of the song. The arrangements by the duo are the trademark Sufi dholaks and tablas, but because of the composition, you bear with it. Also, a wonderful sarangi keeps you engaged throughout the song! The major part of the song also has acoustic guitars, making it a kind of fusion between Sufi and acoustic guitars. Priya Saraiya’s lyrics are very cute, and very simple-sweet. A rare song by Rahat Fateh Ali Khan that will be known for simplicity! I wish there was some innovation though, as it has turned out very predictable!

Rating: 4/5


3. Will You Marry Me

Singers ~ Jonita Gandhi & Divya Kumar, Lyrics by ~ Anvita Dutt

After two slightly disappointing songs, Sachin-Jigar get to make a wedding song for the film. Now, this song seems to be one of those disappointing songs which grow with time, because that’s what happened with me. I found it a bit weird at first, but in the successive listens, I started to like it bit by bit. Now this is purely subjective, but I still think Sachin-Jigar didn’t try to make this song (or any song from this film) complicated and layered, and that’s why this is happening. The songs are straightforward, something we hardly get from Sachin-Jigar, and that’s why we might be disappointed at first. Anyway, the composition is a peppy wedding number, complete with Punjabi phrases and effective Indian wedding arrangements. The hookline seems very cheesy at first, but becomes catchy later on. The beginning is quite entertaining, with those dialogues, and after that, Jonita’s weird programmed voice singing something gibberish, I believe. That is one of the best parts of the song. The female chorus too, is very entertaining, and the word “ponga pandit” specifically caught my interest. Lyricist Anvita Dutt has utilised it so nicely. As the hookline gets closer though, the song increases its heard-before-ness, and it becomes an ordinary wedding song by the time the hookline arrives, though it is catchy. The antara is no better. Vocals are entertaining, especially Jonita’s, and the female backing vocalists. Divya gets the same part to sing twice, and he sounds good too, but it is the composition of his parts that sounds too flat. Arrangements consist of digital beats accompanied by Indian wedding instruments like the shehnaai (wonderful interlude on that!), dhols etc. Anvita Dutt’s lyrics are very innovative at parts and very ordinary at parts. A confusing song! You don’t know whether you like it or not!

Rating: 3.5/5


4. Kho Diya

Singer ~ Sachin Sanghvi, Lyrics by ~ Priya Saraiya

Now comes what I’ve been expecting from Sachin-Jigar ever since ‘Meri Pyaari Bindu’ released and I loved all the songs. After that, frankly, I didn’t love any Sachin-Jigar song as much as I loved the song ‘Maana Ke Hum Yaar Nahin’, in any of their albums that released. But now, in ‘Bhoomi’, they come up with a deserving opponent for ‘Maana Ke Hum…’ with this song, another ghazal, and in my opinion, even better than ‘Maana Ke Hum…’ itself. I’ll explain why. The composition is genuinely ghazal-like, as in an actual, authentic ghazal! Though that song was also a ghazal, it did have minor Bollywood-ish touches. But in this song, Sachin-Jigar do not bow down to peer pressure in order to make a Bollywood-friendly song. The song still does carry many nuances of Sanjay Leela Bhansali’s style of composition though. I sincerely hope SLB catches this song and ropes Sachin-Jigar in for his next project! The antara is one of the most beautiful compositions I’ve heard in a while. The arrangements too, are amazing, with soothing tablas, divine manjeeras, beautiful Guitars, and scintillating strings that provide an atmosphere of love and divinity. The water drop sounds, so characteristic of SLB, sound beautiful. Sachin Sanghvi says this is his first solo song in Bollywood (He also sang a duet with Shreya Ghoshal in ‘Jayantabhai Ki Luv Story’ before this), and he does his solo debut in a smashing manner! His voice has that amazing metallic touch, which people might mistake for programming, but it is his raw voice! Priya Saraiya’s lyrics are yet again, one of the most brilliant she’s written this year. A lovely number that is surely going to stay with me for a long time!!

Rating: 5/5


5. Daag

Singer ~ Sukhwinder Singh, Lyrics by ~ Priya Saraiya

The pathos enters now, as it always does. Of course, because this is an Omung Kumar film after all. There has to be an overtly dramatic sad song. And that happens to be this song. Now, the composition is really good, if I have to judge as per it’s genre. But as an individual song, this doesn’t take me anywhere. After the magic that the former song had me possessed with, this song falls flat! The duo try to lift it up with an intriguing and mysterious arrangement (this guitar riffs do the trick), but how much can a song be able to be saved by good arrangements if the composition isn’t appealing? Sukhwinder adds to the tedium, with his heavy voice, and it sounds very uncomfortable. Even though the composition is so poignant, it all sounds fake due to the overcooked nature of the music and vocals. The hookline itself too, is very tedious. It sounds like something that should have released around 2008. Sadly, this one isn’t memorable at all!

Rating: 3/5


6. Jai Mata Di

Singers ~ Ajay Gogavale & Sanjay Dutt, Lyrics by ~ Vayu Srivastava & Utkarsh Naithani

To wrap up the album, Sachin-Jigar present a devotional song. Now Ganeshotsav has ended, and Navratri is about to start, and with the film opening just one day after Navratri starts, it seems an apt decision to include a song entitled ‘Jai Mata Di’ in the album. Now, the song is primarily a very dramatic devotional song again, to make it fit with Omung Kumar standards of drama. However, it fares a bit better than that one, thanks to the divine touch. The composition is amazing, and Sachin-Jigar mould themselves into a very trademark Ajay-Atul mode to compose this one. Actually, if Ajay-Atul had composed for the ‘Sarkar’ series, and the chants would’ve been ‘Jai Mata Di’ instead of ‘Govinda’, then this would have been the perfect background score for the ‘Sarkar’ franchise. To add to the Ajay-Atul feel, Sachin-Jigar even rope in Ajay as the lead vocalist. As always, he aces the song. Sanjay Dutt starts the song with a mantra, bt his interventions throughout the actual song when he sings “Jai Maa Jai Maa’, sound better. The arrangements are good, and Especially the strings are amazing. Other sounds like the tabla, and the pathos-filled composition make it sound like yet another SLB song, a la ‘Gajanana’ (Bajirao Mastani), and ‘Dola Re Dola’ (Devdas). This song isn’t something to enjoy with your earphones, but something to experience in theatres!

Rating: 3.5/5

Bhoomi is a great example of an album composed by talented composers, but which suffers due to their inexperience in the genre of drama. Sachin-Jigar have composed for drama films very less; they usually go for rom-coms or musicals, but in this one, their discomfort is visible while composing for such a film. They still do try to add their own elements into the album, like the quirkiness of ‘Will You Marry Me’, which diffuses into thin air later on in the song. The best song in definitely ‘Kho Diya’, which I’m sure you will agree with, and so might they themselves. Anyway, it is one of those rare occasions where Sachin-Jigar disappoint, and it will surely pass!


Total Points Scored by This Album: 2.5 + 4 + 3.5 + 5 + 3 + 3.5 = 21.5

Album Percentage: 71.67%

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: Kho Diya > Lag Ja Gale > Will You Marry Me = Jai Mata Di > Daag > Trippy Trippy


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


Music Album Details
♪ Music by: Arjunna Harjaie, Rochak Kohli, Tanishk Bagchi, Sukhwinder Singh & Mychael Danna
♪ Lyrics by: Kumaar, Adheesh Verma & Sukhwinder Singh
♪ Music Label: T-Series
♪ Music Released On: 18th August 2017
♪ Movie Releases On: 15th September 2017

Lucknow Central Album Cover


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

To buy this album on iTunes CLICK HERE

Lucknow Central is a Bollywood drama film, starring Farhan Akhtar, Gippy Grewal, Inaamulhaq, Deepak Dobriyal , Diana Penty, Rajesh Sharma and Ronit Roy. The film has been directed by Ranjit Tiwari, and produced by Viacom18 Motion Pictures, Monisha Advani, Madhu C. Bhojwani and Nikkhil Advani. The plotline of this film closely resembles that of recently released ‘Qaidi Band’, and it is obviously a coincidence of the worst case. There is a difference though. The music here, is done by multiple composers. Leading the way is youngster Arjunna Harjaie, with three songs, and after he impressed so much in ‘Titoo MBA’, I cant wait to hear what he did here. Tanishk Bagchi has two songs too, and one is a remake, because he is the remake specialist according to T-Series. Guest composer Rochak Kohli presents one song in the album. All three of these composers have proved their mettle in the past, and it goes without saying that when it is an Advani production, the film is bound to have good if not great music. Also, I think Farhan Akhtar himself looks into the music of his films, and so it is bound to be great. Comparisons between this film and ‘Qaidi Band’ are sure to happen, but I noticed ‘Qaidi Band’ relied much more on the music, and this will rely much more on plot points. It reflects even in the number of songs — that film had nine, while this one has five and one version. So let’s see if this album supports the film!

1. Kaavaan Kaavaan

Singer ~ Divya Kumar, Chorus ~ Shivek, Anubhav, Aditya, Shubham, Umesh, Veljon, Vishal and Sarthak From Asm Academy, Original Composition by ~ Sukhwinder Singh & Mychael Danna, Music Recreated by ~ Arjunna Harjaie, Original Lyrics by ~ Sukhwinder Singh, New Lyrics by ~ Kumaar

When Bollywood starts remaking songs from Hollywood movies (doesn’t matter that the song is Hindi, though) you would think things are finally messed up for real. However, it is a pleasant surprise when the remake actually turns out to be good, and quite innovative. Arjuna Harjai (now spelling his name as Arjunna Harjaie) returns after a year and a half, after the song from ‘Do Lafzon Ki Kahani’ last year, and gets the opportunity to recreate this quite popular Punjabi number ‘Ajj Mera Jee Karda’ (Monsoon Wedding). The original had been composed jointly by Sukhwinder Singh and the film’s composer Mychael Danna. Now this remake is quite a good one. The composition has been kept intact for most of the song, with Arjunna having composed a new prelude to the song, with a haunting tune that immediately gets you interested. The original composition is good, and the “Kaavaan Kaavaan” portions, which I found irritating in the original, actually sound good here. The thing that makes this remake worthwhile though, is the amazing music. Arjunna equips a booming dhol rhythm (Vishal Dande), that has the required effect on the listener, making him or her groove to it happily. The shehnaai gives a wonderful traditional feel to the song. Strings and dafli have been used occasionally to infuse a strain of pathos through the song, and especially the antara (incorporated from the original itself) is beautiful, both in tune and its arrangements. The numerous tempo changes would normally be very confusing to a listener, but here, Arjunna manages them so seamlessly, it is unbelievable. As for the vocals, Divya Kumar steps into Sukhwinder Singh’s shoes without a problem, but because he does so, it evokes memories of Divya’s own ‘Jee Karda’ (Badlapur) in the first line of the song. 😄 And then a layman can easily say, “Hey! It’s a copy!” Because he wouldn’t know that ‘Ajj Mera Jee Karda’ came before ‘Jee Karda’. But I commend the makers for firmly sticking with Divya’s voice anyway, since he has sung amazingly — the Punjabi-ness comes across beautifully through his voice, and he especially does the emotional portions very nicely. Kumaar’s additional lyrics are good too, adding on Sukhwinder’s original. An apt remake, with an amazing rhythm, and changes that do not disrupt the original song’s integrity.

Rating: 4/5


2. Meer-E-Kaarwaan

Singers ~ Amit Mishra & Neeti Mohan, Music by ~ Rochak Kohli, Lyrics by ~ Adheesh Verma

Rochak Kohli enters the soundtrack next, with his sole song, which happens to be a wonderful Sufi duet, with, again, a strain of pathos running through it. The composer doesn’t usually get to do such songs, but he did impress us with the amazingly soothing ‘Rozana’ (Naam Shabana) earlier this year, so it is no surprise that he ended up composing this one so well. The composition is so fresh, and quite like the Pritam school of alternative rock, it mixes Sufi sounds with a templated rock rhythm. Without the Sufi, the rock would’ve sounded incomplete, and vice versa. So it is like a beautiful combination that couldn’t be avoided. The antara is beautiful, and I must mention Neeti here, because she has sung her antara splendidly, and it is a delight to hear her in that whispery voice of hers. Her co-singer, Amit Mishra, builds on where Pritam left him off in ‘Bulleya’ (Ae Dil Hai Mushkil), and here, he makes an effort to remain soft and not as energetic as he was there, and the result is excellent. The arrangements are rich as well, the dholaks providing the authentic Sufi touch, while the amazing guitar work (Keba Jeremiah) and strokes (Tapas Roy) are one of the highlights of the song. The choruses at the end and in the second interlude, have been composed beautifully. Also, there’s a pause after the second interlude, where one thinks the song ends, but it seems Rochak has more to give us! The lyrics by Adheesh Verma are great too! A song that wonderfully mixes elements of Pritam and Shankar-Ehsaan-Loy styles of composition, and a beautiful Sufi-Rock arrangement!

Rating: 4.5/5


3. Teen Kabootar

Singers ~ Mohit Chauhan & Divya Kumar, Additional Vocals ~ Aflatunes, Music by ~ Arjunna Harjaie, Lyrics by ~ Kumaar, Rap Written & Performed by ~ Raftaar

Arjunna returns to the album with his second song, this time, a fun a cappella number full of onomatopoeia. The beginning itself gets your interest peaked and you listen closely right from the beginning, where the singers do an innovative sargam, that sounds excellent. The composition by Arjunna, yet again, resembles the style of a cappella that Shankar-Ehsaan-Loy are well-known for, and they have succeeded with it in songs like ‘Maston Ka Jhund’ (Bhaag Milkha Bhaag). The composition doesn’t appeal to you at once though. It is the various vocal rhythms and sound effects that help you to find it appealing. The vocalists do an amazing job. Mohit’s metallic voice is the perfect choice for the song, and when he goes seamlessly from low to high notes, it sounds wonderful! Divya usually takes the high octaves and does so here as well. These lead singers definitely do well, but the backing vocalists also provide a very fun element to the song! The interlude where they sing “Chaaku Chaaku Leke Jaa..” is so fun to listen to! Even Raftaar’s rap adds an element of fun to the song. About the arrangements, whatever I say will be less. Amazing percussions (Taufiq Qureshi’s Mumbai Stamp) and guitar work makes the song appealing to listen to, and as mentioned before, Arjunna’s amazing use of the a cappella style in a desi way makes this song sound very unconventional. Kumaar’s situational lyrics too are clever and serve the purpose well. This song might be Arjunna’s ticket to many more Bollywood films which need quirky music!!

Rating: 4/5


4. Rangdaari

Singer ~ Arijit Singh, Backing Vocals by ~ Arjunna Harjaie, Music by ~ Arjunna Harjaie, Lyrics by ~ Kumaar

Arijit Singh has started to get songs in every film yet again; there was a kind of low phase intermittently. The only difference is that before, it used to appear right at the beginning of soundtracks. Now it has changed. And in this album too, we see an Arijit Singh song popping up as the fourth song on the soundtrack. The composition is amazingly beautiful. Arjunna Harjaie composes a wonderful Sufi tune, which is familiar to the ears, but soothing nonetheless. The hookline is something you’ve heard time and again, but still works its magic to soothe you down. Especially that line “tu laagey mujhe dushman si..” has been composed very beautifully. The antaras are beautiful, and the whole structure of the song reminds me of the recently released ‘Bairaagi’ (Bareilly Ki Barfi) which sadly, didn’t work for me as well as this. Arjunna decorates his magical composition with stellar musical instruments. First of all, he gives the genuine Sufi touch with the dholaks (Aanchal Goud), which sound wonderful and very earthy. But it is the interlude, in which he introduces a wonderful flute piece (Shubham Shirule), accompanied by a MIND-BLOWING sargam by Arijit (or is it Arjunna?). And it is then that the song gives off beautiful Rahmanish vibes, but also gets its own place in your heart. The Duff rhythms do sound too heard-before, but they’re ignorable due to the wonderful things Arjunna has added besides that. The ethnic strings sound amazing here, and as always, Tapas Roy has done magic with them. The vocals by Arijit are top-notch, but it is his everyday composition and he aces it as was expected. The lyrics are very impressive here as well. A beautiful Sufi song, with a familiar sound, but still impressed me because of its innocence!

Rating: 4.5/5


5. Kaavaan Kaavaan (Remix)

Singers ~ Sukhwinder Singh & Renesa, Original Music by ~ Sukhwinder Singh & Mychael Danna, Music Recreated by ~ Tanishk Bagchi, Original Lyrics by ~ Sukhwinder Singh, New Lyrics by ~ Kumaar

So ‘Kaavaan Kaavaan’, the opening track of the album, gets a ‘Remix’, or so T-Series calls it. But this isn’t the remix of Arjunna Harjaie’s song. It is the remix of the original song from ‘Monsoon Wedding’, done by Tanishk Bagchi, the third composer of the album. Also, I wouldn’t call it a remix at all, since it might just be another remake of the song by Tanishk, but Arjunna’s must have gotten chosen as the main version. This one is merely Tanishk’s original take on this song. That having been said, I can say Tanishk has worked very hard on this one. He tries to add digital beats wherever possible to make the song sound fresh, but some places it just doesn’t work, especially after the Indian arrangements that led the Arjunna version. Not that Tanishk hasn’t added dhols and all, but the emotion of the song doesn’t come across as well in this one. For a dance track though, this is better. Tanishk also ropes in Sukhwinder himself to re-dub the song, and that’s definitely a plus point. Renesa does the female portions of the song, and she sounds awesome. What bugged me was the hookline, where I found the backing vocalists too loud. A more zesty remake, but not more effective.

Rating: 3.5/5


6. Baaki Rab Pe Chhod De

Singers ~ Brijesh Shandilya, Vayu, Tanishk Bagchi & Arman Hasan, Music by ~ Tanishk Bagchi, Lyrics by ~ Kumaar

Tanishk’s second song serves as the caboose for this album, closing the album on a very lively and bright note. I say this because right from the beginning of the song, you know it is going to lift your spirits. It starts quite similarly to ‘Raula’ (Jab Harry Met Sejal), with lively plucked strings. The composition is fun to listen to, too, but gets slightly disjointed in the latter parts. It starts off brilliantly though, and the hookline is delightful. The arrangements here too, are mainly digital beats, but this time they succeed in remaking the song livelier. Tanishk’s trademark liveliness comes across well through this song, and it is a thing to wonder, why he spends time in doing some remakes. The singers do justice to the song, the lead singer, Brijesh doing an exceptionally good job. Little Arman Hasan, who we heard in ‘Kankad’ (Shubh Mangal Saavdhan), singing alongside his father Raja Hasan, does well too. Vayu has probably done some backing vocals, so I couldn’t really place him in the song! Kumaar’s lyrics, are amazing. He writes some amazingly positive lines in this one too, taking the support of various scientific inventors like Thomas Edison and Graham Bell. Lively song, but could’ve been slightly better!

Rating: 4/5

Lucknow Central is one of those rare multicomposer albums that is a delight to listen to. Well, I guess when each composer knows what he is best at, and delivers the best of whatever he is best at, with the proper supervision by the director and producer, the multicomposer album can also turn out well. Ek Composer, Do Composer, Teen Composer, But No Sign That This Album is Multicomposer!!


Total Points Scored by This Album: 4 + 4.5 + 4 + 4.5 + 3.5 + 4 = 24.5

Album Percentage: 81.67%

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: Rangdaari = Meer-E-Kaarwaan > Kaavaan Kaavaan = Baaki Rab Pe Chhod De = Teen Kabootar > Kaavaan Kaavaan (Remix)


Remake Counter:
No. Of Remakes: 31 (from previous albums) + 02 {counting both different takes on ‘Ajj Mera Jee Karda’} = 33


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



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! 🙂



Music Album Details
♪ Music by: A.R. Rahman
♪ Lyrics by: Irshad Kamil, Rianjali, Rajakumari & A.R. Rahman
♪ Music Label: T-Series
♪ Music Released On: 27th June 2017
♪ Movie Releases On: 7th July 2017

Mom Album Cover


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

To buy this album on iTunes CLICK HERE


Mom is an upcoming Bollywood thriller, starring Sridevi, Sajal Ali, Akshaye Khanna and Nawazuddin Siddiqui. The film has been directed by Ravi Udyawar, and produced by Zee Studios, Sunil Manchanda, Naresh Agarwal, Mukesh Talreja, Gautam Jain and Boney Kapoor. The film revolves around a mother and her daughter, and as the daughter never reciprocates the love which her mother gives her, the mother, played by Sridevi, just waits patiently for that day. However, an unfortunate incident (not revealed because this is a thriller, duh!) widens the gap between the two, to a point of no return. Now the mother has to make a choice between what is wrong and what is very wrong, in order to fight for her daughter’s love. So the story seems quite intense, and way at the other end of the spectrum than Sridevi’s previous film ‘English Vinglish’, though that too had a “Mother” subplot. What is another attraction in this film, is that it has A.R. Rahman giving music. Now, it has been a long time since Rahman has signed such a small film, and I’m very glad he did, because it’ll just go to prove that he provides his best to any film (that is, if the music is good). He has given seven songs for this soundtrack, and Boney Kapoor calls it one of his best works. Let’s check for ourselves!

1. O Sona Tere Liye

Singers ~ A.R. Rahman & Shashaa Tirupati, Lyrics by ~ Irshad Kamil

“Aaye na kabhi, aankhon mein nami,
Khushi ka jahaan, laayenge hum hi,
Yeh toh baat hai, jeene ke liye,
Hoon zaroori main, tu bhi laazmi!
O Sona, tere liye, duaaon se jalte diye,
O Sona, tere liye, farishton ne sajde kiye!”

– Irshad Kamil

The beginning song of the album is aptly, a lullaby, from a mother to her daughter. Yes, it is sung by a male voice, with a small stanza by a female voice, but the sentiments come forth nevertheless! I personally never think the gender of the singer matters, when the lyrics say what they want to. Anyway, the song starts off quite slow, and reminds you of many a Rahman composition, with its dulcet, slow-paced yet heart-moving sound. The structure of the composition is quite similar to earlier this year’s ‘Hind Mere Jind’ (Sachin: A Billion Dreams). The composition is very, very moving; it starts off like a soothing Western tune, high on Western arrangements, like the guitars. As soon as the hookline kicks in, the song starts gaining pace, and the composition of the hook is just so beautiful, you just can’t help but get a bit emotional. The antaras both having the same tune, have been composed so calmingly, and their soothing vibe is what makes the song sweet and simple. Rahman keeps the arrangements simple, with a basic piano melody and guitar riff (Keba Jeremiah) forming the base of the arrangements. The piano chords throughout the song give the song more gravitas. As soon as the hookline starts, a wonderful guitar riff takes centre-stage. The first interlude has a wonderfully done strings piece, by the Chennai Strings and Sunshine Orchestra, conducted by VJ Srinivasa Murthy, and that is intertwined later with Kamalakar’s beautiful flute piece. And it is at interludes like this, where you can truly appreciate Rahman’s arrangements. The second interlude takes an unexpectedly Pritam-ish turn, with the digital notes, playing in a loop, in the trademark Pritam way. Again, a nice guitar piece is superimposed on that. Mind you, this is the only song on the soundtrack without any kind of experimentation in arrangements whatsoever, so it’ll probably be the most popular and public-friendly song from the film, or maybe not. As far as the vocals are concerned, Shashaa outdoes her mentor and co-singer, the composer himself, in her small stanza. Rahman’s voice doesn’t really suit the composition, but there are some places where you think nobody else could’ve sung it. Shashaa, on the other hand, manages her lines well, with a beautifully pitched voice, and not only does she do her solo portion well, but she enhances the song with her various backing vocal inputs as well. That “Tere Liye, Tere Liye” she sang once, after Rahman had sung the hookline, has stuck in my head! Irshad Kamil’s lyrics are beautiful, beautiful and beautiful. The fact that, due to Rahman’s diction, some of it is unclear, is different though. A nice and dulcet start to the album, which is now going to take an experimental turn, so brace yourselves!

Rating: 4.5/5


2. Kooke Kawn

Singers ~ Sukhwinder Singh, Blaaze, Suzanne D’Mello, Lyrics by ~ Irshad Kamil & Traditional

“Kothe utte kooke kawn! (Kooke kawn, Kooke kawn!!)”

– Irshad Kamil

This song onwards, the soundtrack becomes purely experimental; some things are such that we’ve never heard experimented with before and others are merely an everyday experimentation for us, which Rahman too happened to do in this album. This song falls into the second category. A Punjabi club number isn’t a new idea to Bollywood music listeners. In fact, Rahman himself has given a Punjabi experimental number ‘Jugni’ in Tamil album ‘Kaatru Veliyidai’. This one is different, though. The song starts with the cawing sound of a crow, and that makes you think, “WHHATT?” (For the uninitiated, “Kawn” in the song’s title actually means “crow”). And then a typical club setting is set up by Rahman, and Sukhwinder’s initial lines, though they aren’t a very strong start to the song, sound fascinating due to their incongruity. The folk song (apparently some of the lyrics are “traditional”, as per T-Series) sounds mismatched as well as perfectly fitting into the club setting, at the same time. But it isn’t until the “oh-oh-ohhhh” portion arrives, that you actually get the addictiveness of the song. There is one antara, that sounds like Rahman tried to give his trademark sound to a Punjabi song. The composition isn’t too strong; most of the addictiveness of the song arises from its fabulous arrangements. The guitars (Keba Jeremiah) during the aforementioned “Oh-oh-ohhhh” part sound very good, and help to make the song appeal to a very niche audience, that likes guitars in Punjabi songs. 😂 Of course, Rahman doesn’t keep out the dhols that characterize a Punjabi song. He ropes in Taufiq Qureshi (Feat. Arun Solanki, Deepak Bhatt, Dipesh Varma, Omkar Salunkhe, Gautam Sharma, Shikhar Naad Qureshi) to control the amazing percussion and rhythms. But still, it is the guitars that shine. An interlude has a very rowdy-sounding, Naagin-dance type of sound, which must’ve been introduced because Sridevi is in the film. (Though she won’t be dancing on it, but it seems like a kind of tribute! 😄). To conclude, Rahman puts in an odd end in the form of a brass band kind of sound, which only reminds me of ‘Zingaat’ (From Marathi Movie ‘Sairat’). Sukhwinder handles the song well, and especially the rapid-paced portion in the antara. Blaaze has a short rap towards the end, and I can’t say the clichéd line that it’s better than the Punjabi rappers we hear these days, because it isn’t, frankly! 😂 But Suzanne D’Mello really shines in her backing vocals portions. Irshad Kamil’s lyrics and whatever the Traditional lyrics were, are hardly intelligible. An experimental song, and probably the most addictive Club song from Rahman after ‘Pappu Can’t Dance’ (Jaane Tu Ya Jaane Na) way back in 2008. 

Rating: 4/5


3. Raakh Baakhi

Singers ~ Jonita Gandhi & Rianjali, Lyrics by ~ Irshad Kamil

“Aag toh hai yeh magar dil ki, jalaaye, kisko jalaaye,
Cheekh seene mein hai dabi jo, bulaaye, kisko bulaaye,
Zindagi mein toh teri jaan, kahin chalaaki, kahin chalaaki,
Roz bun-bun ke tu humdard, banaaye, kisko banaaye,
Raakh baaki thi jisse, leke chali hai aandhi,
Phoonk maari hai kisse waqt bujhaaye, kisko,
Ashq dete na mujhe koi, nazar kuch din se,
Dard mera hausla hai toh rulaaye kisko?”

– Irshad Kamil

Next up is a thoroughly experimental, rock song, with very less rock elements! The composition by Rahman is a proper composition you would expect to be in a rock song, embellished heavily with electric guitar strums and drums, with a pulsating rhythm! Not that the rhythm of the song that Rahman has used here, isn’t pulsating! In fact, it is quite thrilling, considering that only a few rock guitar portions are helping it stand up. A techno loop provides the rhythm throughout the song, which is very low on the composition front; it is more like a song that is completely whispered by Jonita Gandhi. She seems to get the weirdest (but beautifully experimental) songs from Rahman! ‘Implosive Silence’ (Highway) was a reverse of her humming, and now this is a whispered song, barring some English lines that are more like an angsty outburst. The few instances where the rock guitars do show up, are amazing. Though the song has no tune as such, the words are chanted in such a way, that it almost sets up a catchy rhythm, like the parts when she says “Jalaaye, Kisko Jalaaye“, or “Bulaaye, kisko bulaaye”. Jonita herself, sounds very different from her usual voice, even in the parts where she properly sings those English lines. Or maybe the English lines are by backing vocalist Rianjali, who has given great supporting vocals. The song seems like it will be placed in the background score somewhere, during a crucial point in the film. There are more frequent electric guitars towards the end of the song, and those parts are really fun to hear. At first when I heard this song, I thought, “What a waste of six minutes, when this is all you have to hear.” Now I see how amazing it would sound at the cinemas. However, I must say, it sounds quite repetitive after some time; you just have to wait it out in some parts when it gets boring, because it gets better towards the end. Irshad Kamil’s lyrics are full of angst, and appropriate for the thrilling setting of the film. A thrilling song, that would sound amazing in the film itself, but still sounds catchy even now. Less repeat value, though.

Rating: 3.5/5


4. Freaking Life

Singers ~ Rianjali, Raja Kumari, Suzanne D’Mello & Darshana KT, Lyrics by ~ Rianjali, Raja Kumari & A.R. Rahman

“All my life I’ve been trying to run,
And now I can’t see,
Now I can’t breathe,
All the time I had, I just faded away,
All this time I was scared of me,
But now I’m just me,
And I won’t leave,
No, I can’t go back,
I’m just flying free!”

– Rianjali, Raja Kumari & A.R. Rahman

Another youthful song is up for us to listen to, after that thrilling BGM-kind of song. This one starts off in a very staid manner, with an electric sound that starts it off quite vaguely. And as the singers start off, with that very cheesy-sounding line, you just wait for it to get better. And it does. A very cheerful composition follows, and especially Suzanne’s portions (“All my life I’ve been trying to run…”), the mellifluous one before the hookline, is amazing. The hookline itself, is again, very boring and sounds as if the singers are taking out their frustration on the listeners for some reason. The “It’s my, it’s my, it’s my” is so irritating. I mean, one moment, they’re happy, and the other, they’re frustrated with their lives. The four singers (one is Darshana KT, the backing vocalist) sound great as a whole, but I could separate Suzanne D’Mello being her usual awesome performer self, and singing beautifully. It is her part of the song, which is the best, coincidentally. The song also reminded me of the other such song that released this year, “Buri Buri” (Dear Maya), which followed quite the same template, but wasn’t so long. A.R. Rahman, along with two of the singers, Rianjali and Raja Kumari, pen down the lyrics, which are a clichéd depiction of teenagers. The arrangements are a bit better, with nice techno sounds embellishing the frustrated singers’ outbursts. This song isn’t going to stay with me for long; it is befitting as an English pop single.

Rating: 2.5/5


5. Chal Kahin Door

Singer ~ Shashaa Tirupati, Lyrics by ~ Irshad Kamil

“Ranjishon, ruswaaiyon se, bewajah bechainiyon se,
Uljhe raaston se, dard ke sab bandhanon se,
Khush nahi hai dil tu jin se, apni hi unn uljhanon se,
Chal Kahin dooooor chale!!”

– Irshad Kamil

Now this song, is what we were waiting for, from Rahman, ever since he gave us “Agar Tum Saath Ho” (Tamasha). The way he fused Indian classical with Western sounds in that song, is now an example of excellent fusion, without it having to be rock. This one too, is along the same lines. The composition starts off like an offspring of “Kahaan Hoon Main” (Highway), and continues being so for about one minute, until a very, very unexpected turn arrives, which has a very sanctimonious-sounding tune, and then it bursts into a Western orchestral piece. The composition is a very beautiful one, taking many such unexpected twists and turns, and by the time it ends, we are just awestruck. The antara is so charmingly cute, and again, it breaks into a waltzy tune somewhere in the middle, which makes you feel as of you’re floating in the sky, if I were to be sounding the most clichéd I can. The number of time Rahman seamlessly switches genres and rhythms in the song, is just amazing. The arrangements follow the composition and change with it everytime. The song starts off with the peaceful sound of water flowing in a stream, and this is when the prelude similar to ‘Kahaan Hoon Main’ is sung. To increase the serenity, Rahman’s piano chords, as always, provide the required soothing quality. Soon enough, the stream vanishes, and, in a very ‘Chali Kahani’ (Tamasha) way, the composition changes tune and rhythm, and I would describe this portion as a bhajan-like portion, because of the wonderful chimes, Manjeeras and harp that Rahman has employed on the arrangements. As the hookline actually breaks out, the Chennai Strings & Sunshine Orchestra comes back to awe us with its ravishing strings, and a string guitar strum ends the long Mukhda. Only to bring yet another fascination in the form of a BEAUTIFUL flute (Kamalakar) portion that leaves you spellbound. The Antara brings back the bhajan-like part, but later on, it changes course again, into a waltzy tune, decorated with a beautiful flute piece in the background. And then the violins start up yet again, as soon as the hookline returns. Actually the song ends here, but Rahman throws in a bonus one-and-a-half-minutes of music to leave us spellbound before we end the song. The guitars provide a nice rhythm to Shashaa’s humming in this portion, which is like an interlude, and the flute returns to kill us yet again. The hookline is repeated once more after that ravishing interlude, and then the song (which was surprisingly 6½ minutes long, but never felt so long) ends, sadly. Shashaa sings something that I think is her best yet. After ‘Sarsariya’ (Mohenjo Daro) and ‘Sunn Bhavara’ (Ok Jaanu), she gets yet another masterpiece with Rahman, and she seizes the opportunity to showcase her singing prowess yet again. Her talent is so properly utilised by Rahman everytime, as he seems to direct her talents to bring out her best each time. And now I am yearning for her to sing a proper Bhajan with Rahman’s music, because we all know what masterpieces Rahman makes in the name of bhajans! Irshad Kamil’s lyrics are wonderful here too! Quite like the lyrics of his recent song “Sune Saaye” (Dear Maya) with Anupam Roy, this one too, is about forgetting your worries and staying happy! 😍 A song that leaves you utterly spellbound and speechless. One of the best experimentations of the year!

Rating: 5/5


6. Muafi Mushkil

Singer ~ Darshana KT, Lyrics by ~ Irshad Kamil

“Chehre pe Khalish hai baaki,
Yaad mein woh tapish, hai baaki,
Bante bante bante banta hai,
Mausam matam jaisa phir,
Hote hote hote hota hai,
Hansna bhi ghum jaisa phir,
Koi ho hum jaisa phir,
Andhera, uthaale, ujaala, sambhaale,
Aankhon ki jheel mein, subah hai jawaan!
Subah se rootha toh, Maafi, maafi, maafi, maafi mushkil!”

– Irshad Kamil

This song starts off in a very distinct way, very, very different from any song (at least any song in a Bollywood soundtrack) that I’ve heard, ever! The a cappella style takes a never before heard form, with a very quiet and soft sound. The composition is good, but again, very experimental, and will appeal only to a niche audience. The part where it goes high in a crescendo, is just mind blowing, and singer Darshana KT carries it out amazingly. Again, it reminds me of ‘Kahaan Hoon Main’ (Highway)! The first half comprises only Darshana singing in the foreground and singing the a cappella portions in the background, while the piano leads the second half of the song, making it sound more intense and beautiful from that point. It aptly sounds mysterious when the piano enters, and it sounds like a sad song; but I’ll have to watch the film to know what exactly it is. Darshana’s vocals are amazing, and she makes a smashing debut in singing, under Rahman’s experimental sound. Now this isn’t a song to go on playing on loop, but as many times as you listen to it, you’ll get something more out of it. The first time, you will definitely not love it. The second time is better, and the third time is (as always) the best. Irshad’s lyrics are good, while I think some of the backing vocals she does in the a cappella portions, is Arabic. The song is interesting, with many layers to unfold each time you listen to it!

Rating: 3.5/5


7. Be Nazaara

Singer ~ Sudeep Jaipurwale, Composition & Lyrics ~ Traditional, Music by ~ A.R. Rahman

The finishing song to the album is a traditional classical melody, with traditional lyrics, arranged by A.R. Rahman. Sudeep, a singer from the Jaipur Gharana of singing, gets to debut in Bollywood, and I must say, what a brilliant vocal texture he has. It’s not exactly the earthy, folksy texture you find in usual folk singers, but it is surprisingly very clear and smooth, because of which he can do perform the intricacies of the composition with perfection. The composition itself is so strong, it won’t go without leaving your mouth hanging, and making you leave whatever you are doing at the moment to concentrate only on the song. Again, the nuances of it are so beautiful, and that is the beauty of folk compositions! Rahman adds a modern touch with his digital arrangements, also adding beautiful chimey sounds that make the song even more deep-sounding. In the true nature of a classical song, it is 7 minutes and 35 seconds long, but you never get bored for one second. A perfect, spine-chilling (because of its intricacy) finale to the experimental album!

Rating: 4/5

Mom is an album that is quite brave in its presentation. Never before have I seen such an unconventional album, that is half made out of songs that we would usually never hear except in the theatre, in the Background music of a film. But Rahman and the makers of ‘Mom’ have tried it and emerge successful too. There is such a variety even in the experimentation — with a Punjabi club song, a whispered-out rock song, an a cappella sad song, a semiclassical song which has numerous twists and turns and a purely classical song. Yes, it is less on repeat value, but this album will be remembered for standing out as an unconventional one. The makers needed such experimental music for a thriller like this, and so I would just tweak the age-old saying and say that “Necessity is the Mother (or rather, MOM) of Experimentation!!” 


Total Points Scored by This Album: 4.5 + 4 + 3.5 + 2.5 + 5 + 3.5 + 4 = 27

Album Percentage: 77.14%

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: Chal Kahin Door > O Sona Tere Liye > Be Nazaara = Kooke Kawn > Raakh Baakhi = Muafi Mushkil > Freaking Life


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



Music Album Details
♪ Music by: A.R. Rahman
♪ Lyrics by: Irshad Kamil & Kaly
♪ Music Label: Junglee Music / Times Music
♪ Music Released On: 18th May 2017
♪ Movie Releases On: 26th May 2017

Sachin: A Billion Dreams Album Cover


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

To buy this album on iTunes CLICK HERE

Sachin: A Billion Dreams is an upcoming docu-drama starring Sachin Tendulkar, directed by James Erskine and produced by Ravi Bhagchandka and Shrikant Bhasi. The film is a biopic that covers many aspects of Sachin’s professional and personal life, as narrated by the cricketer himself. Sachin is probably the most phenomenal star in the history of cricket, since he has so many fans and followers and well-wishers. For a biopic of such an important personality in sports, the makers make an apt decision for the music director of the film by finding his equivalent in the music industry — A.R. Rahman. Now, I know this won’t be a conventional Hindi film album with song-and-dance routines. What I’m expecting is a heart-moving and soulful score for this film. So let’s see whether Rahman, with his three songs in the film, can bring out the greatness of Tendulkar through his music!

1. Hind Mere Jind

Singer ~ A.R. Rahman

“Abb sabhi maan lo, baat yeh pyaar se,
Maante ho bhala, kyun sadaa haar se,
Jo shikhar ke liye hai bana Hind hai,
Woh meri jaan hai, with meri jind hai,
Aa rahi hai sadaa, dil ki har taar se,
Abb sabhi maan lo baat yeh pyaar se!”

A.R. Rahman kicks off the album with an aptly placed patriotic song. Sachin Tendulkar is probably one of the most well-known idols of the country and he is also very dedicated towards his country, and so it is no surprise that the first track in the album happens to be a patriotic number. What is a surprise, though, is the manner in which the Mozart of Madras composed this patriotic number. The song is composed in a very tranquilizing manner, something Rahman very often likes to work with. At first, the composition seems odd, but after a couple of listens you get used to it, and it grows on you. And after that it sounds magical!  The mukhda is a bit odd in the way it abruptly starts off with the “Oh-oh-oh-oh-oh, oh beliyaa” but it gradually gets better. The hookline is alsp quite commonplace. But the part that hooked me to the song, is the Antara which takes a delightfully tranquil Qawwali-ish mode, a la ‘Kun Faaya Kun’ (Rockstar), something that Rahman excels in. Also, who would’ve expected that kind of a treatment to be given to a patriotic song! But then, it was Rahman himself who did it years ago, in ‘Yeh Jo Des Hai Tera’ (Swades). The “Oh-oh-oh-oh-oh” loop is very catchy and it is probably the line that will hook most people to this song. Rahman’s arrangements are grand without being over-the-top. The song starts with a wonderful sound, like a flute. And after that, a synthetic shehnaai-like portion steals the breath away. When the melody of the song actually starts, there is predominantly piano arrangements, with a metronome ticking in the background. How simple, but the piano chords really make it sound grand. The sitar addition is just beautiful, while the claps during the “Oh-oh-oh-oh-oh” interlude are some booming arrangements. It is in the antara, again, when everything becomes more scintillating. A beautiful female chorus hums a trademark Rahman-ish melody, and then the Qawwali-ish portion starts, where Rahman, the mastermind that he is, adds the harmonium which increases the depth of the antara manifold. Rahman’s voice has a certain resonance, which no other singer in Bollywood at this point of time, can emulate. His voice gives the song another dimension altogether; it is so impactful. Irshad Kamil’s lyrics are aptly patriotic, of course. A very soothing patriotic song, on the lines of ‘Yeh Jo Des Hai Tera’ (Swades).

Rating: 4/5


2. Sachin Sachin

Singers ~ Sukhwinder Singh & Kaly, Rap Lyrics by ~ Kaly

“Raste chaahe hon ghane hi,
Hai ujaala tere haathon mein,
Ho adhoora khwaab toh phir,
Neend kaise aaye raaton mein?
Abhi aadhi kheli toone baazi,
Abhi chotein dil ki taazi taazi,
Abhi dil ko hai karna raazi,
Teri hauslon ne paa leni hai manzilein!”

After that heart-moving patriotic song, Rahman comes up with a ‘Sachin’ anthem. And the song is quite cool. Yes, the composition is quite blander than I would’ve expected somebody like Rahman to compose, but what made the day for me, was the way he used the ‘Sachiiiin, Sachiiin’ chants that make the stadium vibrate, as the hookline of this song. The sheer innovativeness with which that portion is done, made me think about the song completely differently. The padding around the hookline, though, is a bit underwhelming, and it has a quite run-of-the-mill sports anthem-like sound to it. Sukhwinder Singh’s vocals are topnotch, and he creates the ambience that will remind us of all of Sachin Tendulkar’s amazing feats in the history of cricket. As always his energy level is unmatchable. Kaly, the rapper, too does a fine job. Rahman’s arrangements are mostly digital percussion again, but I must say, the beats are very groovy, though at the same time, very typical and clichéd. There’s another uncredited female portion in the interlude, which was the peak point of the song, next to the “Sachin” chants. Irshad Kamil very appropriately praises the God of Cricket in his writing. An anthem that works only partly with its composition, but has a top-class hookline, and amazing vocals!

Rating: 3/5


3. Mard Maratha

Singers ~ A.R. Ameen & Anjali Gaikwad

“Dam dam dam Tain Tain Tain Tain Mard Maratha Tain Tain re!”

A vocal loop that reminds me of so many of Rahman’s Tamil songs kicks off the last song on the album, a fun and enjoyable children’s song that will surely make you get up and dancing to its beats. Rahman composes it in a way that will instantly appeal to the listeners, and especially the younger children. That vocal rhythm keeps repeating throughout the song, and keeps the listeners glued to the song. The mukhda is quite catchy as well, and very effectively leads to the vocal rhythm again, which serves as the song’s hookline. Rahman keeps the catchiness constant throughout the song; the antara is also very impressive. Not just the composition, but even the arrangements and vocals stand out in the song. The composer employs a very typical Maharashtrian dholki beat, that works in favour of the song and sets up a nice Maharashtrian feel to the song, apt because Sachin is from Maharashtra. The beginning has a nice Irish flute, that helps in getting the listener hooked. The interlude has a nice dhol-taasha part, coupled with nice Indian banjo after that. And of course, the dholki remains constant. Rahman’s guitars help infuse amazing energy to the song wherever they play. The vocals are very impressive, with two children singing joyously, but perfectly. They hit the right notes everytime, and even showcase for us, some very impressive rapid aalaaps. Rahman’s son, Ameen, does a good job, but his female co-singer, Anjali Gaikwad steals the show when she sings mind blowing aalaaps. Irshad Kamil’s lyrics are fun and enjoyable, just like the song. Sachin’s young fans will love this one!

Rating: 4/5

Sachin: A Billion Dreams is aptly short, sweet and simple. With a patriotic song, an ode to Sachin, and a children’s song, the album is quite a mixed bag.However, it doesn’t seem like one of those albums that I will listen to over and over again, and it is definitely not one of Rahman’s best. He showcases his experimentalist side in ‘Mard Maratha’, but the other two songs lack that.Nevertheless, they are good songs for a film in which I least expected songs. The Mozart of Madras puts aside his garish orchestration and complex compositions and delivers a sweet and simple album for the Master Blaster!


Total Points Scored by This Album: 4 + 3 + 4 = 11

Album Percentage: 73.34%

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: Hind Mere Jind = Mard Maratha > Sachin Sachin


Please vote for your favourite song from Sachin: A Billion Dreams! Thanks! 🙂



Music Album Details
♪ Music by: Ravi Shankar, Niladri Kumar & Rohan-Vinayak
♪ Lyrics by: Rohit Teotia, Sirasri & Mandar Cholkar
♪ Music Label: Eros Music
♪ Music Released On: 2nd May 2017
♪ Movie Releases On: 12th May 2017

Sarkar 3

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

Sarkar 3 is an upcoming Bollywood political crime thriller, starring Amitabh Bachchan, Jackie Shroff, Manoj Bajpayee, Amit Sadh, Rohini Hattangadi and Yami Gautam in crucial roles. The film is directed by Ram Gopal Varma, and produced by Rahul Mittra, Anand Pandit, Gopal Shivram Dalvi, Krishna Choudhary and WeOne. It is the third instalment in the “Sarkar” franchise, and it is the story of a girl who has set out to avenge her father’s death, which she blames “Sarkar” (Bachchan) for. The franchise is not really known for its music; music is like a side business for the franchise (Except the “Govinda” theme), and practically every Ram Gopal Varma film after his collaborations with A.R. Rahman and Sandeep Chowta. If at all any money arises from the sale of the music album, it is well and good for the film. 😂 After having Bapi-Tutul (last heard in ‘Saat Uchakkey’ last year) compose for the first two films, RGV ropes in a Ravi Shankar for this instalment, someone I’ve never heard of, and the only Ravi Shankar I could find in Google is the Indian Classical composer who died in 2012. So I don’t know who exactly this Ravi Shankar is. Along with him are 2016’s amazing finds, found by Ashwiny Iyer Tiwari in “Nil Battey Sannata”, Rohan-Vinayak, and another musician who debuted in 2016 with “Shorgul”, Niladri Kumar. I have substantial expectations from these two, and whatever Ravi Shankar gives will be an added bonus. So here’s the review for “Sarkar 3”!

1. Angry Mix

Singers ~ Sukhwinder Singh & Mika Singh, Music by ~ Ravi Shankar, Lyrics by ~ Rohit Teotia

The album starts with a song that starts with Sukhwinder singing “Sarkaaaaaaarrrrr….”, followed by club beats that were the thing in around 2002-2003. The beginning of the song itself fails to raise eyebrows, and I assure you, none of the rest will surprise you either. The composition is so dated and haphazard, you don’t even know what you’re listening to. Ravi Shankar has tried to co pose it in a chantlike manner, but fails due to the datedness and blandness of the composition. The arrangements are nothing but an overdose of techno music that doesn’t fit in today’s era of techno music. But it suits the crime theme of the film, and that’s pretty much all that it gets right. The vocals are by Sukhwinder Singh and Mika Singh, who are two people that can make boring songs sound slightly better, but here, even they can’t succeed in saving the dead composition. The “Govinda Govinda” chants by Sukhwinder sound blatantly dull. The lyrics are the normal, run-of-the-mill lyrics that usually feature in such tracks. What a bore.

Rating: 0.5/5


2. Ganpati Aarti

Singer ~ Amitabh Bachchan, Music by ~ Rohan-Vinayak

Okay, so it’s weird to be reviewing an Aarti, but I will have to judge it only on the basis of vocals and arrangements. This song is basically the Ganpati Aarti, as the name suggests. Rohan-Vinayak, who made a smashing debut last year with “Nil Battey Sannata”, get to helm this one. And I must say, they do it with utmost integrity and respect. The dignity of the Aarti is retained, and nothing is changed except the arrangements, and those too, are very simple and traditional. Claps, bells, Mridangam, manjeeras, strings and other traditional instruments are used to enhance the Maharashtrian feel of the song, and much like any well-arranged devotional song, it gives you goosebumps. Amitabh Bachchan’s deep and resonant voice just complements the wonderful arrangements and gives the Aarti a very respectable touch, which might not have been there, if someone else had sung it. The chorus singers are wonderful, and play an important role in making the song what it is! Your everyday Aarti, treated with utmost care and presented to you with the Maharashtrian flavour intact.

Rating: 5/5


3. Gussa

Singer ~ Sukhwinder Singh, Music by ~ Ravi Shankar, Lyrics by ~ Rohit Teotia

This is the original version of the track that arrived previously as Angry Mix. The track is the same as far as the composition goes. If it isn’t, I was too lazy to make out the difference. To hear that boring and banal composition yet again is a punishment to the ears. What makes this one slightly better than the “Mix”, is the arrangements. Very aptly, they provide a BGM-like quality to the song, the kind of music that would play when you’re watching a thriller and a crucial moment arrives. The brass instruments provide a regal quality to the song, but they get monotonous after a while. Later, a very clichéd sound sets in, with the dholaks and manjeeras, as if a politician’s procession is going through town. Who would want to hear that in a song? Sukhwinder reprises the vocals, and the song actually sounds better without Mika, as Sukhwinder’s voices oozes of command and power. The “govinda govinda” chants are even more pronounced here, and because of the dholak-manjeeras rhythm, it sounds all the more commonplace. A song only apt for being a background piece. 

Rating: 1/5


4. Sam Dham

Singers ~ Kailash Kher & Saket Bairoliya, Music by ~ Ravi Shankar, Lyrics by ~ Rohit Teotia

The “Sam Dham Dand Bhed” chants from “Sarkar” return here, coupled with the “Govinda Govinda” chants. And then Kailash Kher comes and sings a strictly lifeless composition that will bore you to infinity. Ravi Shankar’s composition doesn’t deserve to be heard; at the same time, the arrangements are the usual dholak rhythm, with those bells that are supposedly trying to intimidate us with their sound. The brass and strings get sidelined due to the overbearing sound of the dholaks. (They only manage to make you go to sleep, though) Kailash sounds least interested in singing this one. And I am least interested in listening it to it over and over, so I am stopping the review here.

Rating: 0.5/5


5. Thamba

Singer ~ Navraj Hans, Music by ~ Ravi Shankar, Lyrics by ~ Sirasri

This one starts with the famous “Mujhe jo sahi lagta hai…” dialogue in Big B’s voice, and what follows is a formulaic crime song that sounds like so many of those gangster-themed songs of Bollywood that try to showcase gangsters as superheroes, except here, it is a politician and not a gangster. The composition seems to be trying hard to be cool, but succeeds not even one bit. Things are a bit better in the arrangements department, but that’s because Ravi Shankar takes the help of techno sounds, and regal brass tunes to uplift the song. The beats are good but very laidback, and get very monotonous after a point. The electric guitar parts are impressive to an extent, until it gets all weird. The “govinda govinda” chants haven’t been kept out of this song either. And then those random outbursts of “thamba” (Which means “Stop” in Marathi) are so miserable. How boring. Navraj Hans brings in an avatar of his that I have never heard, and after hearing it, I wish I never had! There is a rap somewhere in the middle by someone who is unfortunately uncredited. The lyrics by Sirasri (??) are something that we have heard so many times already. Another epic fail, and it isn’t even funny.

Rating: 0.5/5


6. Shakti

Singers ~ Mika Singh, Adarsh Shinde & Saket Bairoliya, Music by ~ Ravi Shankar, Lyrics by ~ Mandar Cholkar

The “Govinda Govinda” chants start off the next song, and then a random shout of “Go! Win! Da!” (Which is “Govinda” horribly pronounced). As soon as Mika starts rambling out the words of this sing, and as soon as the dhols and bells start playing, you roll your eyes and press the “Next” button. At least you can press that. I can’t. I have to review it. The composition is yet another clichéd composition that suits only in a Ram Gopal Varma film. And it is tailor made for Mika Singh. Adarsh Shinde, a singer we hear mostly in the Marathi industry singing folksy numbers, supports him ably, and the best parts in the song are by him, like the aalaaps. The arrangements are the typical fare of dholaks and bells, but I loved the stop-and-play manner in which the dholak is played in the antaras. A song that seems extra long just because all the songs before it sounded just like it. 

Rating: 1/5


7. Sarkar Trance

(Instrumental), Music by ~ Niladri Kumar

Niladri Kumar’s instrumental arrives at the very end of the album, as instrumentals usually do. The Zitarist produces a very hodgepodge mix of Sarkar dialogues and techno sounds with this track. And no, the “Govinda govinda” isn’t absent. A minute into the track, it changes from a dull dialogue delivery of Bachchan’s, to a cool, sinister-sounding track, where the synthesiser tune actually does sound deserving of some attention. And then some uncredited lady very sinisterly sings something that sounds like a mantra. The racy nature of the song makes it feel more like a track from an Anurag Kashyap film, than a RGV film. Impressive, but far from excellent.

Rating: 2/5

Sarkar 3 is an album you’d best not listen to. Unless you want to be bombarded by “Govinda govinda” chants. Unless you want to hear all the dialogues and chants that were already heard in ‘Sarkar’ and ‘Sarkar Raj’, again, like revision, to prepare you for the third film. Unless you want to hear songs that sound the exact same and you can’t differentiate one from another. Unless you want to hear a unidimensional soundtrack. Unless you want to just hear dholaks and bells. And finally, unless you want to miss a wonderful Ganpati Aarti sung by the effervescent Bachchan and arranged by the wonderful Rohan-Vinayak. {Hint: Just hear that song, and that’s it}. A movie that could’ve gone without a seven-track music album!!


Total Points Scored by This Album: 0.5 + 5 + 1 + 0.5 + 0.5 + 1 + 2 = 10.5

Album Percentage: 30% {In case you want to know, Without the Aarti, it  18.33% 😂}

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

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

Recommended Listening Order: Ganpati Aarti > Sarkar Trance > SKIP THE REST!


I’m not bothering to make a “What’s Your Favourite Song?” poll.