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

Begum Jaan Album Cover


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

To buy this album on iTunes CLICK HERE

To hear “Murshida” on Saavn CLICK HERE

To buy “Murshida” on iTunes CLICK HERE

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

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

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

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

– Kausar Munir

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

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


2. Aazaadiyan

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

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

– Kausar Munir

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

Rating: 4.5/5


3. O Re Kaharo

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

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

– Kausar Munir

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

Rating: 5/5


4. Holi Khelein

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

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

– Kausar Munir

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

Rating: 5/5


♪ Bonus Song

5. Murshida

Singer ~ Arijit Singh, Lyrics by ~ Rahat Indori

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

– Rahat Indori

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

Rating: 4.5/5

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

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

Album Percentage: 86.67%

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

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

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


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


Music Album Details
♪ Music by: Neeraj Shridhar
♪ Lyrics by: Sameer Anjaan
♪ Music Label: Times Music / Junglee Music
♪ Music Released On: 1st February 2017
♪ Movie Released On: 17th February 2017

Irada Album Cover

Irada Album Cover


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

To buy this album on iTunes CLICK HERE

Irada is a Bollywood thriller film, starring Naseeruddin Shah, Arshad Warsi, Sharad Kelkar, Sagarika Ghatge and Divya Dutta. The film is directed by Aparnaa Singh, and produced by Falguni Patel and Prince Soni. The movie is an eco-thriller about a mysterious bomb-blast at a factory, and the repercussions that follow. The movie having released already, and I being as lazy and late as I can to write the review for some reason, I should just hurry and get on with it. So the music has been composed by someone who we have been hearing behind the mic for years, (and also somebody who hasn’t sung a “good” song for quite a long time) Neeraj Shridhar. The singer-turned-composer isn’t composing something for the first time in his life; I believe he debuted with one song in Akshay Kumar’s ‘8×10 Tasveer’. Neeraj has composed four songs for the thriller film, and hopefully they bring the thriller touch to the film very nicely. Also expecting him to have sung a song. That being said, let’s dive on into the soundtrack of ‘Irada’!

1. Mahi

Singers ~ Harshdeep Kaur & Shabab Sabri

“Birha mein tere, kamli hui main,
Japdi hoon mala, main tere naam ki…
Kehnde ne saare, pagli hui main,
Abb na khabar mujhe subah Shaam ki!”

The first track on the album starts off the album very romantically, with a charismatic romantic song, high on Rajasthani folk elements and a very scinitllating tune. The composition by Neeraj Shridhar really took me by surprise. But then again, he coming from a pop background, such a composition could be expected from him also, as pop is a genre where you are free from the bindings of the script and whatnot. The song starts off with a wonderful folksy introductory couplet, sung by an uncredited backing vocalist, and she sounds great trying to emulate Rajasthan’s folk vocalists. As soon as the song starts, and right away starts with the hookline, you can’t help but be reminded of Anu Malik’s ‘Hamein Jab Se Mohabbat Ho Gayi Hai’ (Border; 1997), and coincidentally, that song too had a heavy use of the word “Maahi”. 😀 Here, Neeraj has beautifully made a hookline from that word, but it also sounds quite ordinary. One can’t help but keep waiting for something path breaking to arrive, but it doesn’t. Both the antaras have a nice tune too, a mélange of high and low notes. There is a kind of conclusion to the song after the second antara ends, and one just feels that it was completely unnecessary. It stretches for almost one minute, in a Qawwali style, which could have instead taken place in one of the interludes. But it looks like since Shabab had hardly anything to do for the first four minutes of the song, one minute was allotted solely to him at the end. Neeraj’s arrangements are fascinating. Rajasthani folk instruments find their way into his song, the sarangi and other strings being the most prominent. The beats for the rest of the song are digital, and I also feel that could’ve been replaced by traditional dholak beats. And then during that one minute of Qawwali, Neeraj adds the necessary tablas and harmoniums. The flute that starts the song is just fascinating. Harshdeep Kaur renders the song with ease, but I can say that it is the first time I’ve heard her sound so dull and melancholic; she could’ve put in more expression instead of just singing the song! She always sounds so beautiful! Shabab, as I said has almost nothing to do except yell (yes, I do mean yell) “aaaja maaaahiii” behind whatever Harshdeep is singing. Sameer’s lyrics are clichéd to the core, as always. A middling start to the album. Good tune and arrangements, but boring execution.

Rating: 3.5/5


2. Irada

Singer ~ Nikhil Uzgare

(Nothing to showcase; what a belch-like song)

The next song takes the form of a hard-hitting rock song which fails to impress except in the rock itself. Neeraj’s composition sounds very rash and all over the place. We know rock can sound very orderly if done well, but sadly, this one is not that. The mukhda seems detached from the hookline, which in turn seems a separate entity in itself. The lines don’t flow into one another as they should in any good song. The hookline sounds like a tune made by a debutant composer. (Well, technically Neeraj can be regarded as one, but he’s been around in Bollywood for so long so as to judge what works and what doesn’t!) The singer (debutant Nikhil Uzgare) belts out the hookline convincingly as a rock singer, but his voice lacks the connect that voices like Suraj Jagan and the like have. The arrangements are impressive, with the rock hitting the right notes. Rock guitars have been played impressively, as are the drums. Sameer’s lyrics are good, but get lost somewhere in the noisy singing and weird tune. Only the rock rocks, and that doesn’t help when the tune is bad!

Rating: 1.5/5


3. Chaand Rajai Odhe

Singer ~ Papon

“Chaand rajai odhe, gum jaaye chaandni,
Dastak dena hawa, chup rahe raagini,
Nindiya ki duniya mein khoyi rahe tu,
Akhiyon ke paalne mein, soyi rahe tu,
Main gaauun loriyaan, main gaaun loriyaan,
Main gaaun loriyaan, main gaaun loriyaan!”

Now we are treated with another dulcet melody, this time a male-sung song, which is a lullaby. The song immediately reminded me of ‘Masoom Sa’ (Madaari; 2016), another song from father to child. This time too, Neeraj gets it right as far as the composition is concerned. The composition has all that it needs to succeed as a lullaby, and especially the “Main gaaun loriyaan” hook is impressive. The antaras are also impressive, and the tune treads over the low octaves so wonderfully, that it gives a really fascinating touch to the low notes. The man rendering these notes is responsible too for that though. Papon, fresh from the success of ‘Labon Ka Karobaar’ (Befikre; 2016) sings this song in his metallic voice so splendidly that it just touches your heart directly. His voice has the glint of magnetism that makes sure your audience falls asleep, but doesn’t, while you sing a lullaby (if you get what that means!) Arrangements are tranquil, with guitars racing ahead of everything else and making sure things are in right place. Strings help to infuse that orchestral quality into the song, while shakers sound marvellous, shaking subtly in the background. The piano notes that you can hear if you listen carefully, are BEAUTIFUL! The only wrong thing I can point out in this song is its duration; it gets quite testing to sit and hear an almost seven-minute-long lullaby! But that’s not a creative fault. Sameer’s lyrics are just marvellous here, suitable for a lullaby and very moving. A well-done lullaby, with a lilting touch.

Rating: 4/5


4. Mitran De

Singers ~ Master Saleem, Kaur B & Earl Edgar

(Nothing to showcase here!)

The last song comes and you are sure that Neeraj has played ‘Alternate the Genres’ in this album. First a romantic song, then a loud rock song, then a lullaby, and finally, a loud Punjabi party song. This song literally follows the Punjabi alcohol party template to the tee. The mukhda starts the song off as frivolously as possible, but by the time the hookline arrives, you start getting used to the song. It sounds like those Punjabi songs everyone in Bollywood used to make during the 2007-2010 period. The antara actually has a good tune, by which I mean enjoyable. There are two antaras, one sung by Kaur B, and the other by Master Saleem. That brings us to the vocals. Three vocalists in a song that Neeraj himself could have very well sung himself seems quite preposterous. Okay, at least Master Saleem was a good choice. But Earl Edgar’s portions seem too forced to believe. His rap is believable, but the parts he tries singing sound bad! Kaur B gives us a good break from Neha Kakkar with her unique voice. Arrangements are typical club song arrangements, with heavy techno sounds and the Punjabi instruments pitching in to do all they can to help increase the loudness. The tumbi stands out here too, but then again, give me a song where it doesn’t. The dhols are very pompous, and contribute to the noise pollution. In all this, I feel the song hasn’t been recorded properly, as there’s a harshness to every singer’s voice. Sameer’s lyrics don’t go beyond the usual ‘Let’s drink till our liver breaks down’ stuff we hear everyday in Bollywood. (Am I overdoing it? Because nowadays we don’t hear that stuff everyday! Maybe that era has passed!! If so, I’m happy! :P) A Punjabi song that is enjoyable, but with every enjoyability in life, you get unwanted problems. 😉

Rating: 2.5/5

Irada turned out to be not as inspiring as its name. Neeraj Shridhar could’ve made a spectacular soundtrack! But sadly, the songs don’t live up to the mark. Two of the songs fare quite good, the other two are weak. Overall, the album isn’t one which you would be listening even one month down the line.


Total Points Scored by This Album: 3.5 + 1.5 + 4 + 2.5 = 11.5

Album Percentage: 62.5%

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: Chaand Rajai Odhe > Mahi > Mitran De > Irada


Remake Counter
No.of Remakes: 04 (from previous albums) + 00 = 04


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


Music Album Details
♪ Music by: Faiza Mujahid, Shantanu Moitra & Anupam Roy
♪ Lyrics by: Faiza Mujahid, Tanveer Ghazi, Anupam Roy & Irshad Kamil
♪ Music Label: Junglee Music / Times Music
♪ Music Released On: 30th August 2016
♪ Movie Releases On: 16th September 2016

Pink Album Cover

Pink Album Cover


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

To buy this album on iTunes CLICK HERE

Pink is an upcoming Bollywood courtroom drama / thriller film, starring Amitabh Bachchan, Taapsee Pannu, Kirti Kulhari, Andrea Tariang, Angad Bedi and Piyush Mishra. The film is directed by Aniruddha Roy Chowdhury and produced by Rashmi Sharma and Shoojit Sircar. After ‘Piku’, Shoojit is back; he doesn’t direct this, but gives the Bengali director Aniruddha Roy Chowdhury (‘Buno Haansh’ fame) a break in Bollywood. The movie is based on women empowerment. Of course, great music for this film would be a pleasant surprise, although I’m not expecting much from it. The number of composers behind the album happens to be three. The first one is Anupam Roy, back to Bollywood after his debut in Shoojit’s previous film ‘Piku’, with two songs in this album. Second is Shantanu Moitra, another Bengali composer with his base in Bollywood, but he has been doing a not-so-well job in Bollywood after his last album that I enjoyed, ‘PK’ came out. All he composed for was ‘Wazir’ (only two songs, both above average) and hopefully, the one song by him in this album will restore my faith in him! 😀 Lastly we have débutante composer Faiza Mujahid, a Pakistani singer/composer, who has composed one song for the movie. Starting off the album with few hopes, let’s see how colorful it can become!!

1. Jeenay De Mujhe
Singer ~ Faiza Mujahid, Music by ~ Faiza Mujahid, Lyrics by ~ Faiza Mujahid

The album starts off with debutante Faiza’s entry into Bollywood, a feel-good, feel-free, rock anthem, with the central theme of freedom. The composer has tried to make an enjoyable anthem which all the girls throughout the world can relate to. The composition that results, though, tells you that this isn’t exactly what she would’ve wanted it to turn out to be. It is something that entertains on and off, something that has no tune that would make listeners love it. The whole thing seems to be rather over-ambitious. The way the composer tries to convey the idea is cringeworthy. After hearing the song, there is nothing that pulls you back to the replay button. The arrangements are ordinary rock arrangements, with guitars and drums placed exactly where you would expect them to be placed. Nothing else features in the song to male you like it. Faiza seems to have done very little effort in making the song memorable and the arrangements innovative, but she has done something innovative in the vocals of the hookline. Innovative in a negative way. She screams out the hookline at the top of her voice, to indicate the theme of freedom. Her lyrics too, fail to impress, sounding quite ordinary as well. The one thing I did like though, was the retro diversion in the second interlude, and the rock guitar solo after that. Quite a boring attempt to make a smashing entry into the industry.


2. Kaari Kaari
Singer ~ Qurat-ul-Ain Balouch, Music by ~ Shantanu Moitra, Lyrics by ~ Tanveer Ghazi

This next song brings in the instant feel of a very mature composition, right before the actual melody even starts! The prelude itself, makes you ready for a wonderful song ahead. The European strings open the song so attractively, that you can’t help but playing it over and over again just to hear that magic again and again. After the failed attempt by a debutante to open the album with a bang, Shantanu takes over and fixes things, with his experienced arrangements and composition skills. Whenever I think of Shantanu Moitra’s compositions, I am reminded of his happy-go-lucky composition style, where the happiness is overflowing and his sugary-sweet tunes. However, I’ve got to admit, he is just as good at composing dark, haunting tunes, just like this one here. Shantanu has come up with a composition that is apt for the situation here, and the haunting tone coupled with those wonderful plucks of the guitar, makes it sound even better. Shantanu’s composition is awe-inspiring. The mukhda is something that instantly hooks you onto it, while the antara perfectly keeps that feeling going. While the mukhda has those wonderful guitar plucks to give it its tempo, the antara has wonderful studio beats, with drums keeping beat. And then after it is over, the guitars kick in again. The composition of the antara is just too wonderful; something that you will most likely never forget. Shantanu’s arrangements too, are wonderful, and besides the guitar plucks throughout the song and the drums in the antaras, beautiful strings grace the rest of the song. A grand orchestra amazes even in the hookline, while it really opens up when the antaras end, when there is a wonderful orchestral piece. The first interlude has a wonderful sitar piece, while the second interlude actually takes you back to the Beethoven era, where there is a wonderful stop to the song with a very slow-paced orchestra. After that, the mukhda plays once more before the second antara, which is a really ingenious idea by Shantanu! After the second mukhda, yet another wonderful orchestral piece is played, this time accompanied by piano notes! The arrangements are just too good to explain completely! And then there are the vocals. Shantanu discovers a great find in Qurat-ul-Ain Balouch, a Pakistani singer, whose rustic voice is what appeals the most! The young singer has a very mature and deep voice, which is the highlight of the song. She sings every note of Shantanu’s touching composition with such emotion, that the song actually touches your heart, and doesn’t remain a song with hollow emotion. Tanveer’s lyrics are beautiful as well, giving more reasons to love the song and adding even more emotion in it. Shantanu strikes gold with this one: a wonderful emotional song following the women empowerment theme, and excelling in the arrangements department. And by excelling I mean EXCELLING! #5StarHotelSong!!


3. Tujhse Hi Hai Roshni
Singer ~ Anupam Roy, Music by ~ Anupam Roy, Lyrics by ~ Anupam Roy

With the next song, the last composer, Anupam Roy steps into the album. The song starts off quite abruptly, with a ordinary, but groovy piano loop introducing us to Anupam’s lovable composition. The composer uses his typical composition style, and weaves a tune which is easily appealing to the ears and light on the ears as well. It resembles his songs from ‘Piku’ quite a bit (not surprising, because they themselves resembled each other a lot!) The mukhda is sweet in its simplicity, while the antara sees things getting more interesting with variations in the tune and a more Westernized treatment to the song. The hookline is something that isn’t extraordinary, but manages to appeal to you anyway. The arrangements are more interesting here, though, than they were in ‘Piku’. While those songs were quite minimally arranged, or calmly arranged, this one has a lot going on in the background. The drums are the main attraction, obviously. And the piano loop is something that gets stuck in your head after you hear the song for a repeated number of times. The composition, though not something that people would like right away, manages to make you smile and feel good after it’s over. The rock elements have been added in the song very nicely, and it gives it more of an upbeat feel, like a pop song, rather than having a melancholic and nostalgic and very contemplative song. Anupam sings it well, with his slight nasal twang. His voice isn’t boring at all, and though not perfect technically, it manages to attract the listener’s attention. His lyrics too, are quite good, not too simple and not too complicated. Though reminiscent of Anupam’s debut album ‘Piku’, the composition works due to the new arrangements. #5StarHotelSong!!


4. Pink
Singer ~ Jonita Gandhi, Rap By ~ EPR Iyer, Music by ~ Anupam Roy, Lyrics by ~ Irshad Kamil

The last song on the album is the most upbeat of the lot; the most commercially viable of the lot. And though it is commercially viable, it is definitely not for those audiences of Bollywood music who love to dance on Punjabi songs. It is for that mass of Indians, who are constantly complaining about Bollywood music being bad, uninteresting, boring, bleh, etc, and go on praising songs from the West. Composer Anupam Roy here, has wonderfully tried to make a song that will be closest as possible to the English pop singles, and even succeeds to some extent! I mean, the composition is very groovy and catchy! The beats are groovy and the singing is energetic! The song in its treatment, is just like an English pop song, and kudos to Anupam for that! He has managed to bring that flavour into the song quite perfectly. The tune is so catchy, that you start grooving to it. However, it repeats itself twice and gets quite boring at some time in the song, and even sounds too outdated (by the standards of such pop songs) at some time. This is a tune we have heard many times before in various hit English pop songs! The anthemic ring of it definitely surpasses the first song of this album though! The arrangements are good, with techno sounds being the primary attractions here. Some very Latino styled horns in the hookline appeal to the listener a lot. They’re also the horns that start the song off. That tune is amazing! Coming to the vocals, Jonita is a wonderful choice for them. She proves yet again after ‘Sau Tarah Ke’ (Dishoom) that she is great at such songs, but the diva inside her is kind of suppressed here, while she was singing completely freely in that song! Her English diction is amazing, and there I get reminded that she’s an Indo-Canadian. She sings the hookline, “My world goes Pink!” wonderfully. The rapper EPR Iyer, on the other hand, puts in more of the feel of an English pop song, as he sings around Jonita throughout the song. He doesn’t even sound like he’s an Indian when he sings in English; more like an American! His rap is okay, but when he says “Put your hands up for the pink anthem” towards the end of the song, it sounds great! The lyrics by Irshad Kamil are average as well, but they put forth the freedom theme well. A better composition would’ve helped the awesome arrangements!

Pink is an album that definitely turns out to be as expected. Not many songs in total, and out of those too, only two are exceptional. The three composers try to get an album that conveys the themes of freedom and women empowerment very well, but it turns out to fail in its purpose. Two of the songs will help both to attract audiences and as great background pieces in the movie, while one song will serve as a club song, if it reaches the public, that is. The other song seems to be an odd one out in that nothing is going well in it, and it also turns out to be a bad debut for Faiza Mujahid. As for Anupam Roy, his outdated tunes are saved by good arrangements. The only winner in this album is Shantanu Moitra. Overall, the color of this ‘Pink’ has faded quite a bit!!


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: Kaari Kaari > Tujhse Hi Hai Roshni > Pink > Jeenay De Mujhe


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


Next “dish”: Banjo, Chefs: Vishal-Shekhar


Music Album Details
♪ Music by: Tapas Relia
♪ Lyrics by: Manoj Yadav, Mir Ali Husain & Tapas Relia
♪ Music Label: Junglee Music / Times Music
♪ Music Released On: 18th May 2016
♪ Movie Releases On: 17th June 2016

Dhanak Album Cover

Dhanak Album Cover


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

To buy this album on iTunes CLICK HERE

Dhanak (meaning ‘rainbow’) is an upcoming Bollywood road travel film, starring Hetal Gadda and Krish Chhabria in the lead roles of siblings, Pari and Chotu respectively. The film has been directed by Nagesh Kukunoor (director of ‘Iqbal’, ‘Dor’, ‘Mod’, ‘8×10 Tasveer’, ‘Aashayein’ and ‘Lakshmi’, to name a few), and it is produced by Manish Mundra, Nagesh Kukunoor and Elahe Hiptoola. The movie follows the journey of the two siblings. Pari has promised Chotu, her blind little brother, to help him get back his eyesight before he turns 10 years old. When she sees Shah Rukh Khan on a poster for an eye donation drive, she is convinced that the superstar will help her in her mission. 😀 So, the story seems interesting. Now, moving on to the music. Nagesh’s last film ‘Lakshmi’s music was also composed by the same person, and he had given a spectacular soundtrack, which I still hear today, two years later. The man, I believe, is extremely underrated in the Bollywood industry. And his name is Tapas Relia. This time, let’s see what Tapas has to offer, with his six songs!

1. Jeene Se Bhi Zyada Jeeyein
Singer ~ Shivamm Pathak, Lyrics by ~ Manoj Yadav

Tapas Relia starts off the album with a breezy, refreshing, folksy melody crooned beautifully by Shivamm Pathak. The song itself starts with a wonderful aalaap by Shivamm, followed by temple bells, a wonderful sarangi, and a wonderful folksy rhythm takes over within forty seconds. Guitar plucks, bagpipes, sarangi come together to make the song seem like a fusion of three cultures, three musical styles. Tapas’ composition is so mature, yet immature. It flushes you with new energy and re-energises you as soon as it starts playing. It is also very jolly-sounding and sure to make you nod your heads up and down. The hookline comes as a pleasant surprise; high-pitched, unlike the otherwise low-pitched song, and that makes it sound all the more beautiful. The rest of the song, too, has been crafted very beautifully, which shows the immense efforts put into it by Tapas. As I said before, the arrangements range from Rajasthani-flavoured sarangi to Irish-flavoured bagpipes, to a typical olden-day European jig, with the clapping of hands, making it sound very lively. This wide range of musical styles from all over the world make the song sound rich. Shivamm’s voice really surprised me. It was a great surprise for me when he sang the song in such a deep voice! He sounded almost like a mix of Papon and Sukhwinder Singh. He boldly sings the composition and brings a smile on your face.  Manoj Yadav’s lyrics too, work for the same cause. It is basically a song about living life to the fullest, and even more! The way the lyricist has given so many ideas of how to live life that way, makes me really want to do them, but that’s pretty far-fetched, isn’t it? Unfortunately. Hmmm. A vivacious song to start off the album, refresh you, and also brighten up your day. BEAUTIFUL! I would recommend you to hear it as soon as you wake up; it sounds all the more rejuvenating! This summer, this song is my ice-cream! #5StarHotelSong!! (can I give more? 😦 😦 )


2. Chal Chalein
Singers ~ Papon, Vibha Saraf & Shivamm Pathak, Lyrics by ~ Mir Ali Husain

The next song starts off with an unusual but lilting fusion of an almost neverending loop of a harp, with a regal trumpet. Papon’s smooth-as-silk voice switches your attention totally towards him, and then Vibha, who I only know as the singer of ‘O Soniye’ (Titoo MBA), starts off with a voice that seems less trained, less experienced, yet functional. At this moment, the song is in a comparatively low phase. But when the hookline starts for the first time, that is the magical part. After that, the song goes only on a climb uphill, and never comes back in that valley again. The composition is fantastic, and the orchestration is fabulous, and grand. With the hookline, a nice and groovy rhythm with guitar chords, and a cool Caribbean rhythm kicks in. At the same time, Shivamm Pathak kicks in with a totally Rajasthani-flavoured line; Tapas shows his brilliance in making two cultures meet, yet again. The idea is excellent, but what matters most is the execution, which is superb. Arrangements basically revolve around the Caribbean rhythm with bongo-Congo drums. Vibha gets an interesting solo portion in an antara, where you can hear a wonderful mandolin in the background. Arrangements pick up with royal strings and trumpets, but only yo go back to the Caribbean. 😀 This creativity is what I love in Bollywood, instead of the usual bleating of “goats” in romantic songs. A wonderful folk flute assortment leads a great tune in the song; whenever it plays, it just makes you feel so fresh. In fact, the whole song is unbelievably refreshing. The three singers are undoubtedly great, with the major portion of the sing belonging to Papon and Vibha as a duet, while Shivamm only sings a small, but awe-inspiring Rajasthani folk part. The duet portion is beautiful, too! Mir Ali Husain, who I think I’ve never heard of, comes up with an immensely meaningful and relatable piece of writing. Stuff like “iss raat Ki bhi hogi ek seher”, and “duniya mein aaye hai, Dil paaye hain; kyun na jeeyein?” restore my faith in Bollywood lyrics, and make Mir Ali Husain a one of the heroes for Bollywood lyrics. A song fit for a road trip, again with pretty much the same message as the first song, this time with a Caribbean rhythm instead of an Irish jig! And Tapas’ beautiful fusion bowls me over yet again!! BRILLIANCE AT ITS PEAK!! #5StarHotelSong!!


3. Dum-A-Dum
Singers ~ Chet Dixon & Devu Khan Manganiyar, Lyrics by ~ Tapas Relia (English Lyrics) & Traditional (Amir Khusro & Bulleh Shah) 

The next offering on my plate (come on guys, it’s a food-based music blog, and I never get to talk about food, so now food has paid me to give it a special appearance in my next review.. Please don’t mind it, and forgive it!) is an interesting one. We’ve heard many recreations of the eternal folk song “Damadam Mast Qalander”. Well, I’m sure we have never heard anything like this before! This version right here, is a fusion of the traditional folk song with some nice and gentle English lines. The song starts right away with some English vocals by Chet Dixon, who’s singing as the American hippie in the film. It’s not something you can call catchy, but it is really fun to hear. The fun starts when the hippie starts trying to teach Chotu (the little boy) how to sing the song, and his failed attempts. Chet’s polished English vocals coupled with Devu’s folksy, rustic, earthy voice make a brilliant combo, and sound awesome together. Secondly, Tapas’ attempt to make a believable jam between both has succeeded. It sounds realistic, like when the boy breaks into “Dum-A-Dum” when he can’t sing the English lines. Tapas has composed and written the English parts really nicely, and they don’t sound preachy, though they carry a moral. The arrangements too, are refreshing, with a mix of acoustic guitars and the traditional dholaks, nothing more! Towards the end, the hippie and the little boy do a beautiful jugalbandi with Dixon also trying out the folk song. A refreshing adaptation of the classic song! Who would have thought it would become a jam between a foreigner and a folk singer!? #5StarHotelSong!!


4. Dhanak
Singer ~ Monali Thakur, Lyrics by ~ Mir Ali Husain

A refreshing, mellifluous flute prelude starts off the title song of the album. Considering title songs, I’m always a bit skeptical whether they will be good or not, because titles might not really work if they’re really short, like ‘Dhanak’. While some composers just keep repeating the title a thousand times and thus making it the hookline of the song, others come up with pretty unusual, but innovative and pleasant ideas of implementing the title into the title song, and Tapas is one of them! The way he has used the title, smack in the middle of the hookline, only once in every hookline, is commendable, and all the more effective, as well! His composition is one of the best compositions I’ve heard this year — lilting, breezy, enlightening and dreamy at the same time. The mukhda starts the song off on a very beautiful note, and the hookline is what does the magic. Such a beautiful atmosphere gets created when the hookline plays, that I just can’t describe it. Antaras are sweet and simple, too. In fact, the composition as a whole is a beautiful lullaby-ish composition, which will also work to refresh you whenever you feel low. The arrangements are top-notch, with the serene flute (Paras Nath) leading, and Dilshad Khan doing a spectacular job with the sarangi. Rain-stick shakers sprinkle the required sweetness into the song. Twinkling sounds in the percussion are just too good. In the first interlude, a beautiful bongo-Congo rhythm accompanies the flute to create a beautiful ambience, while the flute leads the way through the second interlude, accompanied by guitars. Strings (Jeetendra Thakur’s violins) in the antaras just add to the grandeur. Monali’s voice is just too sweet to be ignored; in fact, she is the star of the song. Had some other singer sing this song, it wouldn’t have produced the same effect! NOBODY. The way she sings the hookline, is just too cute, making you fall in love with her voice yet again (Because I know everybody already loves it either from ‘Zara Zara Touch Me’ or ‘Sawaar Loon’ or ‘Moh Moh Ke Dhaage’, which I feel are the important milestones in her Bollywood journey.) Each and every word in her voice seems so calming and soothing. Mir Ali Husain comes up with lilting words as well, poetic to the core. Meaningful as they are, they instantly connect with you. A lullaby that has been crafted beautifully! A winner in all aspects!! The best hookline of the year till now, for me!! Forgive me for twisting it, but I want to say this — Abb dekhenge hum dhanak, raaton mein!! #5StarHotelSong!! (Again, I feel like giving more!!)


5. Mehandi
Singers ~ Anwar Khan Manganiyar, Swaroop Khan & Niyaz Khan, Lyrics by ~ (Traditional)

The next song, which is the last verbal song on the soundtrack, gets into traditional Rajasthani wedding flavour. Three folk singers with a folk background — out of which only Swaroop is known to me, and I’m guessing Anwar Khan is Devu Khan Manganiyar’s father or some relative — carry the song forward. The traditional mehandi song has been given a nice and groovy techno beat by Tapas, making it all the more appealing and also making it sound catchy and innovative. Of course, traditional instruments do make an appearance as well — with Dilshad Khan coming back on his sarangi, and stealing the show here, as well. Khartals (those clicking sounds are of the khartalsby Jasu Khan Manganiyar (another Manganiyar! What a talented folk musician family! 🙂 ) too sound great in the folk-techno song. The composition won’t appeal to all; after all, it is a folk song. However, the quality of the music is commendable. The trio handles the song boldly, with their bold voices being the highlight of the song. I’m astonished at how high they can go with such a deep voice! Awesome! Swaroop is kind of sidelined, with the other two getting more portions to sing, out of which I can’t differentiate between the two. All in all, a fun and groovy traditional song, which will lift up your mood! #5StarHotelSong!!


6. Theme To Dhanak

The album ends off with a small instrumental, standing at three minutes long. It starts with a dreamy piano piece, that is so lilting, you can go off to sleep. The soulfulness of the piano takes the song levels ahead of what it might have been without the piano. When the piano stops, beautiful strings take over. Jeetendra Thakur’s violins are so grand, you cannot help but praise them. A symphony of sorts is created there and then, after which the piano is played again, joined by a bit, just a bit, of brass instruments, like some motivational music. The real surprise is in the last 45 seconds of the song, where the piano gives way suddenly to traditional Rajasthani percussion — matkas, dhols, manjeeras, khartals, accompanied by beautiful sarangi playing the tune of the mukhda of ‘Jeene Se Bhi Zyada Jeeyein’. I must say, that was a pleasant surprise after the lilting piano-strings orchestral piece. And the song really ends the album on a high. A perfect grand finale to the album. Kind of a gist of the whole album, with lilting orchestra, and lively folk music! #5StarHotelSong!!

Dhanak turned out to be just as expected, nothing less, nothing more. I had high expectations and they were met! Tapas impressed as always, but I can’t help but praise the way he has done fusion in each and every song, except probably the title song. All the songs have a great display of folk instruments coupled with some or the other kind of foreign music, be it Western classical, or Caribbean folk, or even Irish folk. Tapas has actually showed us how to bring versatility into simplicity. Simple but appealing compositions, lifted levels and levels higher due to the grand arrangements! What more can a music lover ask for? Tapas shows us a refreshing ‘rainbow’ (dhanak) in this hot, hot summer!!


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: Whatever you want!! 😀 


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


Next “dish”: Junooniyat, Chefs: Meet Bros. Anjjan, Jeet Gannguli, Ankit Tiwari & Stereo Nation


Music Album Details:-
♪ Music by:- Vishal Bharadwaj
♪ Lyrics by:- Gulzar & Faiz Ahmed Faiz
♪ Music Label:- UTV/Junglee Music/Times Music
♪ Music Released On:- 12th September 2014
♪ Movie Releases On:- 2nd October 2014

Haider Album Cover

Haider Album Cover


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

To buy this album on iTunes CLICK HERE

Haider is an upcoming Bollywood drama film, directed by Vishal Bhardwaj. The film is produced by Vishal Bhardwaj and Siddharth Roy Kapur and it stars Shahid Kapoor, Shraddha Kapoor, Tabu, Irrfan Khan and Kay Kay Menon in prominent roles. After making modern-day adaptations of Shakespeare’s plays ‘Macbeth’ (Maqbool) and ‘Othello’ (Omkara), Vishal is all set to complete his Shakespeare trilogy with this film, ‘Haider’ which is an adaptation of Shakespeare’s ‘Hamlet’ and it is set in Kashmir. The music has been composed by Vishal himself, who mostly composes only for his self-directed movies nowadays, with some exceptions here and there. This year he already gave us one stellar album in the form of ‘Dedh Ishqiya’, and so expectations from this album were naturally massive. Some or the other influences from Kashmiri folk music also are expected, as Vishal usually showcases the folk music of the part of the world in which his film is set. So, without wasting anymore precious time, let’s see what I think about this latest album, ‘Haider’!

1. Aao Na:- Singer ~ Vishal Dadlani, Lyrics by ~ Gulzar

The first song of the album, which is already on the tips of everyone’s tongue nowadays wherever you go, is a perfect opener to the album. After ‘Dhan Te Nan’ (Kaminey), both the Vishals come together once again to create a rocking track. The heavy rock template, which I normally hate like anything in normal Bollywood music, has been used so wonderfully here by Vishal Bharadwaj, that you would instantly fall in love with it! The energy level has been kept on the highest possible degree, thanks to the electric guitars which are played in a very attractive way and tune and also the drums supporting them. The clinking sounds like that of a spoon on a glass are noticeable throughout the song. A kind of microphone feedback effect has been very smartly added by Bharadwaj, to give the effect as if it’s a live rock concert! The tune which he has composed is also very attractive, actually addictive! This addictiveness of the song is the best part of it, because it can turn even Rock music haters (as me) into Rock maniacs, at least for the four odd minutes for which it plays! So I’ve spoken about the first Vishal, now time to talk about the man who has lent his powerful voice to the song, i.e, Vishal Dadlani. This man’s energy is always a topic of speculation. One wonders how he can produce such a powerful voice and manage to attract listeners to it each time! His voice takes this composition to a degree of energy which might not even be on the scale! 😛 Whether he’s singing softly, or loudly, the same amount of energy can be noticed! Kudos to him! The hookline comes to life thanks only to him, and if it were anybody other than him, the required energy definitely would never have reached the listeners. Gulzar has written dark, but great lyrics! ‘Hamlet’ has some references to gravediggers, so keeping that in mind, if one hears this song, paying close attention to the lyrics, it would sound very very spooky and creepy, but Gulzar has very well incorporated this aspect into the lyrics. Great in all aspects, and Vishal-Vishal combo again deliver a must-listen energetic track! #5StarHotelSong! 


2. Bismil:- Singer ~ Sukhwinder Singh, Lyrics by ~ Gulzar

Catchy Rabaab plucks grab your attention right at the starting of the song. Instantly, we get to know that we will get a glimpse of Kashmiri folk music in this song. Sukhwinder Singh, a regular on every Vishal Bharadwaj album, gets to croon this story-through-song type of track. His voice texture is perfect for this folksy track. He delivers it with the right amount of expressions and energy. He has done variations in each and every line, thanks to his unique voice texture, and that keeps the listeners at attention, and makes sure they don’t get bored at even a single moment in the song. The lyrics have been written to narrate a story, so you’re missing out if you haven’t paid attention to the lyrics in this song. The character is telling the audience everything which he has discovered, but in code language. The whole story has been beautifully crafted into a poetic manner by Gulzar, and he has done it so brilliantly! If you listen very carefully, you’ll be able to understand the story too. Decorative Urdu words have been used, making it sound very royal. The composition by Vishal is just too awesome to explain in words. It takes abrupt turns many times, and each time a new ambience is created. The song starts with a happy feeling, and ends in a mysterious, angry, vengeful mood. The Kashmiri folk music has also been beautifully used in the song, with rabaabs leading in most of the song, and awesome percussion as well, which gives a slight Russian feel as well, if I’m not mistaken. Towards the end, a grand orchestration has been done, complete with violins played in a fast manner. When the song ends, you might feel like you have missed a lot of what was happening, because that’s true! So many things happen at once in the song, that it is very tough to notice all of them. However, the only cure for this would be to listen to it again! And again! And again! Stories get an entirely new definition from now on! A track invoking interest in each second! #5StarHotelSong!!


3. Khul Kabhi:- Singer ~ Arijit Singh, Lyrics by ~ Gulzar

If there was any established composer whom I was looking forward to employ Arijit Singh, it had to be Vishal Bharadwaj. His unique style of music and Arijit’s voice yet had to create magic together. And my wish has come true in this album. Vishal has composed one of his typical, retro style melodies like that of ‘Zabaan Jale Hai’ from ‘Dedh Ishqiya’ and has wonderfully garnered the beautiful composition with Arijit’s voice. Arijit has not at all left any stone unturned in order to make the song sound beautiful. Previously, he has sung so many romantic songs, which people have loved, but they were all the same type. ‘Tum Hi Ho’, ‘Suno Na Sangemarmar’, ‘Muskurane’, all had that Bhatt feel to them, and it is very refreshing to hear him in a new kind of melody, which is typical only to VB, and which we barely get to hear regularly unlike those other romantic songs. Anyways, he has sung it so flawlessly, as though this song were made for him. Gulzar’s lyrics are romantic and go with the slow pace of the song. Beautiful arrangements have been done by Vishal too, with the violins making it sound grand here too. Of course, guitar can also be witnessed throughout the song. The sound of a shehnai at the start gets you ready for more pleasant surprises which the song has in store for you. The tune, as I said, is very unconventional and will need some time to grow on you, but when it fully grows on you, it will sound awesome and very addictive. The tune of the antara deserves a special mention for such an unusual but catchy tune! An intelligently composed and intelligently written song, with the great vocals of Arijit! What more could you ask for? #5StarHotelSong!! 


4. Gulon Mein Rang Bhare:- Singer ~ Arijit Singh, New Lyrics by ~ Gulzar, Original Lyrics by ~ Faiz Ahmed Faiz

This song is a ghazal , written by Faiz Ahmed Faiz. Gulzar has written some new lyrics, with which Arijit starts the song. Vishal has given a pure guitar background to this ghazal, so that it would cater to the modern listeners, while at the same time, retaining the richness in the composition, and keeping it calm and soothing. Arijit has sung it with utter innocence, and has done justice to the ghazal. After Mehdi Hasan, Jagjit Singh, Mohit Chauhan and K.K., it is time for Arijit Singh to croon this beautiful one. Though it isn’t the first time he has sung such a song (‘Phir Le Aaya Dil’ from ‘Barfi!’) it can still be said that it is yet another side of him. Vishal has given a small drum buildup to the hookline, which makes it sound even more beautiful. The arrangements have been kept soft, and they give a calm effect to the song. The tune is the same as the original, which I heard after hearing this version. Of course, the ambience created by this version can never match up to the level of the original, but if you are hearing it for the first time, it still sounds mind-blowing, so you know that nothing is wrong with this version either. I had wished for one song with Arijit and Vishal Bharadwaj together, and I got two in the same album! Both of them have been sung extremely well by the talented guy! The tinge of innocence in Arijit’s voice is the only thing it will need for you to fall in love with this song!! #5StarHotelSong!!


5. Ek Aur Bismil:- Singer ~ Sukhwinder Singh, Lyrics by ~ Gulzar

After the highly catchy and interesting ‘Bismil’, I was very excited when I saw the name of this track, because I was expecting something hatke from the original, as we saw in ‘Darling’ and ‘Doosri Darling’ from ‘7 Khoon Maaf’. And was I let down? Not at all! The catchiness gets more in this version! Vishal has given it an Arabic touch and it also sounds like Caribbean music in some places. Horns have been used almost everywhere, and they give that Caribbean flavour to the song. The percussion, on the other hand, gives a very Arabian feeling. There are strings used as well, which are interspersed throughout the song at places. I was definitely expecting something very upbeat, but who knew it would be so groovy and so catchy?! The whole mood of the song is energetic, vibrant and groovy, which you would never have expected after hearing the original, which had some shady moods as well. Sukhwinder has done variations even on the variations he took in the original! 😀 Again, his voice suits the Arabic-ness of the composition. There is a new antara by Gulzar in this one, and it has a different tune too! That one was for the theaters, this ones for the clubs! #5StarHotelSong!!


6. Jhelum:- Singer ~ Vishal Bharadwaj, Lyrics by ~ Gulzar

The sound of water rushing welcomes you to this track, and then a heavenly santoor portion makes you feel at home listening to the track. It is another typical Vishal Bharadwaj melody, which reminded me of ‘Badal Uthiya’ from ‘Matru Ki Bijlee Ki Mandola’, and just like that song, it has won me over! Jhelum is a river in Kashmir, and Gulzar has written the lyrics very beautifully. The orchestration in this song has been done wonderfully. The violins play a very important part in carrying forward the song, and the before I mentioned santoor constantly haunts with its part. The guitar solo in one of the interludes is beautiful. Vishal sings in an earthy tone, and the haunting melody he has composed is perfect for his voice. The climax of the song is at the peak of grandeur, with violins backed by ferocious percussion, and Vishal singing in a very dynamic manner, giving the feel of a Western live orchestra. The haunting melody seems to end too quickly, even though it is pretty decent in duration. It kind of reminded me of two of Sanjay Leela Bhansali’s film’s songs, one being ‘Tadap Tadap Ke’ from ‘Hum Dil De Chuke Sanam’ and the other is ‘Ang Laga De’ from ‘Ram-Leela’. The ghostly ambience created by this song is similar to that created by these two songs. Instantly lovable haunting melody which will leave you covered with goosebumps! Hats-off to Vishal for creating this! #5StarHotelSong!!


7. So Jao:- Singers ~ Alaap Majgavkar, Sourabh Joshi, Mayukh Sarkar, Muzamil Bhawani, Bashir Bhawani, Bashir Lone, Lyrics by ~ Gulzar

The first song of the album gets a makeover in this song. While ‘Bismil’ got more of a Western twist, this one here was already a Western-style composition, so it gets a folk twist. Yes, ‘Aao Na’ in a folk twist!! The singers are all Kashmiri folk singers, who I don’t know a thing about. The song starts with the sound of digging — this track is most probably going to be the only version in the movie, so it must be picturized on gravediggers — anyways, the sound effect has been done so realistically, it actually feels as if the people are digging in your ears. 😂 Then the lead voice starts and you might laugh at first, but later you get to know, that they are singing awesome! It’s their style of ‘rocking’ it, as we say! This version definitely has more of the haunting effect, all with the spooky lyrics and the melody too. Oud has been used here, and it sounds great. The track is short and lasts for a short time, but it definitely creeps you out! Whatever it was supposed to do it does that! Definitely try this one! You are not to miss it! #5StarHotelSong!!


8. Do Jahaan:- Singers ~ Suresh Wadkar & Shraddha Kapoor, Lyrics by ~ Gulzar

This one starts with some guitar strums, and then some rattling noises, followed by Suresh Wadkar’s nasal, but very melodious voice. He welcomes you to this composition so warmly, that you can’t help but to love it instantly. Shraddha sings for the second time after ‘Galliyan (Unplugged)’ in ‘Ek Villain’, and here she has some Kashmiri folk lines to croon. She does so, with much calmness and serenity in her voice, which sounds the same as it did in ‘Galliyan’, so I guess that is how she sings, and her voice when she talks just sounds miles apart from her singing voice. The composition is a lullaby-like melody, fully cloaked in tranquility. The lyrics by Gulzar are good, too. The guitars have been played throughout the song by Vishal, and so have the tablas and the shakers. The guitar interlude is wonderful. If there is any fault in the song, it just has to be that after a point, it can be that the tune has nothing new to offer, but is still enjoyable nevertheless. Otherwise, a cute and soothing, enjoyable, feel-good melody! #5StarHotelSong!!


9. Aaj Ke Naam:- Singer ~ Rekha Bharadwaj, Lyrics by ~ Faiz Ahmed Faiz

Another piece of writing by Faiz Ahmed Faiz, is featured in this album. There is always a song sung by Rekha Bharadwaj in a Vishal Bharadwaj album, and this time, she has got a beautiful nazm to sing. The background has been kept soft, with piano there at the start, then tablas dominating for a major part, and then again, piano coming into dominance. Vishal has composed the song wonderfully, and the musical arrangements really help to give some mental peace. Rekha’s unique voice suits the composition very well, and she takes the nazm to a whole new level. You would feel as if you are sitting at a tabla baithak in Lucknow, the tabla has been played so beautifully. The song is part of a long poem ‘Intesaab’ written by Faiz Ahmed Faiz. Vishal has adapted it quite beautifully here. 🙂 It is about the different roles a women plays in a single lifetime. This song is probably one of the most peaceful songs I’ve heard in recent times! If you want mental peace, then this song is for you! It is a must-listen!! The album ends with a #5StarHotelSong!!!

Haider is that type of album that will leave you speechless after you are done listening to it. All the songs have some particular intriguing element to them, and none of them disappoint, not even a single second of any of the songs leaves you bored. Vishal Bharadwaj has given nine gems of songs, let’s call it the Navratna! What’s more, the album is full of variety! The songs are a mix of groovy, calm, sad, romantic, intense and beautiful songs, all of them standing out amongst other nonsense, garbage songs of current times. Whether you are old, young or just born, you are sure to LOVE this album! Vishal Bharadwaj has outdone himself, and he has created a splendorous, stellar soundtrack! Definitely an album which might stay behind in the race on the music charts, but will win the races on people’s iPod playlists! A must-listen album, which is highly recommended for ALL!


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

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


Which is your favorite song from Haider? Please vote for it below!


Next “dish”:- Bang Bang, Chefs:- Vishal-Shekhar


Album Details:-
♪ Music by:- Yuvan Shankar Raja
♪ Lyrics by:- Irshad Kamil
♪ Music Label:- UTV/Times Music/Junglee Music
♪ Music Released On:- 25th July 2014
♪ Movie Releases On:- 29th August 2014

Raja Natwarlal Album Cover

Raja Natwarlal Album Cover


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

To buy this album on iTunes CLICK HERE

Raja Natwarlal is an upcoming Bollywood crime thriller starring Emraan Hashmi and newcomer Humaima Malick in lead roles. It also stars Paresh Rawal and Kay Kay Menon in supporting roles. The film is directed by Kunal Deshmukh, and produced by Siddharth Roy Kapur. Kunal Deshmukh’s films have always given us albums to cherish, be it ‘Jannat’ or ‘Tum Mile’ or ‘Jannat 2’. Pritam has always featured as composer in his movies. But this has changed with the arrival of this movie, in which the composer is the famous South-Indian music director, Yuvan Shankar Raja. From a Kunal Deshmukh film, expectations are always there from the music, and no doubt the same is the case here as well. So without any further delay, let’s proceed to the review of the music of ‘Raja Natwarlal’!

1. Tere Hoke Rehengay/Rahengay:- Singers ~ Arijit Singh (Original Version), Shweta Pandit (Reprise)

The first time Arijit is singing a solo song for Emraan Hashmi, the moment all Arijit and Emraan fans were waiting for since ‘Tum Hi Ho’ released last year, has finally arrived! The first song of the album starts with grand piano notes, which actually do sound very grand, and when they are followed and supported by Arijit’s incomparable voice, they sound all the more awesome! The song is a kind of slow poison; it will grow on you after some listens, and when it does grow on you, you can do nothing but keep grooving to the beats! Arijit very effortlessly carries out the high notes, as well as the very low notes! The type of slow, romantic song it seems to be at the beginning is a trick, I’m sure, because later, it becomes somewhat upbeat, and very catchy. The ‘oh oh oh‘s are trademark Pritam style and it just reminds you of the hit songs Pritam and Kunal Deshmukh have given. The hookline is the catchiest and has the best tune. The arrangements of the song are very good, with a lot of instruments contributing to the greatness factor. The hookline that comes after the antara, is orchestrated wonderfully, with violins beautifully doing the job! The lyrics are very simple, yet they are also very awesome, by the genius Irshad Kamil. Well, I can go on and on about this song, but we mustn’t forget about Shweta! She has sung the reprise version and the name of her version has been spelled differently, which is why I gave two spellings above. 😛 It doesn’t matter much, because the arrangements in this one are picture perfect! The vocals are picture perfect! The variations taken by Shweta are flawless! She sounds a lot like, actually even surpasses Neeti Mohan in this song! What else left to say? I guess you’ve got the idea that I loved this version way, way more than the original! The clicking/snapping Spanish-type sounds added by Yuvan in the background in this version have just got me even more addicted to the song. Also, the piano at the start of Arijit’s version has been replaced here by acoustic guitars, making the song sound even more Spanish. The harmonium has also very intelligently been added here. I’m sorry for such a long review for this single song, but what to do? It is brilliant! A must-listen! Shweta’s version is more effective than Arijit’s but both deserve this: #5StarHotelSong!!!


2. Dukki Tikki:- Singer ~ Mika Singh

A very, very catchy flute tune is the opener for this song. The starting itself is so catchy, and the rest of the song follows suit, and doesn’t disappoint! The song has been composed on the standard Kuthu template, like ‘Gandi Baat’ from ‘R…Rajkumar’ last year. The composer has done awesome Kuthu style instrumentation, with an awesome wind instrument that can be heard in all South Indian folk music forms, and outstanding use of percussion! Mika has returned to delivering better songs (recently, he had been singing many below average and also plain bad songs) and he sings very well here. The song is a tapori song, and his vocals match the song perfectly! His energy is unmatchable. Just one complaint is that when he sings ‘badshah’ it comes across as ‘bhasha’. The lyrics go with the theme of the movie, that is gambling. I have heard that this is a remake of Yuvan’s own South Indian song, but as long as it’s entertaining, I don’t have any problem! And it is just that! Not a single second will you get bored, and the song is pretty long at five minutes. Hats-off to Yuvan and Mika, for giving a definite chartbuster! It’s awesome! #5StarHotelSong!


3. Kabhi Ruhani Kabhi Rumani:- Singer ~ Benny Dayal

This song is a Qawwali-style romantic number. Benny Dayal has returned to the romantic genre after a long time, after his few romantic songs composed by Rahman. This time Yuvan has roped him in for a romantic song. Yuvan has composed it very well, with great arrangements, and the tune is also very good. The fault here is in the vocals. Benny has sung decently, but he doesn’t seem at ease in the song, his voice coming out a bit husky and not as smooth as he normally sings. K.K. would have been a way better choice than Benny here. The arrangements are great, harmonium and tabla and other techno sounds making them up. The saarangi in the second interlude is beautiful. The bulbul tarang plays throughout the song and it is too beautoful to ignore. The Sufi style composition helps to gather the listener’s interest in the song. Songs like theses are my personal favourite, but they should have a strong singer on the vocals front! The lyrics by Irshad Kamil are very good too, and give the perfect Qawwali-esque feel to the song with lots of Urdu lyrics, making the song seem more authentic. A better and more established singer could have done, but everything else is great!


4. Namak Paare:- Singers ~ Mamta Sharma & Anupam Amod

I read the two names in the singer credits and was ready for another atrocious item song. Well, it turned out to be a lot better than what I thought it would be! It starts with a catchy tune played on harmonium, which is supported by tumbi for a split of a second, I guess. Mamta enters, and actually sounds good here! Maybe this is the effect of not having any cheap songs sung by her for a long time, almost three whole months (‘Bawri’ from ‘Angry Young Man’ was the last one). Also, she is singing in a mainstream Bollywood film after almost eight months! This is a great feat achieved by Bollywood! 😛 The composition is good and enjoyable, the vocals of Mamta as I said, sound refreshing, and the arrangements are awesome too. Especially the percussion done wonderfully. Tablas make short scattered cameos, but the main percussion is of the dhols, done very efficiently. But I seriously don’t know why Yuvan has used frog sounds at the starting of the song! Really, in the starting, it sounds like frogs are croaking in the background! Anupam does decent singing, but does not impress much as Mamta has already taken center-stage in the song. The way she sings the hookline after Anupam’s part is so awesome! She breaks the word ‘namak paare’ so that it sounds like ‘namak paare ay ay ay’. Lyrics are nothing to boast of, except that use of ‘namak paare’. The name of the food item has been used, but not in a very smart way. :/ Entertaining, but not perfect!


5. Flip Your Collar Back:- Singer ~ Benny Dayal

Usually, the best is saved for the last. Here, the case is opposite. This song has nothing to boast of except the smart and intelligent lyrics (Okay, except the hookline, because it is just nonsensical). It is supposed to be a boy trying to patao-fy girl song, but the composition and arrangements dissapoint to such an extent, that it is impossible to pay attention to the good lyrics and vocals. Benny got a song of his type, but here the composer is at fault with the composition and arrangements, which are too loud. The tune is not engaging at all, and makes the song a plain boring one to listen to. The use of techno is overdone in this song, and that makes it the least appealing in the soundtrack. Some unnecessary elements like these could have been thrown out of the song. Some uncredited singers support Benny, like a rapper who comes and raps sometime in the middle of the song, but doesn’t entertain. Towards the end, Yuvan tries to patch up the mistakes by placing his signature Kuthu beats in the song, but that just makes it even worse! 😛 Failed attempt to compose a good tune for innovative lyrics!

Raja Natwarlal is an album which offers songs that are pretty entertaining, but only two manage to impress wholly, others having some or the other faults in them. Yuvan has composed a decent Bollywood debut album, but I doubt it is better than any of his South movie albums. What’s more, the songs of a Kunal Deshmukh directorial are way better than this, looking at the past movies. Many of the songs have brilliant arrangements. Vocals in certain songs could have been better. The album might not even get a longer shelf life due to the lesser degree of superhit songs. Surely, Yuvan Shankar can do much better than this, and with an album that ranks above average in his debut for Bollywood, I would say he is very promising, and that he might do even better in future Bollywood projects, if he gets any. An above average debut album by Yuvan, that is not even close to previous Kunal Deshmukh film albums, and so might not find that many takers. 


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

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


Which is your favourite song from Raja Natwarlal? Please vote for it here! 🙂


Next “dish”:- Singham Returns, Chefs:- Jeet Gannguli, Meet Bros. Anjjan, Ankit Tiwari & Yo Yo Honey Singh