Music Album Details
♪ Music by: Rochak Kohli & Ankit Tiwari
♪ Lyrics by: Manoj Muntashir
♪ Music Label: Zee Music Company
♪ Music Released On: 1st February 2018
♪ Movie Released On: 16th February 2018

Aiyaary Album Cover


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

To buy this album on iTunes CLICK HERE

Aiyaary is a Bollywood thriller starring an ensemble cast comprising Sidharth Malhotra, Manoj Bajpayee, Rakul Preet Singh, Vikram Gokhale, Pooja Chopra, Naseeruddin Shah, Kumud Mishra, Adil Hussain and Anupam Kher. The film is directed by Neeraj Pandey and produced by Reliance Entertainment and Pen Studios. Well, the fate of the film and its music has akready been decided, but for the record, I’m completing the albums I missed on my break– this being one of the first ones. The music is by Rochak Kohli and Ankit Tiwari, the former getting a lot of work nowadays, but the latter getting almost no work at all. Anyway, I expect an album that has nothing to do with the film, because it’s a Neeraj Pandey film after all. Hopefully, the songs will be listenable out of the film, if they’re in the film in the first place, that is. Let’s dive right in.

Rochak Kohli’s start to 2018 comes with Lae Dooba, a rehash of his 2017 hit ‘Rozana’ (Naam Shabana), this time in Sunidhi Chauhan’s voice. The song is great even by itself though, with Sunidhi slaying it as always with the calm tune, and the soothing arrangements playing their magic on you. The antara’s composition treads dangerously close to that of ‘Rozana’s antara, and Manoj Muntashir’s lyrics also become ‘Jab Chhooke Tu Nikle’ here, just like it was ‘Mujhe Chhooke Tu Guzar‘ in ‘Rozana’. Rochak is getting typecast now, but still manages to give great music. The arrangements are soothing too, with nice percussion (Sanket Naik) and amazing guitars (Mohit Dogra, Ankur Mukherjee).
His other song Shuru Kar has a nice anthemic vibe to it, harking back to Neerja’s ‘Aankhein Milayenge Darr Se’. Amit Mishra is the perfect rockstar to sing this song, and Neha Bhasin in her short role does well. It works in its intentions to rouse a certain motivation in our heart. Muntashir’s lyrics here are good too, going well with the patriotic and motivational vibe of the song. What will put one off instantly though, are the three stanzas with the exact same tune, making the song sound too repetitive, to top its already repetitive hookline.
Added later to the album, giving me a chance to review it now, is Lae Dooba By Asees Kaur, which is a clubbish interpretation of that song, where Asees graduates from her position as the backing vocalist, to the lead vocalist. Rochak’s lively electronic arrangement here is fresh and entertaining, and what’s best is that it has a life out of the movie. (Actually all Neeraj Pandey movie songs have lives outside the movie because they rarely fit into the movie – “M.S. Dhoni” being the exception!)
Ankit’s Yaad Hai sounds a lot like a Himesh Reshammiya composition, especially the parts the composer himself sings. Palak Muchhal sounds great here, except for a few blunders in diction that should have been rectified. (The first few lines are barely intelligible.) Arrangements are beautiful — especially the piano (Zafar Iqubal Ansari) and violins. Reading DJ Phukan’s name (one of Pritam’s frequent collaborators) in the credits as the arranger and producer doesn’t surprise me, because such beautiful arrangements can only be done by him! The lyrics of this song happen to be the best of the album; not surprising, seeing the past record of songs that Tiwari and Muntashir have made together.

A typical Neeraj Pandey short, simple and straightforward soundtrack with no ‘Aiyaary’ (sorcery) whatsoever.


Total Points Scored by This Album:8.5 + 6.5 + 7.5 + 8 = 30.5

Album Percentage: 76.25%

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: Lae Dooba > Yaad Hai > Lae Dooba By Asees Kaur > Shuru Kar

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



It is time for my Round-Up for December 2017, which is slightly delayed due to me being so busy, but better late than never, right?

December 2017 Round-Up

This Round-Up includes the following music reviews:

1) Fukrey Returns – Prem-Hardeep, Jasleen Kaur Royal, Sumeet Bellary, Shaarib-Toshi, Gulraj Singh, IshQ Bector, Shree D & Laxmikant-Pyarelal

2) Firangi – Jatinder Shah

3) Tera Intezaar – Raaj Aashoo

4) Monsoon Shootout – Rochak Kohli, Viveick-Mayur, Chinmay Harshe, Chetan Rao & Vikram Shastry

The music review for “Tiger Zinda Hai” will be posted separately.

♦ Fukrey Returns, But Ram Sampath Doesn’t! – FUKREY RETURNS Music Review

♪ Music by: Prem-Hardeep, Jasleen Kaur Royal, Sumeet Bellary, Shaarib-Toshi, IshQ Bector, Shree D, Gulraj Singh & Laxmikant-Pyarelal
♪ Lyrics by: Kumaar, Late Anand Bakshi, Aditya Sharma, Satya Khare, Raftaar, Rohit Sharma, Arsalaan Akhoon, Shree D, Mrighdeep Singh Lamba & Vipul Vig
♪ Music Label: Zee Music Company
♪ Music Released On: 16th November 2017
♪ Movie Released On: 8th December 2017


Listen to the songs: Saavn

So Fukrey has returned. Sadly, the man behind “Fukrey”s enjoyable music, Ram Sampath has not returned, and after his underwhelming stint in ‘Raees’, he doesn’t get a chance to bounce back with a franchise that was initially his. Anywho, let’s judge on what we have been given.
Prem-Hardeep, the original composers of ‘Kala Chashma’ before Badshah remade it in ‘Baar Baar Dekho’, get a chance now, to ruin somebody else’s song. Laxmikant-Pyarelal’s ‘O Meri Mehbooba’ (Dharam Veer) gets ‘remade’ into Mehbooba, a banal club song which starts and ends with the Fukras being rejected by a random girl in the club, who happens to be singing in Neha Kakkar’s voice. Yasser Desai gets one line that repeats over and over again, and it is frankly the best line of the song. Raftaar’s rap is too stereotypical. Jasleen Kaur Royal’s Peh Gaya Khalara, though fitting into her now-overused Punjabi dance number template, is quite enjoyable, with the sweet vocals by herself and Divya Kumar, Akasa Singh & Akanksha Bhandari accompanying them. The arrangements are what make the track more enjoyable, and also the quirky lyrics.
Familiar territory is entered in Ishq Bector & Shree D’s semiclassical Raina, which, though quite soothing, gets tedious due to its length (it is the only song on the album over three minutes long, and goes up to over four minutes long!) The arrangements help propel it forward though, and also Shree’s vocals. Shaarib-Toshi enter the Bollywood scene after a long time with a delightful Punjabi melody, Ishq De Fanniyar. The male version by Shaarib is great, but the Female Version has all the feels, hence scores higher. The beautiful melody seems like a wonderful sequel to the first movie’s ‘Ambarsariya’. The lyrics are sweet as well, not to mention amazing accordions in the arrangements.
The techno sounds come along with the last three songs, bunched up together, out of which two are by Sumeet Bellary (composed for ‘Fuddu’ last year), and one is by (another person who re-enters Bollywood as a composer after a loooooong time, longer than Shaarib-Toshi), Gulraj Singh.
Sumeet’s two songs rely on weird techno gimmicks, which fail to propel the songs forward. Tu Mera Bhai Nahi Hai is a quirky friendship anthem, but is pulled down by lack of catchiness in both music and composition. Bura Na Maano Bholi Hai is like a title song, but gets all over the place in no time. The arrangements are slightly better here. Both songs are sung by Gandharv Sachdev, wit Shahid Mallya joining him in the latter song, and aren’t all that well sung.
Gulraj does well in his title song, Fukrey Returns, with a nice catchy musical loop, and heavy use of brass and techno sounds which makes his song sound even better. Siddharth Mahadevan on the vocals is a bonus.

Not as great as the first movie’s album, but still a commendable album considering the amount of new talent on there. But nevertheless, I wish Ram Sampath had returned!


Total Points Scored by This Album: 2.5 + 3.5 + 3.5 + 4 + 4 + 3.5 + 3 + 3.5 = 27.5

Album Percentage: 68.75%

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: Ishq De Fanniyar = Ishq De Fanniyar (Female) > Peh Gaya Khalara = Tu Mera Bhai Nahi Hai = Raina = Fukrey Returns > Bura Na Maano Bholi Hai > Mehbooba

Remake Counter:
No. Of Remakes: 43 (from previous albums) + 01 (from Fukrey Returns) = 44

♦ Quite A Desi Album! : FIRANGI Music Review

♪ Music by: Jatinder Shah
♪ Lyrics by: Dr. Devendra Kafir, Ashraf Ali & Krishna Bhardwaj
♪ Music Label: Zee Music Company
♪ Music Released On: 21st November 2017
♪ Movie Released On: 1st December 2017


Listen to the songs: Saavn

The song with almost the least amount of Punjabi words (second only to ‘Gulbadan’, which comes later on in the album) in its lyrics, Oye Firangi, starts the album off, and Jatinder Shah steals your heart right away. The charming melody immediately gets you grooving — thanks to a little EDM twist in the hookline — and though it is very simple, it is amazing thanks to the programming, and Sunidhi’s marvellous voice. There comes a British-era ballroom style orchestral portion at the end, but I wish the composer had extended that into another antara instead of ending the song with it! Another charming but heard-before melody, Sahiba Russ Gayiya, starts from where ‘Channa Mereya’ ended, with a similar structure and arrangement. Rahat’s voice is a boon to the song, and it’s the first song of his in a long time that doesn’t get on my nerves.(Ahem, ‘Mere Rashke Qamar’!) I love the way he pronounces the hookline. The Unplugged Version sung by Shafqat Amanat Ali, is funnily named ‘Sahiba (Male)’, as if Rahat’s version wasn’t by a male singer. The song itself is an improvement on the original, in that we get to hear Shafqat’s impeccable aalaaps, and though the choice of Shafqat doesn’t make it sound less like a Pritam song in general [Shafqat is just as much of a Pritam camp singer as Rahat is!] it surely does sound less like ‘Channa Mereya’, because the electric guitars have been toned down. Acoustic guitars play the larger role here. However some factors make both versions balance out at the end.
If ‘Sahiba’ had ‘Channa Mereya’ written all over it, Tu Jit Jawna has ‘Bhaag Milkha Bhaag’s title song all, and I mean ALL over it! Daler Mehndi, who I wish had sung the BMB number too, sings this one, and so it is quite bearable, but otherwise, it falls flat and sounds hollow in its emotion. It is also lyrically a counterpart to ‘Oye Firangi’, except Daler paaji doesn’t call him a ‘Firangi’ (foreigner), while Sunidhi did.
Gulbadan is a Qawwali-esque number, sung by Mamta Sharma. Good to hear her sing a different kind of song, though I’m sure the video will be the same kind of Bollywood ‘item number’. The hookline is greatly composed, with amazing arrangements by Shah, but again, falling into the too much tried-and-tested category of arrangements. I guess the best that comes out of this song is hearing Mamta Sharma’s gentle voice, because she thankfully hasn’t been made to sing in the annoying loud voice of hers.
But the album’s best is the wonderful folksy number, Sajna Sohne Jiha, which transports you back to the Punjab of the olden days. Wadali Bros’ Qawwali ‘Ve Sone Diya Kangna’ has been given a nice reinterpretation by Shah, and it works so well. The rhythms at the beginning really bring out the song’s folksiness, and Jyoti Nooran’s strong voice helps propel it to the finish line, where it emerges the winner compared to the other songs of the album!

A very desi album to the film ‘Firangi!’


Total Points Scored by This Album: 3.5 + 3.5 + 4 + 3.5 + 3.5 + 5 = 23

Album Percentage: 76.67%

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: Sajna Sohne Jiha > Sahiba Russ Gayiya (Shafqat) > Oye Firangi = Tu Jit Jawna = Gulbadan = Sahiba Russ Gayiya

♦ No Intezaar for This Album! : TERA INTEZAAR Music Review

♪ Music By: Raaj Aashoo
♪ Lyrics by: Shabbir Ahmed
♪ Music Label: T-Series
♪ Music Released On: 11th November 2017
♪ Movie Released On: 1st December 2017


Listen to the songs: Saavn

After a long time (or is it the first time?), one single composer gets a chance to compose an album for a film starring Sunny Leone. Somehow, she debuted smack in the middle of the multicomposer craze and so, got mainly multiple composers to compose for all her films! Raaj Aashoo handles the album.
The title track, titled Intezaar Title, instead of a more apt ‘Tera Intezaar’ (Obviously, because that’s the film’s name), is a dreary 2000s melody, sung by Shreya Ghoshal too, as if she is still in her debut year. Adding to the ennui, is the Qawwali-ish chorus. Raaj’s composition is good, but dated. The arrangement is the best thing about the song, especially the flute. Another very typically 90s melody, Khali Khali Dil, sees Payal Dev and Armaan Malik at their clichéd best. The digital sounds do not help make it more ‘modern’ or anything, and even the harmonica fails to create any impact. Quite a similar sound follows in the dreary Mehfooz, another song straight out of Nadeem-Shravan’s music-bank. The guitar work makes it sound like a version of Mithoon’s ‘Sanam Re’ title track, sans the tablas. Yasser gets a version, and, sounding like Arijit as always, manages to make it sound genuinely interesting. The arrangements here too make this song much more interesting than ‘Khali Khali Dil’. The song appears in two more versions, one by Palak Muchhal and the other by a new singer named Hrishikesh Chury. Palak’s 2½ minute long version fares better than Hrishikesh’s normal length one, because of the pleasant arrangements. Also, Hrishikesh tries to sound like Kumar Sanu.
The best song on the album, Abhagi Piya Ki, becomes the best only because the others don’t deserve it. It appears in two versions, a banal one sung jarringly by Kanika Kapoor and Raja Hasan, and a slightly better version sung much better by Payal Dev and Javed Ali. The tablas that went missing from ‘Mehfooz’ seem to have come to this song, and they play in surplus. The semiclassical touch to the song is good, but the 90s melancholia seems to have followed the composer like a thundercloud whenever he sat to compose for this film.
The only song that does not sound anything like a 90s song is Sexy Baby Girl, and it doesn’t work because it tries to sound uber-cool with its lead singer Swati Sharrma, like always, trying to add unnecessary style to her words, resulting in a disaster. Also, the lyrics are cringeworthy.

This is not an album anyone would have waited for. 


Total Points Scored by This Album: 3 + 2 + 2.5 + 2.5 + 2 + 3 + 3.5 + 3 = 21.5

Album Percentage: 53.75%

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: Abhagi Piya Ki (Javed/Payal) > Abhagi Piya Ki = Intezaar Title = Sexy Baby Girl > Mehfooz = Mehfooz (Palak) > Mehfooz (Hrishikesh) = Khali Khali Dil

♦ Surprising Monsoon in Winter!!: MONSOON SHOOTOUT Music Review

♪ Music by: Rochak Kohli, Viveick Rajagopalan, Mayur Narvekar, Chinmay Harshe, Chetan Rao & Vikram Shastry
♪ Lyrics by: Sumant Vadhera, Kartik Krishnan, Deepak Ramona, Chinmay Harshe, Rohit Bhasy, Neeraj Sharma, Vinit Gulati, Nidhi Gulati
♪ Music Label: Saregama
♪ Music Released On: 19th December 2017
♪ Movie Released On: 15th December 2017


Listen to the songs: Saavn

Rochak gets two songs, and reminds us why he’s one composer that keeps popping up in numerous albums scattered over the year’s span. It is because of his strong melodies. Pal is a cherishable melody which, though predictable, does give you goosebumps, and makes you want it to rain. Arijit’s heart-touching rendition is enough to make anyone fall for the song. On the other hand Miliyo Re is a very Sachin-Jigar-ish romantic song, with Monali and Rochak behind the mic, with vocals that aren’t amazing, but are functional. The composition is good but very commonplace; not as distinct as Rochak’s other songs this year.
Viveick-Mayur present their only song Andheri Raat next, a haunting song with weird Marathi rap, and awesome Punjabi-flavoured male vocals. Neha Bhasin kills it behind the mic, as does her co-singer, Rajiv Sundaresan, doing the aforementioned Punjabi-flavoured portions. The Marathi rap by Aklesh Sutar is funny, and quite weird too.
The other three songs are quite situational, all by newcomers, with neither one exactly standing above the others. Chinmay Harshe’s Miss You Balma, by Akriti Kakar, is experimental but has you questioning “Why??” because the jazzy composition and the rock arrangements don’t really gel well with each other. Akriti aces the vocals though, singing in an unusually (for her) low pitch. The other duo, Chetan Rao & Vikram Shastry, present two songs, one being a folksy item song Maachis Ki Teeli, in which the very unconventional choice of singer, Bhavya Pandit, whi hasn’t ever sung such a song, proves to be great, as she adjusts to the song’s folksiness very well. Her co-vocalists provide good company as the loafers interjecting occasionally. The last song Faislay has a quite dated tune, and a very mismatching digital loop that starts it off, but Mandar Deshpande’s singing brings it up.

An album that is good, but still will be a wipeout.


Total Points Scored by This Album: 4 + 4 + 3.5 + 3 + 3.5 + 3 = 21

Album Percentage: 70%

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: Pal = Miliyo Re > Andheri Raat = Maachis Ki Teeli > Miss You Balma = Faislay

Hope you liked this section of reviews! The review for ‘Tiger Zinda Hai’ will be out soon!


Music Album Details
♪ Music by: Amit Trivedi
♪ Lyrics by: Kausar Munir
♪ Music Label: Zee Music Company
♪ Music Released On: 18th October 2017
♪ Movie Released On: 19th October 2017

Secret Superstar Album Cover


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

To buy this album on iTunes CLICK HERE

Secret Superstar is a Bollywood drama starring Zaira Wasim, Meher Vij, Tirth Sharma, Raj Arjun and Aamir Khan. The film is directed and written by debutant Advait Chandan, and produced by Aamir Khan, Zee Studios and Akash ChawlaAfter the success of ‘Dangal’, Aamir Khan once again casts Zaira Wasim in the lead role here, in a story which is basically a young girl, Insia’s, journey to fulfilling her dream of becoming a famous singer. Great reviews have already started pouring in for the film, and I’m not going to rant about how Zee Music should’ve released the album for a musical movie much earlier than one day before the movie. Anyway, the music this time has been scored by a composer who has never composed for Aamir Khan. Amit Trivedi is choosing much more music-oriented scripts nowadays, as is evident from his choices of ‘Qaidi Band’ and now this. In ‘Qaidi Band’ he impressed a lot, managing to give the whole album a distinct rock touch, without making it sound monotonous. But this time, he needs to keep in mind the point of view of a 14-year old school going girl, and compose from her point of view. That might be tough, it might be easy, but we know it would not be something unconventional, like Trivedi is known to do. His quirkiness is expected to stay out of the album, but the soulful side of his is definitely expected to show itself in this particular album. So without further ado, because most of you are already in theatres watching the movie, or have already watched it, or are going this weekend, let’s jump into the music of ‘Secret Superstar’!

Main Kaun Hoon is the perfect self-discovery song to suit the film’s story and though the composition turns out to be quite underwhelming, barring the uplifting portion towards the end, it is debutante (15-years old only, at the time of recording the song) Meghna Mishra’s amazing vocals that redeem the song. The hookline is good, but very conventional at the same time. Given that the song has been written and composed by a young teenager though, it is perfect. The strings and drums and guitars by Trivedi make the song worthwhile. Kausar Munir’s lyrics here are just a snippet of the beautiful words that are to come in the rest of the album. Meri Pyaari Ammi follows with another staid composition, with unnecessary pauses that break the continuity of the song, and a hookline that is high-spirited but manages to get tiresome towards the end. Again, Meghna’s vocals are beautiful, but here it is lyricist Kausar Munir who makes the song cherishable due to her wonderful lyrics!
It is only in the beautiful folk-based Sapne Re that we remember that the album’s music is by Trivedi, because he bases it on a wonderful North-Eastern rhythm, one that we loved in his ‘Sawaar Loon’ (Lootera; 2013). Wonderful guitars and strings accompany the innocent composition; something that we would never have heard from Trivedi had it not been for this film which gave him the chance to compose from the point of view of a teenage girl. The folksy music gels well with Meghna’s sugary sweet vocals, and Kausar’s lyrics also keep the innocence of childhood intact. While in this song, the protagonist encourages her dreams to come true, she wills them to get locked up inside her heart in the polar opposite O Re Manwa. It is a beauty how two opposite situations arise in the same album, and through Kausar’s lyrics it is almost like a story unfolding in front of us. The composition itself is another one that doesn’t scream ‘Trivedi’, but can still be deciphered as a Trivedi song by the wonderful rock base, especially the way the guitars have been played. And as I juxtapose ‘Sapne Re’ with ‘O Re Manwa’, Amit also introduces a musical segment from ‘Sapne Re’ into ‘O Re Manwa’, as if trying to consolidate my assumption that these two songs are linked somehow! Meghna’s singing is toned down in a very subtle manner here, and she sounds so much different from her other songs here, mostly due to the lack of high octave notes.
The best song of the album though, is the dreamy Nachdi Phira, a song that stands out due to its motivational and inspirational sound. The composition starts off beautifully, with serene piano and strings working together to soothe your senses, until it breaks out into a high-spirited rock ballad, centred around Kausar Munir’s lyrics that create a nomadic touch. The antara of this song in particular, is beautifully composed, amazingly traversing the high octaves and hitting the heart at the right places. The lyrics of the mukhda of this song are used again in the cheesy Sexy Baliye, a song used to bring out the corniness of Aamir Khan’s character Shakti Kumaarr, a veteran music composer who isn’t in form anymore, as is evident from Trivedi’s spoofy composition. The arrangements are a mishmash of all kinds of sounds from all sorts of Bollywood songs — Punjabi pop, Bhangra and whatnot. It reminds me of ‘Switty’ (Delhi Belly). Mika sings aptly, and even if this weren’t a spoof song, he would’ve sounded the same. 😆
The only other male song on the album, I’ll Miss You is by another debutant, Kushal Chokshi. He gets to sing the romantic song which brings out the romance between Insia and Chintan. The song is refreshing, and has a trademark Trivedi touch, especially in the guitars in the hookline. Kausar’s lyrics will be especially loved by those who miss their school days. The school romance she cooks up in the lyrics is just so sweet, you will be reminded of your school days. Sunidhi Chauhan, who, coincidentally, I was thinking of when I thought who could have sung Meghna Mishra’s songs if this wasn’t a film with a teenage protagonist, gets the most lively song on the album, Gudgudi — a feel-good number that once again stands out because of its quirky lyrics. Amit’s composition is a wonderfully sprightly one, in trademark Amit Trivedi style, especially in the line before the hook. Mandolins and banjoes and harmonicas and brass instruments stand out among others, and give it a wonderful country sound. Sunidhi, ever-energetic, was the best choice for the song. Kausar pens amazing lyrics with so many everyday references, it is so fun to listen to.

Keeping in mind the setting of Secret Superstar, and the fact that the protagonist stirring up all this music is a young girl of fourteen of fifteen, the music is aptly conventional. Though I was a bit disappointed after Trivedi made that awesome rock album ‘Qaidi Band’, I soon came to terms with the fact that not always can he try something new like that. Here though, what actually shines is the amazing singing by debutante Meghna Mishra (I must say, great find, and also Kushal Chokshi!) and the splendid lyrics by Kausar Munir! The secret superstar here is the lyricist!!


Total Points Scored by This Album (in the order they appear in the review): 4 + 3.5 + 5 + 4.5 + 5 + 3.5 + 4.5 + 4 = 34

Album Percentage: 85%

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: Sapne Re = Nachdi Phira > O Re Manwa = I’ll Miss You > Main Kaun Hoon = Gudgudi > Sexy Baliye = Meri Pyaari Ammi


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



Music Album Details
♪ Music by: Sachin-Jigar
♪ Lyrics by: Priya Saraiya, Kirthi Shetty & Vayu Srivastava
♪ Music Label: Saregama
♪ Music Released On: 8th September 2017
♪ Movie Releases On: 22nd September 2017

Haseena Parkar Album Cover


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

To buy this album on iTunes CLICK HERE

Haseena Parkar is an upcoming Bollywood film starring Shraddha Kapoor in the titular role, and with Siddhanth Kapoor and Ankur Bhatia playing key characters in the film. The film is directed by Apoorva Lakhia, produced by Nahid Khan. It revolves around the life of Haseena Parkar, Dawood Ibrahim’s sister. It witnesses Shraddha Kapoor trying out a role that might just transform her career to a new phase, different from all those annoying girl-next-door-who-is-also-a-singer roles. The music in Lakhia’s films is generally inconsequential, but here he ropes in Sachin-Jigar, a duo who I know, won’t compose for films where music is just an attraction. Anyway, this is their sixth and penultimate album of the year (we are left with ‘Parmanu’ which will release in December) so let’s see how they fare after the above average ‘Bhoomi’!

1. Tere Bina / Tere Bina (Reprise)

Singers ~ Arijit Singh & Priya Saraiya / Priya Saraiya, Lyrics by ~ Priya Saraiya

Sachin-Jigar’s shortest album of the year (not counting ‘Hindi Medium’ in which they did only two songs) starts with a romantic ballad that really gives a cordial invitation to those goosebumps, and the goosebumps on your skin in turn have a nice gala time for the entire duration of the song. Of course, the makers opt for Arijit, but I must say this is the best Sachin-Jigar have used Arijit this year. His voice is best suited for this, unlike in ‘Haareya’ (Meri Pyaari Bindu) which was sung in Ayushmann style, and ‘Laagi Na Choote’ (A Gentleman) which was in everyday Arijit style. But this one has an entire different charisma and charm to it. Priya’s sugary voice returns after the duo autotuned it too much in ‘Baat Ban Jaaye’ (A Gentleman), and so, she sounds amazing as always. The Priya-Arijit duo really gives off big ‘Jaise Mera Tu’ (Happy Ending) vibes. The composition, however, is the least Sachin-Jigar-ish I would expect it to be. In fact, it has more shades of Rahman’s composing style, or some places even Shankar-Ehsaan-Loy. The hookline is so mellifluous, you just can’t get it out of your head if you listen to the song for just two times. The Antaras are amazing, and I especially appreciated Priya’s portions, because of her beautiful voice that melts in your ears! (Did that sound awkward? Well, it does!! Just like sugar melts in your mouth, her voice melted in my ears and it was bliss!) Sachin-Jigar excel with the strings this time and Tapas Roy’s creative plucked strings again feature as one of the best parts of the song. The song itself starts with Tapas Roy’s plucked instruments, like a beautiful folksy song, full of rawness and earthiness. The beats throughout the song are simple though, and resemble slightly Rahman’s beats in ‘Maahi Ve’ (Highway) and Shankar-Ehsaan-Loy’s beats in ‘Tere Naina’ (Chandni Chowk To China). The flute interludes are scintillating. The Reprise Version of the song has the duo rearrange the song on a more haunting base, with wind blowing, and piano notes, and dramatic percussion. Priya handles it solo, and that helps people like me who love her voice get attracted to it. The lyrics of both versions are by her too, and she writes beautiful lines, comparing how the two lovers are incomplete without each other, to things like “What if the sky was colourless?” and it is just so fun to listen to these metaphors. 🙂 A beautiful romantic song, with an apt sad version too!

Rating: 4.5/5 for the Original, 4/5 for the Reprise


2. Bantai

Singers ~ DIVINE & Kirthi Shetty, Lyrics by ~ Kirthi Shetty

Apoorva Lakhia’s ‘Shootout At Lokhandwala’ had an utterly ridiculous music album, but the song everyone still remembers is Mika’s gangster song, ‘Aye Ganpat’. Now, Lakhia tries to make Sachin-Jigar recreate that vibe in ‘Haseena Parkar’. The duo’s composition is obviously better than Mika’s composition for ‘Ganpat’. The hook is especially catchy. It is the antara where things start going helter-skelter, and the song starts to fall out. It has a horrible composition. (Maybe because right before that, we hear them pouring alcohol into glasses — clearly, it got to the character’s heads so Sachin-Jigar must have deliberately made it a weirdish composition. 😂). Mumbai rapper DIVINE comes on board, supported by Saavn’s movie reviewer, Kirthi Shetty of ‘Bhai ke Rapchik Reviews’. The vocals are suitable for such a song, and increase the repeat value, but just to an extent. The lyrics by Kirthi Shetty, too, are apt for the situation. The arrangements are quite underwhelming, but you can’t expect much more than this. Sachin-Jigar do not fare exceptionally at this, but manage to create a sketchy gangster song.

Rating: 2.5/5


3. Piya Aa

Singer ~ Sunidhi Chauhan, Lyrics by ~ Vayu Srivastava

I guess, just as a gangster song is a regular in Apoorva Lakhia’s films, so is a Pancham-da flavoured item song. So now Sachin-Jigar make that for him. And though my choice of words makes me sound as if I’m irritated, I’m not. The song is good, with a punchy vibe to it. Sachin-Jigar very exceptionally channel their inner R.D. Burman, and churn out a melody to match the catchiness of ‘Parda’ (Once Upon A Time In Mumbaai), ‘Ice Cream’ (The Xposé) and ‘Balma’ (Khiladi 786), some Pancham-da flavoured songs which weren’t by him! 😃 The hookline is trademark Pancham, and you might suffer from a serious bout of nodding your head side to side in that signature dance step of such songs. 😂 The arrangements are the usual fare for such songs, with trumpets and the sax leading, and those bongo-congo percussions that make Pancham songs what they are. Sunidhi’s energetic vocals help make the song more lively, whilst Vayu writes suitable lyrics. The song is short, and so is my review for it. An almost perfect R.D. Burman styled song!

Rating: 3.5/5

Haseena Parkar is one of those albums, like ‘Bhoomi’ that Sachin-Jigar seem to have picked up for experience. They get a chance to compose stuff here, that they never get to compose in their usual rom-com fares, and they do quite a good job at it too. With only three songs, this one is quite a Lilliput of an album, but Sachin-Jigar prove that they have it in them!!


Total Points Scored by This Album: 4.5 + 4 + 2.5 + 3.5 = 14.5

Album Percentage: 72.5%

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: Tere Bina > Tere Bina (Reprise) > Piya Aa > Bantai


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



Music Album Details
♪ Music by: Sachin-Jigar
♪ Lyrics by: Priya Saraiya & Vayu Srivastava
♪ Music Label: T-Series
♪ Music Released On: 25th August 2017
♪ Movie Releases On: 15th September 2017

Simran Album Cover


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

To buy this album on iTunes CLICK HERE

To hear “Baras Ja” on Saavn CLICK HERE

To buy “Baras Ja” on iTunes CLICK HERE

♪ To hear “Baras Ja” on YouTube:

Simran is an upcoming Bollywood drama film, directed by Hansal Mehta, produced by Bhushan Kumar, Krishan Kumar, Shailesh R. Singh, and Amit Agarwal. The film stars Kangana Ranaut, Soham Shah, Mark Justice, Hiten Kumar and Esha Tiwari Pande in crucial roles. The film revolves around a Gujarati lady settled in the United States of America, who gets involved in crime. The film does seem quirky and very racy, and definitely very humorous. Now, Hansal Mehta usually does not rely on music to carry his films forward, as is evident from the fact that out of his recent film, ‘Shahid’ had just one song (not even released properly by a music label), and ‘Aligarh’ had no songs. Then there was ‘Citylights’, which, due to it being a joint venture with the Bhatts, had a stellar album by Jeet Gannguli. This film seems to be Hansal’s lightest film in a long time, and the result is that we can read the names of Sachin-Jigar in the credits, for music. Now, roping in Sachin-Jigar can’t mean anything except that Hansal wants great music for this film, doesn’t it? Accordingly, Sachin-Jigar have scored six songs for the film, and very situational too. Still, before I reveal much, let’s see how the music fares!!

1. Lagdi Hai Thaai

Singers ~ Guru Randhawa & Jonita Gandhi, Lyrics by ~ Vayu

“Doodho nahaao, phoolo phalo tum,
LED jaisi karna glow tum,
Sabko duayein yeh naseeb rakhna,
Jodi sada ye muskuraaye!
Maike ki photo ik kareeb rakhna,
Aisa na ho ki bhooli jaaye, jaaye, jaaye!
Jadon nache baby sajj dhajj, Lagdi hai thaai!”

– Vayu

It must be so difficult to compose for seven film albums in a year, but Sachin-Jigar are up and about, composing for the fourth album, which happens to be ‘Simran’. The first song matches Sachin-Jigar’s roots, as it is a Gujarati track by soul, but Punjabi by sound. Actually, it’s a beautifully thought out fusion of Gujarati and Punjabi, something nobody would ever be able to do this well and this seamlessly! The composition is perfectly suitable for a song that should make you get up and dance, and the desi touch, both Punjabi and Gujarati, add to the enjoyability of the song. Both the mukhda and the antara have been composed on the same tune, and Sachin-Jigar follow the trend to keep the song short and more appealing. The short length never hampers the beauty of the song. The hookline is amazing as well, but it is the arrangements that makes the song sound amazing. When it starts, you may be quick enough to dismiss it as yet another typical Punjabi number, added into the album just to be another ‘London Thumakda’ (Queen), but later you realise the magic, when the Gujarati dhols begin to awe you. The brass band (Trumpets by Kishore Sodha) is used very nicely here, and without sounding stale or heard-before, it provides a nice and fresh touch. But what is really amazing, is that wonderful flute (Naveen Kumar) which has been played in a very typical Gujju style, and it does nothing but inspire you to learn how to play flute! 😛 But I’m sure this kind of a flautist would take years to become so good! The vocals are amazing. At first, I thought Guru Randhawa has been chosen just because he has a history of many pop songs with T-Series, but turns out, he has given the Punjabi touch to the song very genuinely, and keeps aside all his pop song background for this one filmy song! Jonita is a surprise package; singing in Gujarati and all — though I think she is Gujarati. Anyway, she sings the old lady portions with as much ease as she does the lead heroine’s portions! In fact, she sings the Dadi Maa portions in Gujarati even better!! One thing I didn’t enjoy was the drunk part at the end, it seemed forced. Vayu’s lyrics are some of the most positive wedding song lyrics I’ve seen in Bollywood, a place where people come to weddings only to eat, drink and dance. But here, Vayu makes the characters sing things like “LED Jaisi Karna Glow Tum!” I swear, it is one of the most positive blessings I’ve heard in a Bollywood wedding song, and so less dramatic than the blessings they used to sing in songs like ‘Maahi Ve’ (Kal Ho Naa Ho) and all! All in all, this is a very enjoyable Gujju-Punjabi fusion, with amazing arrangements to accompany the energetic vocals!!

Rating: 4.5/5


2. Pinjra Tod Ke

Singer ~ Sunidhi Chauhan, Lyrics by ~ Priya Saraiya

“Jannat ke saaye, jannat le aaye hai,
Baahon mein, ab zindagi,
Kismat ki dori jo, baandhi woh kholi,
Jeene chali, main abb zindagi,
Pinjra tod ke, tod ke, udd jaana hai,
Baahein kholke, kholke, udd jaana hai!”

– Priya Saraiya

The next song starts off as a mellow composition, with piano notes almost assuring you that this is going to be a sad number. However, it is wonderful to see how Sachin-Jigar seamlessly change the mood of the song, making it uplifting and motivational as the song progresses. That is almost like a symbol infused into the song by Sachin-Jigar. The lyrics by Priya Saraiya talk about breaking free of restrictions, and flying freely — so Sachin-Jigar have probably structured the song in a way to resemble that, starting off very slowly, but breaking free subsequently! What a wonderful form the song takes on, once you realise that! Sachin-Jigar’s composition is nothing new, it is the usual Sunidhi pathos, but it works wonders even though it is heard-before. After all, it isn’t necessary for things to be complicated to like them, is it? The hookline is very motivating, as is the second antara, a sprightly conclusion to the otherwise soft song. It takes on a more energetic tempo and composition, and even has more energetic arrangements, since the electric guitars and drums truly break out in that part. The rest of the arrangements have a soothingly Western touch — starting off with amazing piano, progressing into a euphoric acoustic guitar-led arrangement, until the aforementioned second antara arrives. The interludes contain a wonderful “Oley Oley“, by a backing vocalist I suspect is Jonita Gandhi, she sounds exactly like her. This type of song nowadays, usually goes to Sunidhi, and she aces it, as always. It’s nice to see her finally getting recognised not only as a singer of those upbeat numbers she was terribly typecast for in the late 2000s. Priya Saraiya’s lyrics, as mentioned before, are motivating and uplifting, in the true sense! This is probably Priya’s best work in a long time! A beautiful song, with a simple and heard-before vibe, but still manages to impress monumentally!!

Rating: 5/5


3. Meet

Singer ~ Arijit Singh, Lyrics by ~ Priya Saraiya

“Tu hi mera meet hai ji,
Tu hi meri preet hai ji,
Jo labon se ho sake naa judaa,
Aisa mera geet hai ji!”

– Priya Saraiya

The next song happens to be a very happy-go-lucky romantic song, sung by Arijit, the kind of song Sachin-Jigar have usually done many times with Atif. Since their songs with Arijit have always been unconventional and never-heard-before, this comes as a surprise, as it conforms to the regular Arijit school of romance. However, the composition is really charming, and has you hooked (at least to the hookline) in the first listen. In the subsequent listens you “try” to get hooked to the mukhda and antara. Sadly, I still can’t recall the tunes of these portions immediately, even after having listened to the song at least six times by now. Does that mean the song is bad? Not at all. The song is amazing. Sachin-Jigar weave magic even with those notes that evoke memories of compositions by other composers, but doesn’t really evoke memories of any song in particular. It has the charm of an old Bollywood song, and it is the kind of composition to which we would say “Ah, the nostalgia”, after listening to it after a long time somewhere in the future. It is for this reason that the song gets such a huge repeat value even though it isn’t hooking as such. The hook has wonderful variations Arijit takes not every time, so they remain exclusive, but you keep waiting for the times he does take those variations! The arrangements are just as soothing as the composition; again, a wonderful piano piece opens the song, coupled with a magical and fairy-tale-like strings portion, until the Acoustic guitars come in to lighten up the mood. The whole thing sounds so fulfilling with that wonderful composition. The guitar riff repeats throughout the song. The interlude has a nice flute portion, which keeps you listening, if not hooked. Arijit aces such songs, and does so yet again. Again, I must mention those wonderful aalaaps of his, in the hookline. Priya writes amazing lyrics here too, but here they’re quite simple, even more simple than ‘Pinjra Tod Ke’, and has a plain and straightforward theme — love. A charming love song, with simplicity ruling it.

Rating: 4.5/5


4. Single Rehne De

Singers ~ Shalmali Kholgade & Divya Kumar, Lyrics by ~ Vayu

“Mere dad bole karle shaadi, varna marr jaayegi boodhi daadi,
Shaadi kar, shaadi kar, shaadi kar, aakkho din shaadi kar,
Aur koi kaam nahi hai kya??”

– Vayu

A laugh riot arrives next, with a song that’s evidently about the main character trying to convince her father to let her stay single. There is actually very less by way of composition in the song, whatever little there is, just keeps repeating. The song is more like a rap, but it is the lyrics that hold it higher than it would have been. Vayu cracks you up with humorous lines that usually don’t find their way into songs; they are typical to scripts of rom-coms, but I find it very cool for them to find their way into a song. The production too, is good, but very repetitive again. Nevertheless, it goes with the unconventional nature of the lyrics. Shalmali Kholgade renders the rap with a feisty attitude, and Divya Kumar, relegated to the background does his one line well. Shalmali says the conversational portions of the song, at the beginning in such a funny, humorous way, that you start to get interested in the song due to her! Not a very fresh composition, but fresh lyrics and vocals, and even arrangements, which are sadly repeated too much!

Rating: 4/5


5. Simran

Singer ~ Jigar Saraiya, Lyrics by ~ Priya Saraiya

“Chulbuli hai, chulbuli hai, nakchadhi hai, manchali hai,
Palak jhapakte falak churaa le apni Simran!
Jaani anjaani, thodi si deewaani,
Deewaana sabko banaa de apni Simran!
Ho, suljha ke hi khud hi yeh badhaye apne dil aur dimaag ki uljhan!
Oye oye oye Simran, alhad si Simran!
Na jaane tu chali re kahaan!”

– Priya Saraiya

The title song which we heard in the trailer is presented to us next, and it is this song which is actually the one that took the most time for me to like. The composition is very likeable, and has a lilting charm to it, in a very playful way, and has a charming ‘Barfi’-esque vibe to it, with the numerous sound effects and the whole description of the main character. The composition is great, if you look at it, but the arrangements confused me. Firstly, I was apprehensive about them because they were so similar to the ‘Barfi’ title track, with the whole accordion, mandolin and vocal sound effects, that I wasn’t sure if I liked them! I love ‘Barfi’, but I just felt weird about this song being so close to that. Later on, I started appreciating the arrangements, because of their lilting European touch and it was definite that Sachin-Jigar’s music would be inspired by Pritam’s as they were his disciples after all! Jigar has sung the song himself, and he has carried it out very well, and his raw, Un-autotuned vocals make the song even better as it sounds more natural and casual! The lyrics by Priya too, do a great job in acquainting us with the character of Simran, and her nature. A good title song, with an amazing arrangement.

Rating: 4.5/5


♪ Bonus Song

♪ Baras Ja

Singer ~ Mohit Chauhan, Lyrics by ~ Priya Saraiya

“Jo nainon mein hai boondein,
Inhe rukhsaar ko, jee bhar ke chhoone de zara…
Ae dil, baras jaa, baras jaa na!
Abb toh aakar bhigo de tu mujhe!”

– Priya Saraiya

Now this song released later, a few days after T-Series had released the “Full Album”. Coincidentally, it had flooded in Mumbai on that day, and they came with a song called ‘Baras Ja’ the same night, so maybe they were waiting. 😶 Anyway, the song is probably the best, and least simple song on the soundtrack. It has a very complicated tune, but in spite of that, it is so easily loveable! It starts with a very sublime sound of the matka, and again, a soothing flute portion (Sachin-Jigar have really gotten it right with the flute in this album!!) that ensures you that this song was worth the wait! The composition is beautiful, very 90s, and very earthy at the same time, being very soothing. The antara is very, very amazingly composed, and Sachin-Jigar mix elements of Pritam’s and Rahman’s style of composition, to present to us a song, that is rooted to Indian music, especially in the arrangements. The song is decorated with beautiful flute pieces, and the Indian percussion really helps give it that earthy feel. Wonderful piano notes provide the much needed Western touch to the song too, but the Indian-ness overpowers it. Mohit Chauhan reminds us of his ‘Tum Se Hi’ (Jab We Met) days, and croons the song just as mellifluously. He does get a beautiful song all to himself after a long time, after having two songs by Pritam in ‘Jab Harry Met Sejal’, sharing space with a co-singer in both of them. This is his first solo song after a long time! Priya Saraiya’s lyrics again, are very effective in bringing out the romance, and help give the song another thing to boast about. If it had been released earlier, it would’ve been easier for people to find, with all the other songs of the album, and got more audience! I am sad because this is definitely the best of the album!!

Rating: 5/5

Simran is yet another beautiful album from Sachin-Jigar. After three albums this year, out of which one was a multicomposer one, they strike gold yet again with their fourth one. I definitely think we can attribute the beauty of this album to one and only one reason — that it’s a solo composer album, and the director Hansal Mehta was clear in what he wanted. The freedom and creative liberty given to Sachin-Jigar is evident, because they’ve made some of the most beautiful melodies, without making things too complicated. That shows us how things can be made more attractive by following a simple formula — “Simple Rehne De!!


Total Points Scored by This Album: 4.5 + 5 + 4.5 + 4 + 4.5 + 5 = 27.5

Album Percentage: 91.67%

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: Baras Ja = Pinjra Tod Ke > Meet = Simran = Lagdi Hai Thaai > Single Rehne De


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



Music Album Details
♪ Music by: Pritam Chakraborty, Diplo (Thomas Wesley Pentz) & Rocky Wellstack
♪ Lyrics by: Irshad Kamil
♪ Music Label: Sony Music
♪ Music Released On: 3rd August 2017, 10:30 pm
♪ Movie Released On: 4th August 2017

Jab Harry Met Sejal Album Cover


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

To buy this album on iTunes CLICK HERE

Jab Harry Met Sejal is a Bollywood rom-com film, starring Anushka Sharma and Shah Rukh Khan, directed by Imtiaz Ali, and produced by Gauri Khan. The film is about two strangers who meet in Europe, and try to find the engagement ring of Sejal (Sharma’s character). Obviously, as is the main theme in an Imtiaz film, they discover themselves through the journey. I think even more exciting than the movie itself, is the music. Imtiaz has said in many interviews that he enjoyed doing the music of this film, and that’s showing in the final outcome. The film is a musical (not full-fledged like ‘Jagga Jasoos’) and has 13 songs, by Pritam, who was Imtiaz’s go-to music composer before Rahman. With this film, they reunite, and after ‘Jab We Met’ and ‘Love Aaj Kal’, two super-hit soundtracks by both of them, this is their third collaboration! Expecting just as much variety in this album, and also expecting the elements of whatever Imtiaz has picked up from Rahman while doing the music of those films (namely ‘Rockstar’, ‘Tamasha’ and ‘Highway’)! So I hope this album will be like a blend of Pritamish Imtiaz and Rahmanish Imtiaz! Plunging into the album very positively, hoping it will astound me!!

P.S. Thanks to my friend Chiranjeev Gorur for acquiring and sharing the full musician credits to the album! 🙂

1. Radha

Singers ~ Sunidhi Chauhan & Shahid Mallya

“Main bani teri Radha, maine sakhiyon se, ankhiyon mein rakhna hai tujhko piya, thoda zyaada zyaada!
Main bani teri Radha, tuney sapnon tadapnon mein rakhna hai mujhko piya thoda zyaada zyaada!
Main bani teri Radha!”

Pritam starts off the album with an amazingly energetic song that makes you want to dance right along to its tune, right away. Now I know everyone has heard this song many times by now, and it’s a huge hit across the nation. It is essentially a Punjabi folk-plus-EDM fusion track, and the way Pritam employs these genres, is spellbinding. The composition itself follows a very desi compositional format, in that it appeals to us Bollywood music listeners right away with its inherent catchiness and energetic vibe. The hook, especially, leads the song, as it should. But it is the mesmerizing antara that was the best part for me. Pritam gives it this rapid tune that you are only able to sing after repeated listening, and that’s how it grows on you eventually. A very amazing Punjabi flavour has been given to the Punjabi portions sung by the male singer. The high pitch might bother some, but it is way more comfortable than listening to a high pitch song by Arijit Singh like the recent ‘Ik Vaari Aa’ (Raabta). And if the first antara takes you by surprise, the second antara, which just released with the album version of the song, is pure bliss. The harmony between the two singers is blissful! The arrangements follow suit and Pritam fuses folk and EDM, like I mentioned above. The flute and khartal (which is a Rajasthan folk instrument, but apparently being used in a Punjabi song) open the song in a very light-hearted and feel-good way. Throughout the mukhda, it’s the flute and khartals that play. Until Pritam introduces the mandatory dhol (Sukanto Singha & Sunny M.R.) in the hookline, you won’t be able to even tell that the song is a Punjab-based song. (Because even the lyrics aren’t proper Punjabi; they’re kind of like a mix between Punjabi and Hindi). Another awesome folksy instance in the song is the second interlude where the sarangi is played, and muffled by the programming! The EDM programming by Sunny MR, and Rohan Chatham’s vocal cuts during the “Raa-aa-aa-aaa” portion, serves for a wonderful catchy hook, which would definitely make people hit the repeat button! The coexistence of the dhols and EDM sounds so good. The vocals are a class apart. Pritam reverts to a singer that used to sing many songs for him back in the day, Sunidhi. This is her first song for Pritam after ‘Dhoom 3’, and we know how much Pritam’s music has boosted after that! She sings it so mellifluously, you don’t even realise the rapidity of the tune. Especially the antara, for which she should get standing ovations from all of us listeners! Shahid is top-notch too, his heavy Punjabi accent reflecting through his singing and making the folksy portions of the song what they are. Irshad Kamil’s lyrics are cute too, but there’s a certain Panipat line that had me surprised and worried and disappointed at the same time! 😂 It doesn’t even fit with the rest of the song! Anyway, overall he has written a cute little romantic song. Pritam’s experimentations almost never fail, do they?
Rating: 5/5


2. Beech Beech Mein

Singers ~ Arijit Singh, Shalmali Kholgade & Shefali Alvares, Backing Vocals ~ Arjun Chandy & Akashdeep Sengupta

“Hai safar mein zameen, chal raha aasmaan,
Dono ki jo kahaani, ho ki na ho bayaan,
Begaani jagah mein nadaani, karein na, karein toh kahaan?
Jal dheeme, yeh pal dheeme, kyun hai jalte hua?”

The next song on the album falls under a genre that I feel Pritam always aces. A club song. However, this time it is different. The club song isn’t the normal Pritam club you would expect, with heavy EDM and Benny Dayal. Instead, it has a completely retro feel to it, and has been composed as a retro funk song! I can’t remember the last time Pritam composed a retro funk number, because it’s always EDM when he does club songs. So this seems like a very new thing from him. The composition is instantly catchy, and the unconventionality of it all makes it even more appealing! It starts with a very insanely catchy vocal loop repeating the name of the song over and over again, and it is from there that your interest increases. The mukhda (which is the hookline too), is cool, and so is the ‘Shola Shola..’ line! The hook repeats many times throughout the song, but it doesn’t sound repetitive. The crux of the song’s composition lies in the antara, though, where Pritam makes a disco song, melodious! And the cross line which it takes to get back to the refrain, is extra cool!! That’s that about the composition. But it is the arrangements, as always, that really suck you into the song. A groovy guitar (Warren Mendonsa & Ernest Tibbs) riff starts the song off, behind the “beech beech mein” repetitions. The fun arrives, however, only when the drums enter, because they’re so amazing! The drums in this song are really some of the best drums I’ve heard (in non-rock songs) this year! The brass instruments (Trombone by Andrew Lippman, Trumpet & Flugelhorn by Ludo Louis) do their thing by fascinating us in the interludes, and in the antara, they have a really special role to play, when things get a bit melodious. Their harmony is just so enchanting. So now you get why the song can be called retro! 😀 For the vocals, Pritam uses his go-to female singers for club songs, Shalmali and Shefali, both. Of course the male portions are by Arijit. All three sing well; Arijit leads the way while each of the female singers are relegated to the background except for one or two lines. Irshad Kamil’s lyrics are fun. A song that should change the way we think about club songs in Bollywood!
Rating: 4.5/5


3. Safar

Singer ~ Arijit Singh

“Iss yaqeen se main yahaan hoon,
Ki zamaana ye bhala hai, Aur jo raah mein mila hai,
Thodi door jo chala hai, Woh bhi aadmi bhala hai,
Pata tha, zara bas khafa tha!
Woh bhatka sa rahi, mere gaanv ka hi,
Woh rasta puraana jise yaad aana,
Zaroori tha lekin, jo roya mere bin,
Woh ek mera ghar tha,
Puraana sa darr tha,
Magar ab main na apne ghar ka raha…
Safar ka hi tha main, Safar ka raha!!!”

Imtiaz’s favourite theme, travel, makes itself prominent right from the title of the next song, and all throughout it as well. The song is titled ‘Safar’ (meaning Journey), and it is a journey in itself for music lovers. Pritam’s composition is a slow and lilting composition that grows on you slowly surely. The mukhda is very beautiful and soulful, and sets off the song on a very jazzy and slow rhythm that is magically appealing. The hook is simple but sweet, and effective in the song. The antara is an amazing high-pitched portion where Pritam’s lines flow into each other so seamlessly, you can’t tell where one ends and the other starts! Towards the end, there’s almost a half-minute musical portion, where I feel Pritam could have added a small conclusion stanza, like he usually does in songs. The arrangements are very beautiful and impressive, with a very urban touch — acoustic and electric guitars (Arijit Singh & Aditya Benia), being the main instrumentation! The guitar riffs are wonderful throughout the song. Arijit’s vocals are very raw and rustic, with the gritty texture standing out very prominently; it actually gives the song a wonderful travel-esque feel. The places where his voice cracks, are actually some of the most brilliant parts of the song! Irshad Kamil’s lyrics are high on food for thought, and each and every line makes you think, connect and relate! The whole song is like a story that is being told about the character’s change of lifestyle. An unconventional song, which won’t be loved by one and all, but should be loved by the music lovers!
Rating: 5/5


4. Butterfly

Singers ~ Dev Negi, Jyoti Nooran, Sultana Nooran, Sunidhi Chauhan & Aman Trikha, Backing Vocals ~ Laddi Dhaliwal, Jelly Manjitpuri, Neetu Bhalla, Babita, Asa Singh, Amit, Tushar, Akashdeep, Abhishek, Manoj, Shubham

“Mujhmein ishq ya ishq mein hoon main,
Hua mujhe ehsaas re,
Khel raha hoon saath yaar ke,
Main khwaabon ki taash re,
Tu hi usko khoj raha hai, ae dil mere, yeh na soch,
Woh bhi tujhko dhoondh raha hai jiski tujhe talaash re!!”

This song starts right off with the boisterous Punjabi-ness that an Imtiaz Ali-Pritam combo always consists of. The song is a happy-go-lucky and cute Bhangra tune that really has you dancing to it right away. Pritam’s composition is very earthy and raw, and not superficial and hollow like most other Punjabi songs that release these days. The mukhda especially, starts the song off very beautifully, and you can imagine a village romance getting conjured before your eyes. The hook is the cutest part of the song, but catchy too. In the antara, things go haywire though, and you take time to understand the tune of those lines soon. The tune fluctuates so much, that it is quite difficult to grasp. However, both the parts of the Nooran Sisters, have been composed wonderfully, the one at the beginning, and the one that concludes the song on a very nice note. Both parts are heavy on the earthiness quotient and transport you to the fields of Punjab, with its melodious composition. The arrangements are the run-of-the-mill 2006-2009 era Pritam Punjabi arrangements, with loud dhols (Naseeb Singh), effervescent tumbi (Jelly Manjitpuri), a folksy alghoza (Gurpreet Singh) and of course, a nice technical production. The vocals are energetic, and Dev Negi as the forerunner makes things easier for the audience by not singing too loud, and keeping a gentle yet steady voice constant. Sunidhi disappoints, singing in such a high pitch that I can’t fathom. Nooran Sisters are the stars of the song, starting and ending it with a bang. Irshad Kamil’s lyrics are quite staid for the majority of the song, but again, the Nooran portions have been written very well, with the “Woh Bhi Tujhko Dhoondh Raha Hai Jiski Tujhe Talaash Re” line translating the film’s tagline ‘What you seek is seeking you’, very efficiently. A fun and cute Punjabi song, but falls flat in places where it tries to do too much.
Rating: 4/5


5. Hawayein / Hawayein (Film Version)

Singer ~ Arijit Singh

“Banaati hai jo tu, woh yaadein jaane sang mere kab tak chale,
Inhi mein toh meri, subah bhi dhale, shaamein dhalein, mausam dhale!
Khayalon ka safar, tu jaane tere hone se hi aabaad hai,
Hawayein haq mein, wohi hai aate jaate jo tera naam le,
Deti hai jo sadaayein, hawayein, hawayein,
Na jaane kya bataaye, hawayein, hawayein,
Le jaaye tujhe kahaan, hawayein, hawayein,
Le jaaye mujhe kahaan, hawayein, hawayein,
Le jaaye jaane kahaan, na mujhko khabar, na tujhko pata!”

The next song took my breath away, the first time I listened to it. It is just so marvellous and so ideal and so dreamy. It is the ideal romantic song. A trademark Pritam tune, with the trademark Pritam guitars and Sufi template, and the legendary Arijit Singh singing it. What more can you ask for, to obtain a wholesome and pleasant romantic song? Well, I know, I can’t ask for anything more! The composition by Pritam is utterly fascinating, and hooks you right from the first listen. The mukhda starts off quite slowly, but as soon as the hookline plays, you know that the song is one of the best songs of the year! The hookline is something that conforms to every Bollywood music lover’s music sensibilities! There are two antaras; one with a new tune, which is beautiful too, and one with the same tune as the mukhda. The first antara has a wonderful line that goes on and on, and merges with the hookline so seamlessly. The part where the backing vocalists go “Hawayein, Hawayein” has been structured and placed so beautifully. It reminded me of ‘Daayre’ (Dilwale). Overall, Pritam’s composition here is so much close to his usual style of composition, but still so lilting and dreamy! The vocals by Arijit are top-notch, and he repeats the magic of many previous Pritam-Arijit collabs, in one song. The vocals have shades of ‘Gerua’, ‘Channa Mereya’, ‘Daayre’ and ‘Saware’, and it just helps you love the song even more. Irshad Kamil’s lyrics are soothing too, and so poetic! Read out as a poem too, they will be just as impactful. In fact here, Pritam’s strong tune is overbearing. The song appears in two versions — an original, and a film version. Both have splendid arrangements. The first version sticks to Pritam’s trademark arrangement style, with the guitars strongly dominating the arrangements. The Acoustic guitars (Roland Fernandes) are relegated to the background as the electric guitars (also by Fernandes), do that wonderful neverending loop thing that they love to do in Pritam songs! 😄 The ethnic strings (Tapas Roy) provide an amazing first interlude that brings in the earthiness into the beautiful composition. Increasing the Indian-ness of the song, is the nice Sufi template employed in the hook portions, with the Duff and tablas sounding very appealing. The film version has a slightly more haunting arrangement, and sounds straight out of Coke Studio, with a beautiful Hang drum (Sunny MR), and ethnic strings (Tapas Roy) setting up a wonderfully haunting sound that sounds least like it is by Pritam. The Pritamish tune and the haunting Rahmanish arrangements really complement each other, though I never thought they could! A nice and charming wind instrument keeps playing throughout the song, and the guitars (Roland Fernandes) are amazing. All in all, both versions of this song are just as beautiful!!
Rating: 5/5 for Original, 5/5 for Film Version


6. Parinda / Parinda (Search)

Singers ~ Pardeep Singh Sran / Tochi Raina & Nikhil D’Souza

“Ikk pardesi, oh yaar banaya,
Main usnu dil de takht bithaya,
O seene de naal usnu laaya,
O apne dil da haal sunaaya,
O maar udaari kithe nikal gaya,
Maar udaari kithe nikal gaya,
Kade bigad gaya, kade machal gaya,
Kade nikal gaya ni hun taan,
Dhoondhan nain bichaare, ni aaj parinda maahi!”

Pritam ups the ante with the next song, a pulsating rock song that is really foot tapping. The composition is a nice, folksy, Punjabi-flavoured composition, that immediately grows on you. The hookline in particular is just beautiful, what with the amazing high notes. The mukhda and antara both have the same tune, and I love the fluctuations in the tune. The arrangements are high-octane rock arrangements, and it is probably the first time in a long time that I’ve enjoyed rock so much, in the first go! The drums by Alan Hertz are very, very exciting, and of course the guitars (Electric and Acoustic by Josh Smith & Nyzel D’Lima; Bass Guitars by Ernest Tibbs) complement the drums very well, as they always do! The lyrics by Kamil are completely in Punjabi, but very interesting, and I loved them. The two versions of the song only differ much in their vocals. Pardeep Sran in the first version oozes the Punjabi energy that should accompany such a high-energy song, and does an electrifying job! Tochi Raina, however, in the second version, brings a more toned-down version of the same, but still, it isn’t low in energy at all! Nikhil D’Souza has an English portion in this version, which sounds AMAZING! It also has an extra stanza at the end, which has a very energetic composition. Both these singers have worked with Pritam many times in the past, but this song marks them working with him after a long, long time, so I’m very happy!! The backing chorus in both versions is spot-on! Kamil’s lyrics actually contradict the upbeat nature of the song, and give a hint of emotion — the song is actually much more meaningful than it seems! A rock song that shows how fusion between Punjabi folk and Rock should be done!
Rating: 4.5/5 for the Original, 5/5 for the Second Version


7. Ghar

Singers ~ Nikhita Gandhi & Mohit Chauhan

“Khaali hai jo tere bina, main woh ghar hoon tera,
Ghoome phire, tu chaahe sab shehar, tu hai mera!”

The next song is what Pritam is all about. This is why people love his music so much. These kind of songs is why he has become so popular. It is a very soothing and calm, semi-classical kind of song, that depends solely on acoustics to propel it. The composition kind of resembles that of Pritam’s own ‘Tu Jaane Na’ (Ajab Prem Ki Ghazab Kahani) and ‘Daayre’ (Dilwale) and even the recent ‘Main Agar’ (Tubelight). The hook is what makes you get sucked into the song right away; it sounds so pleasing, that you just get lost in it. The first antara is the peak of the song, and the second one by Mohit is no less. The arrangements are very soothing too, with a lounge-ish treatment, complete with amazing electric and acoustic guitars (Warren Mendonsa) which give off the trademark Pritam touch, and a wonderful tabla (Jeetu Shankar) to complement that. The vocals are just too impressive. I think this is Nikhita’s career best, and after two hit songs from Pritam albums, she finally gets a huge portion in a mind blowing song! The way she introduces variations in the same line each time, shows her versatility, and hints at her classical training, if she has had any! Mohit, again, with Pritam after a long time (maybe because of the Imtiaz connection), does spectacularly in his high-pitched portions. Irshad’s lyrics are amazing, romantic lyrics with a thought-provoking concept. A soothing lounge-ish song that manages to touch your soul! The best of the album till now!
Rating: 5/5


8. Yaadon Mein

Singers ~ Jonita Gandhi, Mohammed Irfan & Cuca Roseta, Portuguese Lyrics by ~ Mario Pacheco

“Yaadon mein, jalte rehna, hai tera mera,
Yaadon mein, jalte rehne ko, miley hain kya?
Yaadon mein jeena toh sabse badi sazaa lagey,
Yaadon se, jaana ki faasley hain kya!”

A strong Latino vibe hits you right from the beginning of this next song, which happens to be a kind of Portuguese folk song kind of musical genre called “Fado”, and you get sucked in right away. The composition starts with a melancholic portion that sounds very similar to many Spanish/Portuguese folk songs we have come across in pop culture and other sources. And what a wonderful feeling it gives, to actually see a song like this being made for a Bollywood movie. Usually, whenever European or Portuguese styled music is used in Bollywood, it is for those dance numbers a la ‘Senorita’ (Zindagi Na Milegi Dobara), ‘Hawaa Hawaa’ (Rockstar), ‘Udi’ (Guzaarish), and though these were beautiful, too, the unexplored and soothing side of that compositional style really comes across beautifully here, and it sounds oh-so-operatic and chilling! The composition is beautiful, though it is mostly the hook repeating most of the time, but those variations in the hook just kill you then and there. The antaras are nice, especially the female one, and the Portuguese portion by Roseta is wonderful as well. That’s that for the composition. The arrangements by Pritam go beyond what Bollywood has tried in Portuguese music thus far, and goes to a more spine-chilling mixture of the traditional Portuguese guitars (by local guitarist Mario Pacheco) and Pritam’s wonderful strings. The beats get very Pritam-ish in Mohd. Irfan’s antara, but it is a refreshing turn of events. The Portuguese guitar obviously keeps us entertained throughout the songs, and instances of harmonicas are heard as well. The vocals are spot-on. Jonita starts off with a booming introduction, which I would never have believed was sung by her, if it weren’t for the credits! She has changed her voice so beautifully, to make it actually sound like a Portuguese singer. Sure enough, the actual Portuguese singer, Cuca Roseta, sounds very similar to Jonita, but gets a way smaller portion than her. Irfan does well in his parts, in what is also his first song for Pritam too! However, somehow, I felt a lack of connect during his part. The ladies bring that connect back. Irshad Kamil’s lyrics are heart-wrenching. Mario Pacheco, the guitarist, has written the Portuguese lyrics. All in all, a wonderful song that mixes up the pathos of a typical Bollywood song, and the richness of Portuguese folk.
Rating: 4.5/5


9. Raula

Singers ~ Diljit Dosanjh & Neeti Mohan

“Aankhon ne khwaabon pe aise hai aitbaar kiya,
Jaise do anjaanon ne khulke ho pyaar kiya,
Hota tha pehle jo door kabhi,
Abb woh mujhe paas lage,
Jaane kyun achha sa lagey,
Dil ne jo iss baar kiya!”

A very trademark Pritam feel-good vibe sets in as the next song rolls in, after that poignant melody. This is another song to go with Shah Rukh’s Punjabi character in the movie — a fun and upbeat Punjabi wedding song. The composition is one of the cutest I’ve heard this year, and instantly has you hooked. The hookline itself is so cute, that everything starts sounding beautiful due to it. The first antara, is something straight out of a 90s Bollywood album, with a noticeable Jatin-Lalit vibe. The bridge from the first antara to the hook is kind of bumpy, but things are great from there. Neeti has the second antara all to herself, and it is pure bliss. Pritam composed that one in trademark 90s Rahman style, and I can’t believe it is by Pritam; the variations in tune sound like the Rahman of the 90s has composed it! It was a pleasant surprise to see Pritam in that form. The vocalists have fun themselves and transmit the energy and boisterous nature of the song to us through the earphones. Diljit is clearly having the time of his life, and his additions like “chak de phatte naap de killi“, are so fun to listen to. Neeti sounds amazing, especially in her solo portion. The arrangements are fun as well, and in a traditional Imtiaz Ali pattern, they are high on dhols, and very interestingly, also have beautiful brass instruments interjecting, with a trademark Laxmikant-Pyarelal vibe. Flamenco Guitars (Josete Ordoñez) are audible in the second interlude. The dhadd and Plucked instruments (Tapas Roy) in Neeti’s solo portion, are so cute! The repetition of the hookline’s tune on those plucked instruments is too cute as well! Irshad Kamil’s lyrics are again, high on the fun quotient, and quirky as well, Especially with those “sangya” (noun), “visheshan” (adjective) and “sarvanaam” (pronoun) additions in Neeti’s parts. One of the most catchy Punjabi songs I’ve heard after ‘Nachde Ne Saare’ (Baar Baar Dekho).
Rating: 4.5/5


10. Jee Ve Sohaneya

Singers ~ Jyoti Nooran & Sultana Nooran, Music and A Portion of the Lyrics Traditional

“Kabhi kabhaar sandesa de de, Kya hai tera haal,
Rut pardesi rakhti hogi, shaayad tera khayaal,
Yahaan tere bin patjhad sa hai, har ek mausam hi..
Jee ve sohneya jee, chaahe kisi ka hokar ji!
Maana ke tu ab nahi mera, kabhi tha mera bhi!!”

The singers who enhanced ‘Butterfly’ manifold, Nooran Sisters, get a song all to themselves now, and coincidentally, the song is a built-up on their portion in that song. They sang “Jee Ve Sohneya Jee..”, in that song; here, the rest of the lines follow to make an entire song. The composition is traditional, but Pritam enhances it with his trademark Electric guitars (Roland Fernandes) and digital beats. That’s pretty much all for the arrangements. The stars of the song are actually its lyrics. Irshad Kamil takes the traditional lyrics as a basis to weave a poetic song that is about the relatives of a person who has gone and settled in a foreign land, pleading for him to come back. The lyrics just tug at your heartstrings and remind you of the iconic ‘Ghar Aaja Pardesi’ (Dilwale Dulhania Le Jayenge), which was also sung in an earthy manner. This song has increased the earthiness and rustic nature a lot, by having Nooran Sisters sing it. Their amazing voices really bring out the song’s essence even better! A song whose lyrics and vocals are what will help it to make its way into the hearts of everyone who listens to it!
Rating: 5/5


11. Phurrr (Film Version)

Singers ~ Mohit Chauhan & Tushar Joshi, All Hindi Melodic Compositions by ~ Pritam, Music Programming by ~ Diplo & Rocky Wellstack

NOTE: There was another version of this song which Sony Music released a day before the album. That one was a mix by Diplo, which was terrible compared to the ‘Film Version’. You can listen to it HERE. The one included in the album is actually Pritam’s mix, with Diplo’s drop used from the remix of ‘Agony’ by Pinchers.

“Teri hasrat ho, ya ibaadat ho,
Tujhko paana hai, jo bhi soorat ho,
Har taraf sach mein, sach ki chaahat ho,
Lafz na ho pyaar, balki aadat ho!”

The album finally sheds itself of all the folksiness it had built up for itself (almost every song had some Indian-ness to it) and goes outright Western for this finale. The only thing in this song that is remotely and typically ‘Indian’ is how they say “Phurrrrrrr” to signify a bird’s flying. The song is actually very cool and it is an effort that should be appreciated! The composition is by Pritam, and half of the production by Pritam’s team, and the rest by Diplo. The composition itself is very paltry, but still sounds amazing with the whole Western treatment. It is trippy, no doubt. I mean, if people can withstand trash like “Swalla”, they can go through this without flinching! The drop by Diplo suits here very well, and sounds like it was always meant to be for this song. The entire digital treatment is something Pritam rarely does; he usually takes the help of guitars and live instruments, but it actually turned out pretty good. I loved those electronic tablas sounds. And the programming between 2:02 to 2:24 in the song, is just rad! I would like to appreciate the idea of a collaboration too, however good or bad it has turned out. You like the drop of some song, you contact that person and get him on board — that’s the professional way of doing things! A round of applause for Pritam and Imtiaz here! The vocals are good too. Mohit Chauhan is back for the second time in one album, and he renders the fun song with a swag that is unmatched. Tushar Joshi, Pritam’s new blue-eyed boy, does well too! Irshad Kamil’s lyrics are very conveniently sidelined in the song, thanks to all that’s going on. If one were to still make a conscious effort to listen to them though, he wouldn’t find any hidden gem. A song that isn’t really enough to start a new collaboration wave in Bollywood, but will be remembered for its braveness.
Rating: 4/5

Jab Harry Met Sejal, no matter how late the album released, no matter how badly the film tanked, no matter how much Imtiaz disappointed everyone with the film, no matter how many people actually liked it, and no matter how late this review is going up, is really an album that should be applauded first of all, solely for the makers’ interest in creating an album that’ll cater to music lovers and music listeners. The amazing mix of world music and Punjabi music in this album, is spellbinding. It is such an excitement to listen to the album again and again, because every time, something new that we didn’t get before, pops up. The album also marks Pritam and Imtiaz’s reunion after eight years, and evidently, both Imtiaz and Pritam have evolved over the years. The knowledge Imtiaz got from Rahman’s style of work, has reflected in the album, and the sound that Pritam has developed for himself over the 2013-2017 phase of his career, also shows in the album. It is probably only “Butterfly” that smells of old Pritam and old Imtiaz. But in conclusion, I’m happy that Imtiaz met Pritam (Again)!!


Total Points Scored by This Album: 5 + 4.5 + 5 + 4 + 5 + 5 + 4.5 + 5 + 5 + 4.5 + 4.5 + 5 + 4 = 61

Album Percentage: 93.84% {Making it surpass ‘Meri Pyaari Bindu’ and making it secure the top rank now!! 🎉🎉🎉}

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: From Track 1 to Track 13 nonstop 🙂



Which is your favourite song from Jab Harry Met Sejal? 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! 🙂