REMAKE-GIRI, BAHUT HUI, THAK GAYI HAI ABB JANTA!! (LUKA CHUPPI – Music Review)

Music Album Details
♪ Music by: Tanishk Bagchi, White Noise Studios, Abhijit Vaghani, Tony Kakkar, Goldboy, Dilip Sen, Sameer Sen, Gurmeet Singh & Bob
♪ Lyrics by: White Noise Studios, Anand Bakshi, Nirmaan, Tony Kakkar, Mellow D, Harmanjit, Kunaal Vermaa & Raja
♪ Music Label: T-Series
♪ Music Released On: 22nd February 2019
♪ Movie Released On: 1st March 2019

Luka Chuppi Album Cover

Listen to the songs: Saavn | Gaana

Buy the songs: iTunes


Luka Chuppi is a Bollywood film starring Kriti Sanon, Kartik Aaryan, Pankaj Tripathi, Aparshakti Khurrana, and Vinay Pathak. The film is the directorial debut of Laxman Utekar, and is produced by Dinesh Vijan. The film is a social comedy revolving around a couple who decide to enter a live-in relationship, and the problems they face from their relatives and the society in general. The music from Maddock’s productions has usually been good, though there was a slight dip in the quality of the music in Sachin-Jigar’s album to ‘Stree’. Well, here, the music is credited to multiple composers, including Sachin-Jigar’s Artists & Repertoire venture White Noise Productions, last heard in ‘Laaj Sharam’ (Veere Di Wedding), Abhijit Vaghani, and the lead ‘composer’ (read remake artist) Tanishk Bagchi. I just call him the lead remake artist, because the other two composers, too, have presented recreations, and coupled with Bagchi’s three remakes, that makes this album full of remakes. So basically, my review is going to be like a race where remakes are pitted against each other: knowing fully well that they have almost zero chance to cross the finish line.


Right from the beginning of the opening track of the album, Poster Lagwa Do, the Sachin-Jigar vibes hit you square in the face. The beats, distinctively similar to those of ‘Johny Johny’ (Entertainment) give away that this song has been worked upon by Sachin-Jigar’s A&R company, White Noise Productions (though i suspect it has been ghost programmed by the duo themselves, because of their close association to Dinesh Vijan). Anyway, the song, which is a remake of Dilip-Sameer’s ‘Yeh Khabar Chapwa Do Akhbaar Mein’ (Aflatoon), rides on the success of ‘Simmba’s ‘Aankh Marey’, in that the makers rope in Mika Singh to do the honours with the male vocals. Well, it doesn’t work half as well as it did in the former song, and another reason for that may be because the female singer there was a more effervescent Neha Kakkar as opposed to an amateur-sounding Sunanda Sharma here. One of the singers who I’d actually like to see the female portions of the song to have been sung by, though, is Nikhita Gandhi, who is instead relegated to an embarrassing two lines of rap that are easy to miss! The composition, though kept intact, gets new lyrics for the antara, and the lyrics have been credited to White Noise Studios too — I wish Sachin-Jigar would follow Pritam’s JAM8 when it comes to crediting individual artists (though their lack of individual credits just makes me believe stronger in my theory that they are the men behind all the music credited to White Noise and just don’t want to be named because of the album being a multicomposers album!) That said, the song is levels below any previous Sachin-Jigar presentation; the beats are dated, there’s no originality or innovativeness in the programming and the song ultimately lacks appeal and repeat value.
The other ‘guest’ composer, Abhijit Vaghani, presents his take on Akhil’s song ‘Khaab’, originally composed by Bob. Duniyaa is a pleasant recreation of the already present original romantic song, with completely different lyrics by Kunaal Vermaa, replacing Raja’s lyrics from the original. The new lyrics are sweet, and the new composition for the antara too, is appreciated. Akhil has been roped in to sing this version as well, which is a good choice, as the singer of the original also gets his Bollywood break in the bargain. Dhvani Bhanushali sings the female portions alongside him, and does quite a good job too; she sounds much better in low notes here (though clearly autotuned), than she does in high notes in songs like the recently released T-Series pop single ‘Main Teri Hoon’ by Sachin-Jigar. The flute is quite melodious, and is one of the features taken from the original. Thankfully, the beats of the original, which were quite passable, have been changed and made to sound a bit more melodious, with guitars and strings accompanying the composition.
Tanishk Bagchi, who ‘composes’, or ‘recreates’ the next three songs of the album, starts off with Coca Cola, a funky and more glitzy touch to the original by Tony Kakkar. Of course, Neha Kakkar gets to pitch in, and while her brother’s original composition’s tempo is cranked up quite considerably, she gets to sing a new antara, which seems to end as soon as it starts. Again, the choice of retaining the original singer’s voice is a commendable move. Tanishk’s programming saves the song; it’s uptempo beat and strings make it a fun one-time listen — unfortunately, it is not so fun that I would press the repeat button. There is that infectious digital beat that starts the song off though, and it thankfully plays for quite some times for those who loved it. To Tony Kakkar’s original lyrics are added some new lines by Mellow D — the lines sung by Neha Kakkar and the rap by Young Desi. Obviously enough, this is going to be the next club anthem though, for lack of anything better these days.
Tanishk goes on to present another love song, named Photo, this one being a remake of Karan Sehmbi’s ‘Photo’, composed by Gold Boy. Again, the singer is retained, and again, I commend that decision. Tanishk’s beats are really basic though, and provide nothing new to the original song — which was already sufficiently catchy if this was supposed to be catchier. The flute is a nice attraction, but the original had guitars, which I am missing here. The short length of the song keeps it thankfully not boring, but the repetitive composition by Gold Boy would not have been so pleasant if it had gone on for longer. The singer Karan Sehmbi has a nice folksy texture to his voice, which explains why T-Series backed him for a pop single, and agreed to let him sing its remake, which wasn’t the case three years ago when ‘Soch Na Sake’ (Airlift) was sung by Arijit Singh. Nirmaan’s lyrics are cute, with the lyricist also throwing in a clever self-reference in the second verse. A melodious song, but loses appeal because of the digital beats, which makes it sound more like a pop song than a film song.
The last song, Tu Laung Main Elaachi, a remake of ‘Laung Laachi’s title track by Gurmeet Singh, is probably my least favourite of the album. And there are quite a few reasons for that. First of all, a really sweet Punjabi song sung by a really good Punjabi singer, Mannat Noor, has been redubbed by Tulsi Kumar — the first bad choice. Second, the beats have been degraded in sound; there is no freshness in the song as one should expect from a recreation. It sounds like the song has just been recreated for the sake of doing so. The chorus singers at the beginning and the end are nothing short of irritating! The bass has been increased in the recreation, though, it seems, and wow, I’m sure that required a lot of effort! :/


Luka Chuppi is the result of the remake trend in Bollywood going far overboard. I am not sure how the makers always come up with stupid reasons to justify their including remakes in their albums, but I’m sure nothing can justify completely avoiding original music in your album! Atleast for the sake of art, and music in general, if they would have planned out the music of this album less hastily, maybe it would have been better. And it isn’t like these remakes are great, either! 

 

Total Points Scored by This Album: 6 + 8 + 7 + 6 + 5 = 32

Album Percentage: 64%

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: Duniyaa > Coca Cola > Photo = Poster Lagwa Do > Tu Laung Main Elaachi

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

SAME STORY ∞!! (HATE STORY IV – Music Review)

Music Album Details
♪ Music by: Tanishk Bagchi, Arko Pravo Mukherjee, Mithoon, Baman-Chand, Tony Kakkar & Himesh Reshammiya
♪ Lyrics by: Manoj Muntashir, Kumaar, Rashmi-Virag, Sanjay Gupta, Sameer Anjaan
♪ Music Label: T-Series
♪ Music Released On: 23rd February 2018
♪ Movie Released On: 9th March 2018

Hate Story IV Album Cover

 

Listen to the songs: Saavn

Buy the songs: iTunes


Hate Story IV Is a Bollywood thriller (cough cough, ahem ahem) starring Urvashi Rautela, Karan Wahi, Vivan Bhatena and Ihana Dhillon, directed by Vishaal Pandya, and produced by Bhushan Kumar, Krishan Kumar and Vivek Bhatnagar. The film has music by Tanishk Bagchi, Arko Pravo Mukherjee, Mithoon, Tony Kakkar and Baman-Chand. Now all of these composers have been working with T-Series for quite some time, but that doesn’t mean I expect too much from the album! The reason being that the ‘Hate Story’ franchise has never been strong on music, no matter how popular it has been.


Tanishk Bagchi’s remake spree which seems to be inexorable, continues just as strongly as it had started off. I can’t even remember when it started. ‘Humma’? ‘Tamma’? Who knows. But now he gets to Himesh Reshammiya’s bank of songs. The producers browse for a moment through Himesh’s repertoire, and finally pick out two of his songs, for Tanishk to recreate. Tanishk, reluctantly, complies. One of the recreations has backfired terribly — Aashiq Banaya Aapne ends up being a lazy club number, in which Neha Kakkar lazes around as if she’s reciting a poem instead of singing a song. Tanishk’s too loud programming stuns the ears, and the way he uses Himesh’s voice is terrible. Tanishk never does a remake without having Tapas Roy play the hook of the song on a mandolin or some other ethnic string instrument, and he does that here too, just increasing the heard-before-ness of the song. Manoj Muntashir’s lyrics are almost the only worthwhile stuff in the song. The second one, Naam Hai Mera, at least has good vocals and music, and if you forget that the essence and beauty of the original song, which was soulful, has been demolished, you will like it. Neeti’s powerful voice luckily propels this one to where it is, and Tanishk’s EDM is refreshing. It is the lyrics here, that spoil the song.
Moving on to the original numbers, Arko’s Boond Boond is the best of the lot, with a nice Latino vibe to it, but it is not all that innovative either. It sounds like Arko was trying to recreate the type of songs Bollywood made in 2006-2008, when we were obsessed with Latin American music. Jubin’s voice doesn’t suit the song a lot, but Neeti saves the day (again), while the lyricists Manoj Muntashir and Sanjay Gupta (the filmmaker??) have nothing much to do except search through old Bollywood songs and put together all the clichéd phrases they could find.
Mithoon’s first song of the year is highly disappointing — Tum Mere Ho tries to be a ‘Sanam Re’-esque love song, but ends up being sleazy and lazy. The vocalists Jubin and Amrita Singh only increase the laziness with their lazy voices, making me too lazy to write a review for the song. The only good thing here, are the percussions in the interlude. That’s a nice touch.
If that song was lazy, wait till you hear Mohabbat Nasha Hai, a typical Tony Kakkar cry-fest. But though his previous cry fests like ‘Khuda Bhi’ (Ek Paheli Leela) and ‘Mile Ho Tum Humko’ (Fever) have been quite good, this one, being a mishmash of all of them, and with the same boring beats, is just plain boring. In one of the versions, I can at least listen to Neha Kakkar when her part comes (she sings better here than she sang ‘Aashiq Banaya Aapne’), but in the Male Version I don’t even have that liberty. Oh well.
The other best song of the album, at par with Arko’s song, happens to be Baman-Chand’s Bhatt-ish melody Badnaamiyan. The Male Version by Armaan Malik fares much better, and that’s the one that is the best of the album. Armaan’s voice suits the romantic composition, and Baman-Chand’s arrangements are great, though heard before, especially the electronic tabla. Sukriti Kakar doesn’t do too well in the Female Version, and even the arrangements don’t support her, being the usual boring arrangements used for such songs.


With the fourth instalment in this series (fifth if you count ‘Wajah Tum Ho’), it is evident that T-Series, who seem to have been making the films only for the music, might stop making the films soon, because the music is certainly going down…!

 

Total Points Scored by This Album: 5.5 + 6 + 7.5 + 5 + 5 + 4.5 + 7.5 + 6 = 47

Album Percentage: 58.75%

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: 
Boond Boond = Badnaamiyan > Naam Hai Mera = Badnaamiyan (Female) > Aashiq Banaaya Aapne > Mohabbat Nasha Hai = Tum Mere Ho > Mohabbat Nasha Hai (Solo)

 

Which is your favourite song from Hate Story IV? Please vote for it below! Thanks!

OCTOBER 2017 ROUND-UP (CHEF, TU HAI MERA SUNDAY, RANCHI DIARIES, GOLMAAL AGAIN, JIA AUR JIA — Mini Music Reviews) + Important Announcement!!


The Important Announcement

Due to the scarcity of time, from now on, I will sum up the entire month’s reviews in a set of two articles each month, one usually around the 15th of the month and the other towards the end. Of course, certain albums that I feel need a separate post (either because they might have many songs, or be spectacular albums, or even if the movies are highly awaited ones) I will do so for those albums. I will reveal the chosen album for this month — it’ll be “Secret Superstar” — I don’t guarantee it’ll be rated very high, but because of the buzz surrounding it, it requires a separate post, I feel! Meanwhile, the usual monthly awards posts will sum everything up once again at the end of every month in the form of awards. I really hope this format helps me balance my schedule! And I can’t wait to return to my normal long posts — till then enjoy your luck of getting to read short reviews from my side!!


October 2017 Round-Up

So this post will cover the reviews for the all but two of October releases that have already released — ‘Chef’ by Raghu Dixit & Amaal Mallik, ‘Tu Hai Mera Sunday’ by Amartya Rahut (Bobo), ‘Ranchi Diaries’ by Nickk, Jeet Gannguli, Tony Kakkar & Bobby-Imran, ‘Golmaal Again’ by Amaal Mallik, Thaman S., Lijo George-DJ Chetas & Abhishek Arora, and ‘Jia Aur Jia’ by Sachin Gupta, Nisschal Zaveri & Sameer Nichani. There will be separate reviews for ‘Secret Superstar’ and ‘Rukh’, both by Amit Trivedi.



♦ A Delectable Treat For The Ears: CHEF Music Review

♪ Music by: Raghu Dixit & Amaal Mallik
♪ Lyrics by: Ankur Tewari & Rashmi-Virag
♪ Music Label: T-Series
♪ Music Released On: 26th September 2017
♪ Movie Released On: 6th October 2017

Listen to the songs: Saavn
Buy the songs: iTunes

Listen to ‘Tere Mere’: Saavn
Buy ‘Tere Mere’: iTunes


Raghu Dixit starts off the album with Shugal Laga Le, a song having a heavy folk influence from Kerala. The backing vocalists provide that freshness associated with Kerala, and Raghu’s characteristic voice makes it all the more intriguing to listen to. In his arrangements too, he adds a dash of everything, and especially those percussions are mind blowing, along with the banjo. Ankur’s lyrics made me acquainted with a new phrase “Shugal Laga Le” meaning “find a hobby, or find something to do”. The next song by him is also reliant on folk music, this time Celtic/Irish. Banjaara is steeped heavily on the beautiful flutes that characterise Irish music, with amazing percussion and backing vocals yet again. Vishal Dadlani does great justice to the sing with those power-packed vocals. The song is one of those many motivational songs that Vishal gets to sing in Bollywood, except that this time, it has a whole new style to it. The mellow Darmiyaan, exudes a positivity in spite of the fact that it is a sad song — mostly because of Raghu’s ebullience. A splendid guitar backdrop makes it simple and sweet, and Raghu’s diction has to be lauded. Raghu takes forth the melancholia in a more Bollywood-ish way in Khoya Khoya, which I rank as the best of the album — underrated Shahid Mallya taking charge of the vocals in a very beautiful way, and Dixit’s composition has that old-world-charm to it. The sarangi is quite impressive here! The alternative rock set up will make this one loveable to many! Raghu’s last song on the album is the effervescent Tan Tan, rendered with spunk by Nikhita Gandhi, the only female vocalist on the album. In her texture, she gives off vibes of Shalmali and Shefali. Guest composer Amaal Mallik, whose song Tere Mere was also removed from the album later, produces a song you can immediately tell is by him. That doesn’t make its richness diluted, though — it’s still wonderful, with the nice dholak rhythm accompanying Armaan Malik’s beautiful voice. Also, Rashmi-Virag’s lyrics are amazing!
All in all, Chef is one of the best albums of the year in that it is a clever mix of melancholia, inspiration and romance. Raghu Dixit must sign more and more Bollywood films — I firmly believe that this is his best Bollywood album yet!

Total Points Scored by This Album (in the order mentioned in the review): 4 + 5 + 4 + 5 + 4.5 + 4 = 26.5

Album Percentage: 88.3%

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: Banjaara = Khoya Khoya > Tan Tan > Tere Mere = Shugal Laga Le = Darmiyaan



♦ A Perfect Sunday Album: TU HAI MERA SUNDAY Music Review

♪ Music by: Amartya Rahut
♪ Lyrics by: Milind Dhaimade
♪ Music Label: Zee Music Company
♪ Music Released On: 29th September 2017
♪ Movie Released On: 6th October 2017

Listen to the songs: Saavn
Buy the songs: iTunes


Out of Arijit’s two songs, the classically-steeped sad song Dhundlo Tum fares better, with an addictive strings orchestra accompanying it, and it quickly steers away from the Bhatt-ish genre that it starts off with. Had that continued, it wouldn’t have been half as good. The digital Sitar is beautiful. His other song, Thodi Si Jagah, is also classical-based for some initial parts, before it turns into an upbeat number that loses itself halfway through the song. The rock backdrop ofthe hook line couldn’t have been more clichéd. Arijit’s vocal prowess is clearly showcased in the song though. It is Amartya’s violin solo that impresses though, with its distinct classical tune. The title song, Tu Hai Mera Sunday, takes a pleasant Christmassy turn, with soft jazz making your ears happy. Shalmali renders it with a familiarity that makes you feel amazing. The brass portions have been done really well here, as are the drums. The clarinet and piano is wonderful too. It is nothing more than the lyrics that make it sound even more personal though. Ash King’s Yeh Mera Man is a pleasant departure from his previous song ‘Bandook Meri Laila’ (A Gentleman) and brings him back to his comfort zone. Again, a jazzy tune gives the song a kind of spring, and that whistle portion is so pleasantly surprising and charming, it is hard to dislike. The guitars are impressive here. Yeh Jo Pyaar Hai, a clubbish number sung by Nandini Srikar, is probably the weakest of the album, where the tune and the arrangement are just mismatched; the hookline sounds like this song was pitched for the situation of ‘Aaj Ki Raat’ (Don) before ‘Aaj Ki Raat’ was finalised.
Amartya’s best album to date provides us with a nice mix of classical music, jazz music and a banal club number! This album will go highly underrated and unnoticed though!

 

Total Points Scored by This Album (in order mentioned in the review): 4.5 + 4 + 4 + 3.5 + 3 = 19

Album Percentage: 76%

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: Dhundhlo Tum > Thodi Si Jagah = Tu Hai Mera Sunday > Yeh Mera Man > Yeh Jo Pyaar Hai



♦ Uninteresting Diaries: RANCHI DIARIES Music Review

♪ Music by: Nickk, Jeet Gannguli, Tony Kakkar & Bobby-Imran
♪ Lyrics by: Nickk, Manoj Muntashir, Tony Kakkar & Sattwik Mohanty
♪ Music Label: T-Series
♪ Music Released On: 7th October 2017
♪ Movie Released On: 13th October 2017

Listen to the songs: Saavn
Buy the songs: iTunes


Some newcomer Nickk is — he has just been made to make another ‘Baby Doll’, now that Meet Bros. just be refusing to do it. However, Fashion Queen has something in addition to the usual ‘Baby Doll’ sequels — an Arabic strings backdrop that just helps it as much as a car can help you fly. The new singer Raahi seems disillusioned with the ideals that it is okay to sing like Kanika Kapoor if you aren’t her. The composer’s rap is dumb. Helicopter‘s lyricist and composer Tony Kakkar uses the word ‘helicopter’ as a metaphor for ‘getting high’. 😶 Siblings Tony and Neha render it with as much mediocrity as they can muster. I can’t believe Tony is the same guy behind ‘Saawan Aaya Hai’ (Creature 3D) and ‘Khuda Bhi’ (Ek Paheli Leela), but then he has made ‘Ek Do Teen Chaar’ (Ek Paheli Leela) and ‘Do Peg Maar’ (One Night Stand). Jeet Gannguli’s Thoda Aur is the composer’s usual pathos-filled romantic number — you would think that after a year-long break, he would return with something pleasant. But it is the same old Arijit-Palak love story. And the irony is that this song sounds like ‘Saawan Aaya Hai’ (Creature 3D). So did Tony help him here instead of making his own song better? 😏 The last song is a banal Mika solo Godfather, composed by Pritam’s former assistants Bobby-Imran, which I couldn’t even finish once when I started to listen to it.
This is a Hodge-podge of the worst songs from the weirdest mix of composers ever.

 

Total Points Scored by This Album: 2 + 1.5 + 3 + 0.5 = 7

Album Percentage: 35%

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

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

Recommended Listening Order: Thoda Aur > Fashion Queen > Helicopter > Godfather



♦ Amaal Ka Kamaal (Again): GOLMAAL AGAIN Music Review

♪ Music by: Amaal Mallik, Thaman S., Lijo George, DJ Chetas, Abhishek Arora, Anu Malik & Raamlaxman
♪ Lyrics by: Kumaar & Rahat Indori
♪ Music Label: T-Series [“Aate Jaate Hanste Gaate” on Saregama]
♪ Music Released On: 6th October 2017
♪ Movie Released On: 20th October 2017

Listen to the songs: Saavn
Buy the songs: iTunes

Listen to “Aate Jaate Hanste Gaate”: Saavn


The album to the much-awaited fourth instalment to the ‘Golmaal’ series starts with the Title Track, where South film composer Thaman S. is called in just to do that clichéd Kuthu rhythm we are all bored of. Brijesh Shandilya does well as the lead male singer, but Aditi Singh Sharma sounds utterly replaceable. She gets another song, Itna Sannata Kyun Hai, composed by Lijo George and DJ Chetas, where her part towers over her male co-singer Amit Mishra’s parts. The hookline is like a desperate scream in our ears, to make noise. The EDM after the hookline is so bad, I can’t describe it. Amaal Mallik, lead composer, gets two songs, where one is obviously a 90s remake. ‘Neend Churayi Meri’ (Ishq) is the privileged song, named by the company as Maine Tujhko Dekha. The song’s best part is that Neeraj Sridhar returns after a long time to sing a song that is tailor-made for his song. Sukriti Kakar complements him well, but the song is better as an individual song than it is as a remake. Had the hookline been original, it would have been amazing! Amaal’s second song happens to be the album’s best — Hum Nahi Sudhrenge gives those rays of positivity like ‘Apna Har Din’ did in ‘Golmaal 3’. Though the song is similar to Amaal’s other EDM numbers like “Sooraj Dooba Hai”, “Buddhu Sa Mann” and “Zindagi Aa Raha Hoon Main”, it works well because of its positivity and Armaan yet again sings charmingly! What Saregama holds of the album is an unplugged, slow-paced version of ‘Maine Pyaar Kiya’s Aate Jaate Hanste Gaate, sung very simply by Nikhil D’Souza and Anushka Manchanda, and arranged soothingly by Abhishek Arora (of Abhishek-Akshay) and Samyuktha Narendran. It doesn’t work too much though, in spite of not changing much from the old song.
The worst Golmaal album is held up solely by Amaal’s songs (or song).


Total Points Scored by This Album: 2.5 + 2.5 + 3.5 + 4 + 3.5 = 16

Album Percentage: 64%

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: Hum Nahi Sudhrenge > Maine Tujhko Dekha = Aate Jaate Hanste Gaate > Itna Sannata Kyun Hai = Golmaal Again (Title Track)

 

Remake Counter:
No. Of Remakes: 35 (from previous albums) + 02 (from Golmaal Again) = 37


♦ Nisschal O Nisschal, Aur Compose Karo! : JIA AUR JIA Music Review

♪ Music by: Nisschal Zaveri, Sachin Gupta, Sameer Nichani & Shankar-Jaikishan
♪ Lyrics by: Mudassar Aziz, Raqueeb Alam, Vachaspati Mishra & Hasrat Jaipuri
♪ Music Label: Zee Music Company [“Jia O Jia Reprise” on Saregama]
♪ Music Released On: 17th October 2017
♪ Movie Releases On: 27th October 2017

Listen to the songs: Saavn
Buy the songs: iTunes

Listen to “Jia O Jia Reprise”: Saavn


The songs by Sachin Gupta start off the album, and though they do not impress you immediately, you do get attuned to them on hearing them for a couple of times. Na Shukre is a wild rock song about carefree girls, and Smita Malhotra makes a rocking debut with her vocals in this, the rock guitars played wonderfully. Shivani Bhayana’s Naach Basanti, on the other hand, is a bit too rowdy to go with its amazing club arrangements, but apparently by the lyrics, it is supposed to be some sort of an ode to “Sholay”. Many of the small additions by Gupta in this song happen to catch your attention, like the techno sounds at the beginning, and the folksy portion at the end.
The newcomer composer, Nisschal Zaveri, steps in for the rest of the songs (with lyrics) and I must say, he does quite an amazing job in his first album itself. His lullaby-ish, classical-based Na Jaa appears in two versions, one in Asees Kaur’s voice, with a stark resemblance to her singing in ‘Kaari Kaari’ (Dobaara), while the other is in Nandini Srikar’s voice. Obviously, Nandini’s version wins my heart because of her seasoned voice and more classically inclined singing. The Tabla in this song has to be mentioned, as do the strings, guitars and mandolin. The arrangements overpower the voice of Asees in her version, another drawback of that version. Nandini’s version has everything that the music buff longs for in a good song.
Zaveri’s other song, released by Saregama, is a reprise of Shankar-Jaikishan-Mohd. Rafi classic Jia O Jia, and is an apt remake of the song, with an upbeat clubbish sound, one of the freshest remakes I’ve heard this year. The song feels like a splash of water on your face — despite being a remake, Zaveri uses his creativity to make it a bit unconventional, without being bogged down by the thought of what’s popular these days. The synth has been used amazingly, and the backing chorus singing “Jia O” after every hook is just sweet! Jyotica sounds amazing in this song, the least she has sounded like Neha Kakkar ever! But Rashid Ali, being heard after a long time, falls flat due to the excessive programming done to his voice. The Latino turn of sound midway into the song takes time to get used to, but is awesome!
The background score composer for the film, Sameer Nichani, gets one of his instrumental pieces added to the album, and it is called Jia Aur Jia Theme, and is heavy on Spanish guitars, played in a very sensuous way. It is extremely short at one and a half minute, but soothes your senses for all its worth.
A hidden gem of an album, wherein we find a new composer who must get many, many more songs in Bollywood!! Zaveri scores higher than Gupta here.


 

Total Points Scored by This Album: 3.5 + 3 + 4 + 5 + 4 + 4 = 23.5

Album Percentage: 78.33%

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: Na Jaa By Nandini > Jia O Jia Reprise = Na Jaa = Jia Aur Jia Theme > Na Shukre > Naach Basanti

 

Remake Counter:
No. Of Remakes: 37 (from previous albums) + 01 (from Jia Aur Jia) = 38


I hope that wasn’t too long (though I know it was) but this is what I’m going to have to do until I am a bit more free. I personally liked this method of reviewing and don’t mind continuing it forever too! So maybe, just maybe, you might get the “Secret Superstar” and “Rukh” reviews in this format too, but in separate posts and not clubbed together! Lets see! Till then, enjoy music! 😉

FEVER HO TOH AISA!! (FEVER – Music Review)

Music Album Details
♪ Music by: Ranjit Barot, Tanishk Bagchi, Tony Kakkar, Onesia Rithner, Rahul Bhatt, Faizan-Agnel, Shamir Tandon & Rahul Jain
♪ Lyrics by: Rahul Bhatt, A.M. Turaz, Tony Kakkar, Rahul Jain, Subrat Sinha, Rajeev Jhaveri, Panchi Jalonvi, Arun Kumar & Onesia Rithner
♪ Music Label: Zee Music Company
♪ Music Released On: 24th June 2016
♪ Movie Releases On: 5th August 2016

Fever

Fever

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

To buy this album on iTunes CLICK HERE


Fever is an upcoming Bollywood thriller film starring Rajeev Khandelwal, Gauahar Khan, Gemma Atkinson, Caterina Murino & Ankit Makwana. The film is directed by Rajeev Jhaveri, and produced by Ravi Agrawal, Ajay Chhabria, Rajath Manjunath and Mahesh Balekundri. The film revolves around a contract killer who takes on the identity of a writer to escape the police. He has two mysterious women following him, and according to the makers of the movie, “suspense builds as they uncover the lie”. The plot seems to be going to the Bahamas for vacation, but I’m concerned with the music!! So here we go. A few weeks ago, I reviewed ‘Sarbjit’ that had five music-making entities behind it. I thought that was a lot. Little did I know that two months later, a movie called ‘Fever’ would be releasing with as many as 8 musical entities behind it! And fifteen tracks (two versions, so thirteen songs)!! The number of sings makes me curious as to why so many needed to be crammed into the album, what they are about, whether there is any variety or not, and other things that music reviewers look at. 😛 The first composer for this album is Tony Kakkar, who we last heard from in ‘Cabaret’, where he composed the best song of the album, ‘Phir Teri Baahon Mein’. He is in charge of as many as four songs, and five tracks. Hoping he doesn’t get into a very clichéd mode, I am expecting good songs from him. The second composer is Rahul Bhatt, who we had heard three years ago co-composing the song ‘Eggjactly’ in the ‘Jackpot’ album, with Javed Jaffrey. Here he is back with a mere one song, too. Next is Tanishk Bagchi, whose success in composing comes forward with every other song he does. His last song was unbearably bad, in ‘Housefull 3’, so I’m guessing this is going to be better! Then we have Ranjit Barot, who we know more as a BGM composer, than one who composes songs, but he has composed for some films. He too, gets one song in the album. Rahul Jain is next with three songs, making his debut in Bollywood. The stellar duo, who left us with ‘Jigariyaa’, a soundtrack to cherish, Faizan Hussain-Agnel Roman, are back with a single song in this album, which I’m expecting to be good, like their last complete album. They had composed lackluster songs for other albums in between. Then there’s Shamir Tandon, who we know very well, and I don’t know what to expect from him, solely because he never is consistently good or bad. Lastly, there is Onesia Rithner, with two songs, a debutante and a French musician. Looking forward to what she offers! So let’s start off the album!


1. Bas Ek Baar
Singer ~ Arijit Singh, Music by ~ Rahul Bhatt, Lyrics by ~ Rahul Bhatt

Rahul Bhatt starts off the album with an Arijit Singh track. The song is a soothing, calming and feel-good, sad song that has been arranged very minimally. The composer has come up with a simple, heard-before, but heart-touching composition, that is bound to make you fall in love with it. He starts off right away with the mukhda, something that hooks you onto it because of the wonderful piano chords in the background. The hookline is interspersed throughout the song, but quite camouflaged with the other parts, and since the song is so slow-paced, you wouldn’t notice that it is the hookline playing. The first interlude has wonderful strings that will pave the way to the hookline, which stands alone as a stanza in itself. It sounds as if the antara is what starts with the hookline, instead of the mukhda ending with it. Rahul Bhatt has used good acoustic guitars and violins in the first half of the song. The second interlude has the same strings solo as the first, before it breaks out into the rock template that many Bollywood romantic songs have these days. The rock guitars and drums really sound good, especially as a special surprise in an unplugged style song! Again, the hookline stanza plays, this time, with a rock background.  After a while, the song goes back to its soft and mellow nature, and this transition is as seamless as the first. Arijit sounds like never before, and seems to be at comfort with such a soft composition. He sounds great singing in this voice texture. Rahul Bhatt has also written the lyrics of the song, and I must say he has done a decent job, as such songs can’t actually go beyond the clichés of Bollywood. A heart-winning start to the album! A soft, mellow composition that sounds very sweet! And Arijit is extraordinary! #5StarHotelSong!!

 

2. Besambhle
Singer ~ Arijit Singh, Music by ~ Tanishk Bagchi, Lyrics by ~ A.M. Turaz

Arijit features on the second track as well, this time, for another composer. New on the block, but quite some films old in just a year, Tanishk is back with an upbeat MJ-styled number whose beats would remind one of the ‘Bang Bang’ title track. The song starts off with those hip-hop beats, followed by cool strings and drums, that would make you groove to them. Tanishk has come up with an addictive concoction in the form of this song which appeals right away. The hookline actually has the title of the movie in it, so this song can be termed as the title song, too. That portion is catchy as well. The antara gets pretty calm, and the was it has been composed will win over your heart. Arijit sounds really good in this kind of song, younger than ever, as lively as ever, and the infectious tune seems to have brought out the best from him, too. I wish he sings like this in many more songs. He has deliberately left many of his words unfinished but it sounds awesome! Tanishk’s arrangements, though, are what make the song sound genuine in all aspects. Without the infectious beats, the song wouldn’t have been the same. The strings that oh-so-wonderfully carry forward the proceedings, bring the actual retro hip-hop era back. The MJ fans will rejoice on hearing this. The drums and the occasional brass instruments that are humble enough to stay in the background sound great, too, as does the piano. A.M. Turaz stuns with excellent lyrics in this genre as well, after writing many great Sufi/Qawwali songs. Of course, the Urdu is still predominant here! Without the hip-hop, this song would have been zero, Nada, zilch! Tanishk’s strings are the highlight, while Arijit brings out a hidden personality of his! Tanishk’s on-off spree continues with this song; this time, he’s in the ON mode. #5StarHotelSong!!

 

3. Mile Ho Tum / Mile Ho Tum (Reprise)
Singers ~ Tony Kakkar / Neha Kakkar & Tony Kakkar, Music by ~ Tony Kakkar, Lyrics by ~ Tony Kakkar

Tony Kakkar steps into the album next, with his first song, a sad, melancholic and drowsy romantic song. I use the word drowsy because.. Well, you’ll get to know when you hear the song. Tony has composed the song on very typical Himesh/Mithoon lines, with the beats particularly reminding me of the dark era when such songs were the only thing prevalent in any album. Tony has tried to evoke a feeling of sadness, an emotion of melancholia and romance (whatever that is supposed to mean for Bollywood) but it all turns out as a desperate attempt to ape songs that themselves, do not evoke any of the sympathy of the listener. Tony has got stuck on his song ‘Khuda Bhi’ (Ek Paheli Leela), and there are many times in the song when it sounds too similar to that song! Especially one of the lines in the antara. The beats sound miserably like what Mithoon and Himesh use, but the strings help the arrangements somewhat. Tony’s voice doesn’t actually suit the song, either. Either Mohit Chauhan or Arijit Singh would’ve sounded way better. It is the reprise version that scores above the original. Tony has arranged it beautifully, with a blend of flute, shakers, Spanish guitars, mandolin and a plethora of beautiful sounds. Neha sounds wonderful in this new avatar of hers, in a romantic and calm setting, which we’ve heard her singing in, only in her cover videos on YouTube. It is a pleasant surprise to hear her sing that way. Tony has set up a wonderful Indian classical interlude with the flute stealing the show. Tony sings a line in the reprise, and how I wish he had sung so nicely in his solo version too! The lyrics by Tony Kakkar aren’t anything to praise, but they seem to go well with the song. The original is a clichéd attempt, but the reprise fares better, and garners our love for it. The reprise is a #5StarHotelSong!!

 

4. Kharaa Kharaa
Singer ~ Sonu Kakkar, Music by ~ Tony Kakkar, Lyrics by ~ Tony Kakkar

Tony comes back with his second song, this time, a sweet romantic song sung by his other sister, Sonu. The composition is something that will instantly appeal to you, something that would infect your mind with its sheer sweetness. Tony has made a very cute, contemporary and simple romantic song, from the point of view of a girl in love. The composition is not at all difficult to understand, and you can easily catch hold of it. It is the simplicity that appeals. Sonu’s husky voice suits the mood and theme of the song, and she sounds very much like Neha here! I’ve never heard Sonu singing like this! It sounds great how she sings everything in a whispery and feathery voice. It really helps in making the song light to the ears. Tony obviously gets the credits for this. He had disappointed with a melancholic song before this, and he makes up for it with a happy-go-lucky song now. His arrangements too sound great. The acoustic guitar arrangements are predominant, while the harmonica entertains occasionally. Tony aptly introduces a jazzy brass instrument in the second interlude, which lifts up the mood even more. It is the antara which is the cherry on top. The very cute way Sonu sings the sentences rapidly, makes it so intriguing. Tony’s lyrics are definitely better than what he wrote for ‘Mile Ho Tum’, and are believable and realistic. They’re not over the top like those. A dose of sugar!! #5StarHotelSong!!

 

5. Teri Yaad / Teri Yaad (Unplugged)
Singers ~ Rahul Jain / Rahul Jain, Music by ~ Rahul Jain, Lyrics by ~ Rahul Jain

Debutant Rahul Jain marks his entry into the album and Bollywood too, for that matter, with the next song, a calm and dulcet romantic song, written by himself, composed by himself and even sung by himself. Going by the maturity of the song he gives us in his very first Bollywood outing, I can tell he is going to go a very long way! The man has composed a song that is so sweet, and pure in its romance, that it will captivate you for as long as it plays, an astounding six minutes (the original version). The composition has shades of Pritam’s ‘Barfi’ album in it, while also resembling Mithoon’s ‘Humdard’ (Ek Villain), in its treatment. The mukhda, which starts so softly, grabs you as soon as it takes off, something that is unusual with soft romantic songs, which usually take time to grow on you. The hookline is unique, with the small monosyllabic word “yaad”, broken up into many syllables, making it sound unusually great! The antara takes on the form of a simple romantic song, typical of Pritam’s style, and wonderfully presented by Rahul. Rahul’s arrangements are out-of-this-world. In the original version, he uses the quintessential acoustic guitars, and the occasional but very prominent flute. And then there is an interlude with an enchanting traditional matka instrumentation. Throughout the song, the composer uses striking strings. However, it is the second interlude where they stand out the most. The second antara has a different tune, and it is kind of like a climax; it changes the dulcet mood of the song into a kind of painful mood. However, the instrumentation is at its zenith here! And the song ends on a high with those resounding arrangements followed by the smooth and calm mukhda which repeats and concludes the song. The unplugged version, on the other hand, is more of an angst-filled version, and the composition except that of the hook, is completely different. The composition doesn’t appeal at once here, being the melancholia I normally despise. However, the composer does make great use of acoustic guitars to make the song sound grand, as well as a wonderful zitar interlude. However, this version fails to create as much impact as the original one, maybe due to the slower pace and less likable composition. Rahul croons with a soft and smooth voice, the original version of the song, resembling a mix of Arijit and Ash King, while he sounds like a mix of Gajendra Verma and Nikhil D’Souza, apparently shouting, in the unplugged version. The lyrics he pens down though, are good enough for the song, and work in favour of it. The calming, enchanting original version of the song is a must-hear, while the unplugged version is skippable. Rahul makes an impressive debut, though! So, the first version is a #5StarHotelSong!!

 

6. Nahi Nahi
Singers ~ Alisha Pais & Alisha Batth, Music by ~ Shamir Tandon, Lyrics by ~ Subrat Sinha

The jazz genre creeps into the album, in the form of a song composed by Shamir Tandon, and sung by two Alishas, whom I’ve never heard about! Shamir makes a cabaret/jazz number, similar to the one he had composed in ‘Pizza 3D’, and he aces it once again. The song follows the usual jazz template, but with a funky, groovy loop on the rock guitars, this one has everything to make you dance away to it. Shamir’s composition is not extraordinary, but he males sure that it is catchy at the end of the day. Especially that “doo, doo di dooba” loop, is sure to make you nod your head. The hookline is again, something concerned with the movie’s title, and it really grips you onto the song. The leech inside you really wakes up at that moment. Arrangements are entertaining as well — rock guitars, drums played in the regular groovy jazzy manner. The piano played in those fast staccato notes, is sooooo cute! The absence of brass instruments however, is notable! Both the Alishas do a great job in transferring the energy of the composition to the listener, and their voices are half the reason the song turns out so good. The lyrics seem to be complaints of a girl about her lover. Basically, she complains about him not showcasing his love in any way, but then describes how she herself has fallen for him. 😂 Ah, the irony! A groovy, upbeat jazz number by Shamir! #5StarHotelSong!!

 

7. Kuch Is Tarah
Singer ~ Divyam, Music by ~ Rahul Bhatt, Lyrics by ~ Rajeev Jhaveri

Rahul Bhatt, who started the album off with a subtle Arijit song, comes back with a female song, another melancholic song that tries to be goody-goody. The composition is pretty good, I have got to admit, but the execution is not. The song as a whole does not appeal after hearing it, and doesn’t compel you to hear it over and over. Moreover, it seems very basic and simple, and not actually attractive. The blandness of it, naturally acts against it. Rahul tries to make a European-styled composition, but it turns out pretty boring. Arrangements are good, though, with strings, guitars and harmonicas gracing the song and making themselves stand out in the stale composition. The singer goes off-note more than numerous times, and it makes you cringe when she touches — or tries to touch — the high notes. It is the lyricist therefore, who shines in the song, with decent lyrics saving the song. The first boring song of the album, which sinks due to its simplicity and vocals!

 

8. Kya Kasak
Singer ~ Sonu Kakkar, Music by ~ Tony Kakkar, Lyrics by ~ Tony Kakkar

The Kakkar siblings come back, with another melancholic romantic song. Again, Tony weaves magic with the instruments and composition, while Sonu infuses her magical vocals into the song. The song starts with a couplet sung slowly by Sonu in a beautiful tone, but it is when the hookline “Dil ashqon mein yun… ” starts, when the actual magic takes place. Tony’s composition, though melancholic and emotional, does not revolve around the same one or two lines to convey its melancholia, but traverses a wide range of notes that appeal to the ear when put together. He has crafted a very artistic hookline, that catches hold of your attention right away, while the mukhda silently builds up to the peak. The antara is just as marvellous, after which the mukhda and hookline play again. The whole thing just seems so blissful. Tony has used a wide variety of instruments that appeal like never before. I think it is one of his most diversely arranged songs, with acoustic guitars, drums, rock guitars and the like. The rock elements mainly, are what create the most magic in the hookline. The rock guitar riff, so Pritam-ish in form, appeals to the ears like always. The composition has that certain Indian-ness and mixed with rock, it sounds very innovative and appeals highly. Sonu Kakkar sings the song with the same ease with which she churned the ghazal-like ‘Phir Teri Baahon Mein’ (Cabaret), which was a gem of a rendition by her. Her voice has that edge which makes you cherish it, especially in a sad romantic song as this. Tony’s lyrics are mind-blowing as well! I can’t believe he’s the one who wrote ‘Do Peg Maar’ (One Night Stand) earlier this year. Something of a purely different class by Tony Kakkar! Both the siblings have given us a cherishable #5StarHotelSong!!

 

9. Mujhme Kabhi
Singer ~ Shalmali Kholgade, Music by ~ Ranjit Barot, Lyrics by ~ Panchi Jalonvi

The seniormost composer on the seemingly neverending composers list for the album, Ranjit Barot, dives in for the next song, an entrancing number very distinctly composed by him. The song has a composition that is pretty tough to follow, with its ups and downs making it pretty complex. The slow pace of the composition makes it even difficult to pay attention to it. Ranjit has no doubt made a melody that is meant to infuse grandeur into the soundtrack, but it ends up being so situational, that it is kind of difficult to understand it and like it. The composer has tried a bit too much to make it sound westernized. The arrangements are cool, complete with techno sounds and wonderful strings to lead it. A harp loop starts off the song, and keeps backing it throughout. Towards the end, the strings get to their climax and brisk strokes help them in accentuating themselves and in standing out. Drums and brass instruments are great additions as well. However, the song seems to end abruptly with some weird techno sounds. Shalmali sings the song gracefully, but the deliberate low voice doesn’t exactly sound good. She isn’t quite able to showcase her singing prowess with the confined low range of notes. Of course, her usual nasal and husky voice texture helps a bit. Panchi Jalonvi writes good lyrics, but without the support of the composition, they seem lost. Quite boring.

 

10. Look Look
Singer ~ Ash King, Music by ~ Faizan-Agnel, Lyrics by ~ Arun Kumar

The duo Faizan & Agnel, who had left us with an awesome album ‘Jigariyaa’ in 2014, are back with a single song in this album. Of course, I expected the song to be as impressive as their previous works, but it fails miserably. It is probably the duo’s worst song ever! The composition is not at all substantial, just a bit of lines repeating over and over. The composition goes all over the place and it is hard to track where it is going or what it is supposed to convey. The duo has given the song a heavy rock arrangement, which is probably the only interesting aspect of the song. Rock guitars and drums are the only instruments that can be heard here. Ash King, however, is in full form with his rendition, something I’ve heard from him for the first time. He sings in a grungy (or the grungiest his smooth voice can get) voice, and seems to be enjoying himself. If there’s a reason to hear the song a second time, it has to be Ash King and his vocals. Besides that, the lyrics by A run Kumar are just plain banal. It seems like there is a stalker singing, who is behind a girl. And it also seems like a mishmash of stuff that sounds “kewl”. SKIP!

 

11. D’accord
Singer ~ Onesia Rithner, Music by ~ Onesia Rithner, Lyrics by ~ Onesia Rithner

The last composer of the album, French composer Onesia Rithner, steps in with this song. This song is actually from her album “D’Accords”. The composition is pretty cool though. It has a noticeable French touch to it, and it is very light on the ears. It has a soothing touch to it, and the distinct European touch makes it sound even more addictive. The line “Where do you think it comes from” instantly grabs your attention and makes your ears glued to the song. The arrangements are blissful, with acoustic guitars being riffed wondrously throughout the song. The guitars infuse life into the song, and make it sound all the more great. With simply guitars as the arrangements, I must say, Onesia has done a great job to make the arrangements captivating! The riffs are beautiful and soothing. Occasional twinkling sounds make the song seem more lulling. Onesia’s voice, as well, is cute, and her accent will make you want to hear the song on loop! The way she says the title of the song “d’accord”, is something that will amaze you. The lyrics are perfect as well, and cute as ever. A cute English song, by a French composer, in a Hindi film! The guitars are the highlight of this one! #5StarHotelSong!!

 

12. Carried Away
Singer ~ Onesia Rithner, Music by ~ Onesia Rithner, Lyrics by ~ Onesia Rithner

Onesia continues her Bollywood stint with her second song in the same album, another lulling and gentle song that is purely in English. This one is as lulling as the previous one; in fact, I would say it is more so. The subtle and mellow composition is something that will soothe and calm you down. I have no idea whether this song, too, is an inclusion of her previous works, but all I can say is, Onesia has worked really hard to make this one a gem as well! This one has no distinct European touch as such, but it nevertheless appeals with its simple nature. The composition is enchanting and graceful, and enough to drive you to sleep. The arrangements in this song are beautiful as well, but ranges beyond guitars; here, it is the piano that assumes center-stage. The wonderful chords on the piano are what makes it stand out. Later on, the song rises due to a wonderful addition of a slow drum rhythm, that is surely electronic, and wonderful arrangements clouding the pacifying piano sound. Guitars join in too, this time electric guitars, and they make a great appearance in the interlude. Yet again, Onesia croons the lullaby-like composition with a hushed voice, oozing of sweetness and charm. And yet again, her lyrics are perfect!! I guess it’s easy to write good stuff in English, more specifically, calm English songs!! BLISS! #5StarHotelSong!!

 

13. Dil Ashkon Mein
Singers ~ Sonu Kakkar & Tony Kakkar, Music by ~ Tony Kakkar, Lyrics by ~ Tony Kakkar

If you remember the name of this song, it was the hookline in ‘Kya Kasak’, and therefore, no prizes for guessing that this is its reprise! This time, instead of Sonu singing solo, Tony joins her in the beautiful song. The lyrics have been tweaked a bit for the male parts by Tony, and the arrangements change and become even better than they were before, in the bargain. Here, strings lead the arrangements charmingly. The composition, as we already know, is a beautiful heartbreaking and heart-touching one, which reaches out to you and screams to you to keep hearing it on loop! Tony sings this song beautifully, with all notes in place and with a better voice texture, unlike that with which he sang ‘Mile Ho Tum’. Here he sounds a bit like Jubin Nautiyal! Sonu as always excels in the vocals! Tony, lyricist as well as singer and composer, writes just as good lyrics for this version, as he did for the first. The duet version of my favourite song from the album, which was really a must-make, and now it is a must-hear!!! With that, the loooooonnnnnggg album ends with a #5StarHotelSong!!


Fever really surprised me! From an album that just came out of the blue, even though there are some pretty big names associated with it, I never expected such a wonderful album! First of all, I never expected those astounding fifteen tracks. Almost every song is impressive, and I really appreciate how the composers actually worked very dedicatedly to make this album (which will probably be washed out by the soon-to-release ‘Rustom’ and ‘Mohenjo Daro’ albums and the already released ‘Sultan’ album) a successful affair. With this album, newcomers like Rahul Jain and Onesia Rithner prove themselves, with great debuts, while composers that debuted just a few years (or even months) ago, like Tanishk, Faizan-Agnel & Rahul Bhatt, try to continue their successful stints, out of which the duo failed, while the other two succeeded quite well! And then some composers that have been around for quite some time, like Shamir Tandon & Ranjit Barot, too, try their best to impress. Lastly, the composer to whom the major part of the album belongs, Tony Kakkar, who has made five tracks out of fifteen, and has really established his position with this album. Only using his sisters as the singers and himself, he impresses quite a lot! Therefore, I must say, a ‘Fever’ must be exactly like this!

 

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: Dil Ashkon Mein > Kya Kasak > Teri Yaad > Besambhle > Kharaa Kharaa > Mile Ho Tum (Reprise) > Carried Away > Bas Ek Baar > D’accord > Nahi Nahi > Mujhme Kabhi > Mile Ho Tum > Kuch Is Tarah > Teri Yaad (Unplugged) > Look Look

 

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

WHEN EXPERIMENTATION GOES HAYWIRE!!!! (CABARET – Music Review)

Music Album Details
♪ Music by: Kaustav Narayan Niyogi, Munish Makhija & Tony Kakkar
♪ Lyrics by: Kaustav Narayan Niyogi, Tony Kakkar & Qateel Shifai
♪ Music Label: T-Series
♪ Music Released On: 27th April 2016
♪ Movie Releases On: 27th May 2016

Cabaret Album Cover

Cabaret Album Cover

 

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

To buy this album on iTunes CLICK HERE


Cabaret is an upcoming Bollywood romantic/dance film, starring Richa Chadda, Gulshan Devaiah and cricketer S. Sreesanth in lead roles. The film is directed by debutant Kaustav Narayan Niyogi and produced by Pooja Bhatt. The film is based on the struggles in the life of a cabaret dancer, and I strongly guess that the film is set in the past. When the film is about a dancer, and that too, cabaret dancer, one expected great music. This time, the music has been given by newcomers though. The director of the film, Kaustav Narayan Niyogi, is one of the music directors, while actor Munish Makhija is another. The only name in the music directors list who is known for music, is Tony Kakkar. If the director felt the need of composing songs himself, it must be required and he must’ve given his best shot! He has composed three songs along with Munish, while Munish composes or rather, remixes, two songs all by himself, both remakes of traditional songs. Tony gets only one song, and thankfully, it isn’t a club song, so we can expect something beautiful. With that, I start reviewing the music of ‘Cabaret’!


1. Paani Paani
Singer ~ Sunidhi Chauhan, Music by ~ Kaustav Narayan Niyogi & Munish Makhija, Lyrics by ~ Kaustav Narayan Niyogi

The first song of the album is composed by Kaustav and Munish together as a duo. Sunidhi being credited as the singer of the song really increases expectations, and they are eventually met. The song starts with a techno tune, which is really hooking. As Sunidhi bursts in with her bold and heavy voice, the song shines even more. The composition treads familiar item song territory, reminding heavily of ‘Kamli’ (Dhoom 3), yet charms in its own way. Kaustav-Munish do come up with stuff that serves as an instant earworm. Though the composition does invoke memories of other Sunidhi songs, it does impress nevertheless. The hookline, mainly, has the power to attract listeners. Sunidhi’s vocals are the main attraction in the song. The song would have sounded boring, had another singer sung it. She has infused right amounts of energy and feel to the song and doesn’t make it sound cheap, which is the usual tag given to songs in this category. Her vocal nuances and variation do impress, and after all, she is one of the best today. The duo’s arrangements are really cool, and though they are a LONG way from cabaret, they appeal, and so it makes the song worth listening. Electronic tablas before the hookline impress, as do electric guitars wonderfully throughout the whole song. Other than those, everything else is digital, and it still sounds great! It is commendable how the duo has made the song classy by adding all the techno elements and rock elements. Kaustav’s lyrics are typical to item songs, but as I said, the arrangements plays the gamechanger and elevates the lyrics, not making it sound like one. A good fusion by the newcomers! Catchy and groovy, with the wonderful Sunidhi’s great voice! Good start to the album! #5StarHotelSong!!

 

2. Phir Teri Bahon Mein
Singer ~ Sonu Kakkar, Music by ~ Tony Kakkar, Lyrics by ~ Tony Kakkar

Tony steps in next, for his sole composition in the album. Just a few days ago, I had really thrashed his song ‘Do Peg Maar’ (One Night Stand), which was really very cheap. However, this time he is here with a romantic song, sung by his second sister Sonu, whose voice I really enjoy more than Neha’s. The song has been styled like a ghazal and has been composed really soulfully. Tony seems to have put all his soul into the composition and also seems to want to apologise for the blunder that was his last song. The composition is one of those rare gems that arrive once in a while, which is really, really, slow-paced, yet it appeals to you. It makes you want to keep hearing again and again on loop, and that is what means the song has been successful. Sonu sings with all her heart and soul, and impresses like never! The arrangements are highly subtle, with almost nothing but acoustic guitars and digital beats. They sound beautiful with the slow-paced song, and the soulful vocals. Tony has worked really hard to make this composition mind-blowing, and his sincerity is evident in the heart-rending resulting composition. I just thought one line in the antara resembled the antara of ‘Sunn Raha Hai’ (Aashiqui 2). The mukhda, or you can say the hookline, is really emotional and soulful, while the antara just keeps those emotions intact until the end of the song! Tony writes as soulfully as he composes, with wonderful ghazal-like lyrics that accompany the song really well! I just have one real complaint against the song, which is that it is wayyyyy too small at 3 minutes and 32 seconds! 😀 A complete winner in all departments! Composition is stellar, arrangements are fabulous, while the vocals and lyrics are heart-touching. What more can I ask for?? The album just got better with Tony’s song! #5StarHotelSong!!

 

3. Do Anjaane
Singer ~ Roopkumar Rathod, Music by ~ Kaustav Narayan Niyogi & Munish Makhija, Lyrics by ~ Kaustav Narayan Niyogi

The next song is a haunting, yet scintillating piece by Kaustav and Munish. A haunting start with a whistle creates the perfect ambience for the song, after which a synthesizer tune builds up to the actual melody of the song. The duo has taken the retro path for this one, making the song sound like a Bollywood 70s or 80s song. The overall composition is very soulful and lovely. The mukhda makes the perfect start to the song, with a hooking tune. The antara is even better and sounds more retro. All in all, the composition is very impressive and goes with the theme of the movie. It reminded me a bit of early Rahman songs. The duo has done a really good job at making it feel that they aren’t newcomers in this field at all. Techno sounds don’t sound weird here, as they are neither overused nor are they too raw. They are just perfect so they do appeal. There are literally no more arrangements other than techno sounds, which do the job of keeping listeners’ ears glued to the song. There is a wonderful wind instrument solo in the second interlude, and though it is pretty soft to the ears, it does impress. Roopkumar, who we are hearing after a pretty long time, impresses with his seasoned vocals, and we can just sit back and relax throughout the song, thanks to his perfect rendition of the song. He doesn’t fail to impress in any part of the song, though it is a pretty simple composition. Kaustav’s lyrics are good, not great. A great song, with a beautiful tune and impressive vocals. The bonus is that, the techno arrangements don’t disappoint#5StarHotelSong!!

 

4. Mohe Na Aaye Na Jag Se Laaj
Singer ~ Neeti Mohan, Music by ~ Munish Makhija, Lyrics by ~ Qateel Shifai (Traditional)

For the next song, Munish wears the cap of the sole music director. The song is a classical mujra-styled song, but not the usual one, as it is fused with techno arrangements. The composition is traditional, and legends such as Pankaj Udhas, Abida Parveen, Anuradha Paudwal, Salma Agha have all tried a go at it. For Gen-Y though, here it is, remastered and rearranged, much to my disappointment. I hadn’t heard the old versions of the song before this, but the composition was the same, so actually, Munish has done nothing on the composition front. The composition, whoever has done it and passed it down generation to generation, is splendid. A soothing feeling overcomes you as the song plays, and this is all because of the traditional composition. Neeti gets to do the vocals, and shines like always, her husky voice being the star of the song. She does complete justice to the composition. What a fabulous rendition she’s done, and that would only be believed when heard. A wonderful aalaap towards the end makes your day. That is all that is good about the song, and also the traditional lyrics by Qateel saab. Everything else is just a trick on the ears. By adding various annoying techno sounds, Munish plays with our brain, tricking us into thinking he’s done a very extraordinary renovation of the song. However, it is just an obstacle in the otherwise great song. A mujra done in a rock template has been heard before (Dil Mera Muft Ka from ‘Agent Vinod’ and Hamari Atariya Pe from ‘Dedh Ishqiya’). A techno-mujra would be so interesting, but only if very well-done! Munish has just added weird beats everywhere, and since the composition is traditional, a traditional approach was expected, at least some fusion like tablas and sitar with the techno sounds would have been better. I can’t do anything but commend Munish for his efforts, but I would’ve liked it, had he not spoiled the song. An original techno-mujra or a rock-mujra would’ve been better! In spite of all that, award-winning rendition from Neeti Mohan!! Hear it only for her and the soothing composition!

 

5. Aakhri Shaam
Singer ~ Bhoomi Trivedi, Music by ~ Kaustav Narayan Niyogi & Munish Makhija, Lyrics by ~ Kaustav Narayan Niyogi

After a techno-item song, a ghazal-styled romantic song, a haunting song, and a mujra, here comes a disco cabaret number. Bhoomi Trivedi gets to do the honours of singing the track. The song starts off with haunting piano notes, and a voice saying “I love you” very weirdly. As soon as the mukhda starts, you get the feeling that something is missing in the track. And that something is, innovation in the composition. The tune seems really typical to disco cabaret numbers of the past (except of course, with more digitalization). The tune is so heard-before, you feel like listening to a Bappi Lahiri 80s number instead of this. Secondly, on top of the heard-before tune, it isn’t well-polished and put together well either! It seems like a mashup of so many cabaret songs. And when the composition is weak, there is practically no hopes for the song to survive for long in our playlist, forget in our minds. Bhoomi does her work with great responsibility, and ends up being the star of the song. Her rendition is at par and maybe even better than her rendition of ‘Ram Chahe Leela’ (Goliyon Ki Rasleela — Ramleela), but due to the weak and dated composition, it hasn’t been exploited to its fullest. The arrangements are great as well, but again, a bit too dated. I mean, Bollywood has been there and got over that a few years ago! The disco era has been revisited many times in the recent past, and Shankar-Ehsaan-Loy seem to have given it its best tribute with many songs in the Don franchise. The techno sounds are typical (and frankly, this album has started to make me hate techno!! It is so overdone here!!) and the strings and piano try to survive among those noises, but can barely be noticed. Kaustav’s lyrics again, are typical with the essential rhyming words of ‘shaam’ and ‘jaam’ and ‘mere naam’ in many disco songs of the past. When disco was introduced to Bollywood, nobody would have thought such an overdone tribute would be made in the future! A miserable composition whose only saving grace is Bhoomi’s bold vocals! Plus, one of those songs that gets stuck in your mind unwantedly, so you decide whether to hear it or not!

 

6. Bibi Sanam
Singer ~ Usha Uthup, Backing Vocals by ~ Bianca Gomes & Shazeen Arethna, Music by ~ Munish Makhija, Lyrics by ~ Traditional, Additional Lyrics by ~ Kaustav Narayan Niyogi

The last song on the album is another remake. This time a traditional Afghani folk song has been remade. The song has got a complete pop makeover, and Munish has employed some hip-hop arrangements to complement the composition, which is traditional. It is the song that most suits the cabaret theme, and it has been remade decently too. However, what it lacks is spunk and style, and instead seems to be trying way too hard to sound cool. The backing vocalists, who are usually a great accessory in songs, bring down the song’s quality. What I felt about the arrangements was that they were pretty cool, yet a bit undercooked. They didn’t seem perfect and it left the song sounding a bit incomplete. The horns are a great choice though! And so are the hip-hoppish beats. Usha Uthup, with all due respect, doesn’t sound as good as normal, but I’m sure that’s not her fault! The lyrics are traditional, and the additional lines added by Kaustav are in tune with the theme and work. Weak composition, weak arrangements, and weak vocals — weak song. Another folk song ruined by experimentation.


I was expecting a lot from Cabaret. Little did I know that the makers wanted to overdo it with the experimentation. Great compositions have been spoiled by weird techno sounds. At first it was fine, but when the whole album practically turned out like that, it got pretty annoying. But that’s not why I liked the first three songs and not the last three. I liked them because they were good, and the others were trying to be too good! Munish Makhija with his remakes does decently in both, but spoils them with the arrangements. Out of Kaustav-Munish’s three songs together, ‘Do Anjaane’ got most of my love, while ‘Paani Paani’ closely follows, and ‘Aakhri Shaam’ takes the last position. Tony Kakkar is the star of the album with his one and only song scoring full marks from me. 🙂 This album is a classic example of why sweet and simple wins the race; too much experimentation ruined the album.

 

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

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

Recommended Listening Order: Phir Teri Bahon Mein > Do Anjaane > Paani Paani > Mohe Aaye Na Jag Se Laaj > Bibi Sanam > Aakhri Shaam

 

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

 

Next “dish”: Sarbjit, Chefs: Shail-Pritesh, Tanishk Bagchi, Amaal Mallik, Jeet Gannguli & Shashi-Shivamm

ONLY ONE THING STANDS!! SIMPLICITY!! (ONE NIGHT STAND – Music Review)

Music Album Details
♪ Music by: Tony Kakkar, Meet Bros, Jeet Gannguli & Vivek Kar
♪ Lyrics by: Kumaar, Jasmine Sandlas, Manoj Muntashir & Shabbir Ahmed
♪ Music Label: T-Series
♪ Music Released On: 6th April 2016
♪ Movie Releases On: 6th May 2016

One Night Stand

One Night Stand

 

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

To buy this album on iTunes CLICK HERE


One Night Stand is an upcoming Bollywood romantic thriller, starring Sunny Leone, Tanuj Virwani and Nyra Banerjee, directed by Jasmine D’Souza, wife of Tony D’Souza, the director of films like ‘Blue’, ‘Boss’ and the upcoming ‘Azhar’. The movie is produced by Pradeep Sharma & Furquan Khan. The latest trend of multi-composers for a single album has been followed for this album too, with four composers, namely Meet Bros, Tony Kakkar, Jeet Gannguli and Vivek Kar. I have started hearing the album with very little expectations (just saying), so it’s up to these four to impress me with the music for this movie. Meet Bros have been impressive this year, so expecting more of that from them. Jeet hasn’t quite touched the standards with his two songs in ‘Sanam Re’, but I know he has the potential to even raise the standards, so hoping he does some of his exceptional magic here. As for Tony, he has been going on and off when it comes to giving good songs — I can only hope for the best! Vivek Kar, a relative newcomer, hasn’t really impressed with any of his earlier songs (all for very small-budget films), so I don’t know what to expect from him here. With that, here I go to start hearing the songs of this album!


1. Do Peg Maar
Singer ~ Neha Kakkar, Music by ~ Tony Kakkar, Lyrics by ~ Tony Kakkar

The album starts off with the quintessential Bollywood club song about drinks, to say it modestly. Tony has never impressed me with his upbeat tracks, just because he goes a bit too over-the-top with them. The EDM is always overdone, the composition is always too self-imposing on the listener, so much so that it actually does get stuck in the listeners’ heads, but unwantedly. The vocals are always over-stylish. This song, too, faces the same problems. Tony tries to create something catchy, but it comes across merely as annoying and irritating. right from the beginning, that heavy EDM hits your ears and sounds really cheap, which I’m sure wasn’t what Tony wanted. The mukhda has that really bad “trying-to-sound-cool-but-failing-miserably” feel to it. The first time you hear it, you won’t even think it has a tune. At least the antaras are better on that front, but just a little; the overall sound is still cheap. Tony has employed his sister Neha to sing (or rather, cough) this one. I say ‘cough’ because Neha has used a really weird froggy voice here, sounding as if she has a problem with her throat. Again, trying to be cool. Arrangements are nothing but techno beats and loud bombardments of EDM. Even Neha, who usually sounds so energetic in her songs, seems to be bored here. The less said about Tony’s lyrics, the better. It isn’t something he will look back to fifty years later and say, “What a soulful piece I’d penned down!” However, there is one thing that happens with this song, and which happens with all such songs — if you keep hearing it, it will infect you and never leave your brain! So stop before that happens. Usually for bad songs, I say stuff like “hear it only for blah and blah”, but this time, there’s nothing for which you should hear it! Just skip it! A cheap start to the album.

 

2. Ijazat
Singers ~ Arijit Singh, Music by ~ Meet Bros, Lyrics by ~ Shabbir Ahmed

The next song provides respite from the harsh opening to the album. Meet Bros step into the album to save the day. Their latest with Arijit, ‘Girl I Need You’ (Baaghi), was excellent, so this one was expected to be on the same lines. However, the two songs are poles apart in treatment and other aspects. Acoustic guitars very responsibly manage the opening of the song, with strings joining. Arijit starts off with a melancholic tune, very Bhatt-ish in flavour, but at the same time, not exhausting at all. As he progresses, all  you can do is drown in the ambience created by Meet Bros and Arijit’s vocals. I think it is the first time Meet Bros have gone completely Bhatt-ish in their composition, and they core full marks. They don’t go too typical, though the hookline is predictable; instead, they come up with a song that has good luck just like some of those songs in Bhatt movies, which are no different from the rest, but just seem better than the rest for some reason. Arijit uses his drowsy voice, but this time, it appeals; I guess due to the sultry composition. The composition is excellent. In the hookline, a wonderful portion where Arijit touches the high notes all of a sudden, has been composed so wonderfully, and sung just as effortlessly by Arijit. It is the part when he sings “Aaadat haiiiii ohhhhhh”. It gave me the goosebumps! Arrangements are like a typical Bhatt song — guitars, strings, piano. The only new addition that is really attractive is the accordion that sounds ever-so-scintillating. You have to hear it in the first interlude, where its use has been made to the fullest. The second interlude is also awesome, with a wonderful strings solo, played in a Hindustani classical way. Shabbir surprises highly with his good lyrics, and he has written some stuff that really sounds very good and even better with Meet Bros’ music. Meet Bros strike gold again, this time with something heard-before and with very few innovation! But they still manage to make it a #5StarHotelSong!!

 

3. Ishq Da Sutta
Singers ~ Meet Bros & Jasmine Sandlas, Music by ~ Meet Bros, Lyrics by ~ Kumaar, Rap by ~ Jasmine Sandlas

This one does start off well. A twinkly sound opens the sound with various cool and addictive techno sounds. Then it sounds like a pop song since the singers tell their own names in the song (that’s so irritating in pop songs!! We read the credits!) However, that doesn’t matter at all. The song is yet another club song, but not exactly out-and-out clubbish, until the line before the hookline. Meet Bros’ song is totally dependent on the arrangements to score well. The composition is weak, with a very small part to like, for example, the line I mentioned which comes before the hookline — “nashe mein aaj phisalke..”. The hookline, too, is enjoyable. Meet Bros’ interruptions are cool, too! They definitely know how to keep the listener from getting bored. So, though the composition is predominantly weak, some parts here and there grab your attention. The arrangements, on the other hand, are just as Meet Bros would have wanted them to be — addictive, catchy and cool! I never like techno arrangements much, but here, Meet Bros have impressed me with it. Piano and guitars along with the clubbish sounds, really sound great! The arrangements really make sure the listener doesn’t get bored even if the composition is weak. Especially the arrangements in the second interlude, before Jasmine’s rap, are too cool. Meet Bros’ part in the song is too catchy, and doesn’t seem forcedly cool at all. I guess they have cool-ness already inside them. Coming towards the vocals, Jasmine doesn’t sound too good. Yo Yo Honey Singh’s find, I didn’t like her in her debut song, ‘Yaar Na Miley’ (Kick) either. Here, she sounds way too masculine, and I wonder why someone like Hard Kaur wouldn’t have worked. Oh, right, she’s older and might not have the same charm as before, right??? :\ (Sarcasm) Kumaar’s lyrics are not good either, but they suit this type of song. Jasmine’s English rap is pathetic. Meet Bros’ not-so-cool composition excellently enhanced by their too-cool arrangements, but destroyed by Jasmine’s trying-to-be-too-cool voice, doesn’t fare so good.

 

4. Ki Kara
Singers ~ Shipra Goyal, Music by ~ Vivek Kar, Lyrics by ~ Kumaar

Vivek Kar steps into the album for this song, which, again, starts off excellently. Guitars and piano make a wonderful start for melancholic romantic songs in Bollywood, and it’s also a commonly used beginning in Bollywood. The song is wholly and solely in Punjabi, written by Kumaar, so there I kind of had a problem understanding half the words. 😅 Vivek’s overall composition is good, but it gets pretty monotonous and boring at a certain point. The pace, for one, is quite slow, and the arrangements are not captivating at all. Though the composition is decent, the arrangements could’ve had the power to lift it up, if only a bit. Shipra sounds pretty good, but in some parts she sounds exhausted, maybe deliberately. She sings in a low voice, which doesn’t sound so good on her. I can’t help but think how good she sounded under the direction of Vishal-Shekhar in ‘Ishq Bulaava’ (Hasee Toh Phasee). The hookline of the song is good, but again, could’ve been more captivating! The arrangements, as I said before, are a bit on the weaker side. Guitars, both acoustic and electric, sound good, and so do the flutes. But almost half the song has very little arrangements, or they are too soft, and so because of the monotonous composition, the song sounds boring in those parts. In fact, the first time I heard it, I couldn’t pay attention to the song at all; it didn’t let me! Disappointing! A song that could’ve been better!

 

5. Le Chala
Singers ~ Jubin Nautiyal, Music by ~ Jeet Gannguli, Lyrics by ~ Manoj Muntashir

Jeet steps in for his one and only song in the album, and how he impresses! Right from the starting piano notes, which are very captivating, to the end of the song, you can forget about everything else except the song. It is a sweet, romantic song with a happy ring to it, unlike ‘Ijazat’, which was a bit sultry. This one will surely appeal to those who love such romantic songs. Jeet doesn’t try to make the song sound too modern, and instead, makes the composition sound a bit dated, but that is the real magic in the song! The hookline is the perfect example of it; it is nothing we haven’t heard before, but it still appeals just because of the simplicity. The mukhda is the ideal start to the song, and works just like a mukhda should, which is to captiavte listeners in the first minute or so of the song. The antaras get a bit of a melancholic tinge, but still, they stand out, because of the 2000s feel. Jeet’s instrumentation is beautiful. Piano and guitars again, with variosu digital beats. Jeet uses both acoustic and electric guitars very well! The way an electric guitar riff plays in the background during the hookline, sounds very great! The first interlude is a wonderful sitar solo, but played in such a way, you almost mistake it for a piano! The second interlude is a great strings orchestra with horns blaring out beautifully. Jubin is an excellent choice for the song, and handles each and every note with his awsome voice that is smooth as cream! 😀 Manoj’s lyrics are beautiful and soulful, just as the song, though simple. Simplicity at its best!! And with this simplicity, the song wins your heart! The best song of the album for me! #5StarHotelSong!!

 

6. Tum Mere
Singer ~ Dev Negi, Music by ~ Vivek Kar, Lyrics by ~ Kumaar

Vivek comes back for the last song on the album, which is a reprise of his first song, ‘Ki Kara’. Unlike ‘Ki Kara’, this one captivates and hooks the listener right from the beginning! I was so surprised by this one! Electric guitars, a few acoustic guitars and a beautiful synthesizer tune start off the song. Dev Negi takes total control over the vocals, and does it with ease and power. The first time I heard it, I didn’t even notice it’s the reprise of ‘Ki Kara’, as I wasn’t able to pay attention to ‘Ki Kara’. The second time I heard them both, I realized that they have the same tune! Vivek gets it right this time, with perfectly captivating arrangements. The electric guitars are very catchy and instantly likable and also noticeable, unlike ‘Ki Kara’. Also, the pace of this song is faster, and it has an overall upbeat tone, unlike the whiny and monotonous nature of the first one. The composition is the same, but as I said, arrangements make a HUGE difference! It makes the composition which was sounding boring and monotonous, suddenly sound upbeat! Dev Negi’s voice is also cool in this one. That high-pitched synthesizer (I think) tune never leaves your head, and keeps coming in the song, so that it establishes a place in your mind. 😀 Kumaar has reprised the lyrics wonderfully, to make them sound more like they’re being sung from a male’s point of view. A good end to the album, and a saviour for Vivek after his other song that had disappointed. #5StarHotelSong!!


Considering that I was expecting really little from this album, Ine Night Stand turns out to be decent. Tony disappoints even more than anything, while Vivek gets it right with one out of two tracks. Meet Bros do well in both tracks, but ‘Ishq Da Sutta’ could’ve had better vocals and composition. Jeet, however, impresses with his sole song, by going on the road of simplicity. I noticed that in this album, all the good songs are really simple compositions, which aren’t anything new, but nevertheless, they appeal! The ones that try to impress going the modern way, lose it some place or the other. Therefore, in this album, only one thing stands, and that is simplicity! 🙂

 

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: Le Chala > Ijazat > Tum Mere > Ishq Da Sutta > Ki Kara > Do Peg Maar

 

Which is your favourite song from One Night Stand? Please vote for it below! Thanks! 🙂

 

Next “dish”: 1920 London, Chefs: Sharib-Toshi & Kaushik-Akash (JAM)

EK PAHELI DR. ZEUS!! (EK PAHELI LEELA – Music Review)

Music Album Details
♪ Music by: Dr. Zeus, Uzair Jaswal, Amaal Mallik, Tony Kakkar & Meet Bros. Anjjan
♪ Lyrics by: Kumaar, Manoj Muntashir & Tony Kakkar
♪ Music Label: T-Series
♪ Music Released On: 10th March 2015
♪ Movie Releases On: 10th April 2015

Ek Paheli Leela Album Cover

Ek Paheli Leela Album Cover

 

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

To buy this album on iTunes CLICK HERE


Ek Paheli Leela is an upcoming Bollywood musical thriller film, directed by debutant director Bobby Khan and produced by Bhushan Kumar, Krishan Kumar, Ahmed Khan & Shaira Khan. The film stars Sunny Leone in the lead role(s) — she has a triple role. Actors supporting her in the film are Jay Bhanushali, Rajniesh Duggal, Rahul Dev and Mohit Ahlawat. The music of this film has been composed by T-Series’ favourite — Oh yeah, they don’t have any favourite. Their favourite is multi-composer!! 😂 Yup, it’s yet another multi-composer album from T-Series’ side, and again, expectations are low from a multi-composer album! But in this case, Amaal Mallik’s presence does increase some interest, and other songs have been done by Punjabi rapper Dr. Zeus, T-Series regulars Meet Bros. Anjjan, and overnight fame Tony Kakkar (‘Sawan Aaya Hai’ from ‘Creature 3D’) So let’s take a look at how great this album is, right away! (Since I’ve already delayed the review so much 😂)


1. Desi Look
Singer ~ Kanika Kapoor, Music by ~ Dr. Zeus, Lyrics by ~ Kumaar

To kick-start this album, we have Dr. Zeus, who seems to have won over Bhushan Kumar’s heart with his “lovely” music, (get it, get it?? 😛 ) so he’s getting one song after the other this year in T-Series albums. He comes back with Kanika Kapoor, who herself has been giving back-to-back hits this year. What a coincidence. And not a surprise that both of them, when come together, produce a sequel to ‘Lovely’ from ‘Happy New Year’. Yup, if ‘Tipsy Hogai’ was similar to ‘Lovely’, you have got to admit that ‘Desi Look’ has been made with an intention to make a follow-up to ‘Lovely’! To start with, we have the same singer and music composer, and the same overall sound of the song. The glasses shattering, the chudail’s wailing, and the bell ringing, all have been taken from ‘Lovely’! Dr. Zeus seems to have run out of ideas, or he must have been too blown away by the success of ‘Lovely’, that he decides to try and impress us with an exactly similar-sounding song that goes along the same lines, but fails miserably to arouse any interest in the listener! Kanika doesn’t sing in her usual high-pitched voice, but uses some monotonous low-pitched voice, which really makes you doubt whether she wants to sing and make you dance, or haunt you. 😝 Dr. Zeus’ rap after the mukhda resembles ‘Let The Music Play’ by Shamur a lot. And also, it’s not that attractive either, what with the guy burping at his own pleasure. :\ Irritating! In the antaras, two tracks of Kanika, one, the predominant low voice, and the other, a higher-than-usual voice, have been kept, and they sound very bad. The guitar riff in the hookline, though, is very catchy. Arrangements-wise, it is nothing exceptional, but they manage to attract listeners when the composition and vocals do not. Kumaar’s lyrics are the usual girl-trying-to-show-off kind, which has gotten pretty boring by now! So, a very bland opening to this very-much hyped-about album, ticking us off from the beginning! Dr. Zeus, please go get a doctorate in music direction and come back!

 

2. Tere Bin Nahi Laage (Male) / Tere Bin Nahi Laage
Singers ~ Uzair Jaswal / Tulsi Kumar, Aishwarya Majmudar, Alam Gir Khan & Daboo Malik, Music by ~ Uzair Jaswal, Music Recreated, Arranged & Produced by ~ Amaal Mallik, Lyrics by ~ Kumaar

After that dull start to the album, we move ahead, hoping for something innovative and refreshing. This next song, is a Pakistani song, originally composed by Uzair Jaswal in 2012. Amaal Mallik, the rising star of Bollywood, who has started his journey in Bollywood with Salman Khan’s ‘Jai Ho’, and has been impressing us ever since, has recreated, rearranged and produced the music on it, and boy, what a wonderful job he has done! Last we heard him was ‘Sooraj Dooba Hain’ in ‘Roy’, and we were impressed at how expertly he composed a club track. Now he returns to the genre he started off with i.e, romantic songs. Uzair’s original composition has just been retained in the form of the mukhda, and it is a great, soulful start to the song. First up, we’ll talk about the male version. Uzair’s unpolished, but sweet voice, suits the composition, but one feels the absence of Armaan Malik here, and that he would’ve done better justice to the composition, though it is Uzair’s composition. The antaras, composed by Amaal, continue the soulfulness of the song, and take it to a new level. Arrangements have been done wonderfully, yet again, and the rock guitars are what stand out the most. Of course, the acoustic guitars follow closely, and the drums provide a nice, catchy beat for our heads to sway to. It just sounds splendid to the ears, and is something that would lift up your mood anytime. Moving on to the other version (Which of course can’t be called the female version, can it? It has men singing in it too! I guess people from T-Series finally read some of my last criticisms about their weird names of versions 😛 ), you might get frightened when you read Tulsi’s name as the singer, but let me assure you, that the way Amaal has equipped her in the song, you might not even feel that it is the same Tulsi who has earlier tortured us in ‘Roy’ and ‘Yaariyan’,  that Tulsi who won over our hearts in ‘Once Upon A Time In Mumbaai’ and ‘Ready’! She has tried to do her best, and succeeds. Though it is not pitch-perfect, her rendition, still it manages to make you smile. This version is definitely better than the Male version, because of various reasons. First of all, Aishwarya and Tulsi together make a perfect combo, and Aishwarya with her traditional Rajasthani lines, just sounds so cute! Especially the Kesariya Baalama inculcation comes as a huge surprise! Also, the backing vocals by Alam Khan and Daboo Malik, are efficiently placed, giving a rustic traditional Rajasthani folk touch to the song. It is definitely calmer, thanks to the wonderful semiclassical and traditional arrangements — Sarangi, dholaks, whatnot! And Amaal excels in that, as well! He really proves his versatility yet again with this version of the song. Kumaar writes efficient, suited to the theme of the song, and soulful lyrics. Before you get bored reading my essay, I would advise you to just go ahead and listen to this song, both versions! You won’t regret it at all! Amaal rocks yet again, this time proving his excellence in traditional folk music! Go for both the versions, which drastically differ in their styles! #5StarHotelSong!!

{Excuse me for the essay, but it was too difficult to write something concise for this wonderful song with two versions!}

 

3. Saiyaan Superstar
Singer ~ Tulsi Kumar, Music by ~ Amaal Mallik, Lyrics by ~ Kumaar

Amaal’s second sing is a typical wedding dhol-baaja song sung by someone who you would never, ever expect to sing it — Tulsi Kumar! And she does so, with so much gusto and spunk, that you can hardly believe your ears. These type of songs suit her way more than all those songs where she sings reprise versions of romantic songs (of course, ‘Tere Bin Nahi Laage’ is an exception) where it looks like she has been singing just because she’s been told to. But here, she actually seems to be enjoying herself, and thanks to Amaal Mallik for discovering this side of her! Now it’s a request to all music directors, to try to use Tulsi in such a way. Anyways, back to the song. Amaal’s composition is again, very Pritam-ish, and catchy too. His arrangements are fabulous as well, with the trumpets, dhols and other techno sounds sounding awesome. The nuances Tulsi has done not to sound exactly urban, but slightly rural, like rolling her R’s in all the words, and pronouncing some words as someone in rural areas would (like “Parrpose” for “propose” and “Suparrstarr” for “superstar”) , are really great. The second interlude by Amaal, with the guitars in a pretty Spanish way, is something worth hearing. Kumaar’s lyrics are also entertaining, and keep you listening. All in all, an excellent song, sure to be liked by the masses and classes alike! Way to go Amaal, and thanks for reinventing Tulsi! #5StarHotelSong!!

 

4. Khuda Bhi
Singer ~ Mohit Chauhan, Music by ~ Tony Kakkar, Lyrics by ~ Manoj Muntashir

A soft and mellow flute tune welcomes us into the next song, promising something awesome right at the beginning. So when Mohit enters with his metallic and melodious voice, you can’t help but get goosebumps. Tony’s melody sounds like a typical Bhatt-ish melody, but other than that, it is also a very touching, full-of-emotions, romantic song, which you are surely gonna love. When the part “Itni anmol cheez de di kaise, sochta hoga..” comes, it is sure to induce goosebumps on your body, and the way Mohit sings it, just helps in doing so. Mohit’s vocals are the best choice for this song, and he puts in the right expressions wherever needed. Tony has decorated his beautiful composition, with even more beautiful arrangements, which enhance the composition manifold. First of all, the beautiful flute which had welcomed us into the song, continues to play throughout the song to ensure we do not get bored. In the aforementioned line, Tony has placed beautiful electronic tablas, giving the song the required classical, traditional sound. Sitar in the first interlude, and a beautiful flute solo in the second, keep the listener attached even in the interludes. And the magic of the antara is just indescribable. The high notes, when Mohit touches, instantly appeals to the ears, before going back to the hookline, which is already so beautiful. Manoj Muntashir’s lyrics are fantastic as well. Thry give the soul to the song, and really make you want to hear it again and again just for the words. They’re that beautiful! This song is miles from where Tony left us last year with ‘Sawan Aaya Hai’ from ‘Creature 3D’. He seems to have evolved between these two songs, both in composition and arrangements. And thank God, that he didn’t choose Arijit to sing this one, which might not have made it as magical as when Mohit sang it. A heart-touching song, with beautiful vocals, soothing arrangements and lovely lyrics!! Yet another #5StarHotelSong!!!

 

5. Glamorous Ankhiyaan
Singers ~ Krishna Beura, Meet Bros. Anjjan, Music by ~ Meet Bros. Anjjan, Lyrics by ~ Kumaar

This song starts with the alien-spaceship-like sound of an electronic tanpura. It surprises you for a moment, till that familiar Rajasthani folk sound dominates, along with awesome bass effect. Krishna steps in to win over our hearts with his rendition, as he has done many times before this. Meet Bros. Anjjan have tried to combine Sufi, Rajasthani folk and modern techno sounds here, and they succeed in it, too! The composition is based on Rajasthani folk with shades of Sufi, and every line is as captivating as the one that follows. The whole song is so catchy, that the listener won’t want to stop listening. One of the most innovative compositions of Meet Bros. Anjjan, it is when they come up with something like this when you wonder why they also do those typical Punjabi rap songs sometimes, which everyone might have gotten bored to hearing by now. This song also has shades of Himesh Reshammiya’s compositions in the 2006-2008 era. Krishna handles each and every note, be it high or low, with ease and flows through the song, sounding very folk-sy as he does. His voice was a great choice for this song. Coming to the arrangements, Meet Bros. Anshan impress here, as well. The sound-effects they have placed all over the song, cannot be described here, but have to be heard to believe. Instruments like flute, electronic tabla, chimes, etc have been used very efficiently. Also, the techno sounds give the effect of a fashion show, which is pretty much where this song would be played in the movie. Krishna’s “Oh oh oh oh..” keep you listening and is so catchy! Kumaar again writes entertaining lyrics, a blend of folk-sy words and English words. The title itself gives a sneak peek of what you can expect in the lyrics! 😀 One of Meet Bros. Anjjan’s most innovative and captivating compositions! Has to be applauded! #5StarHotelSong!!

 

6. Main Hoon Deewana Tera
Singers ~ Arijit Singh, Meet Bros. Anjjan, Backing Vocals by ~ Ved, Ambresh & Ashish, Music by ~ Meet Bros. Anjjan, Original Composition by ~ Sajid-Wajid, Lyrics by ~ Kumaar, Original Lyrics by ~ Faiz Anwar

The next song by Meet Bros. Anjjan is a remake of the 1999 hit track ‘Deewana Tera’ from Sonu Nigam’s album ‘Deewana’, which had been composed by Sajid-Wajid. Now let me tell you before you think anything, that there is no way this song is better than the original, but if seen as a song by itself, it sounds great. Comparisons with the original will always happen, but let’s not do that here, except for say that Arijit hasn’t managed to pull it off as awesome as Sonu had. Okay, so now, let’s see it as a whole new song. The basic tune of the mukhda has been kept the same, so it is a proper remake, but the arrangements, lyrics and vocals have been altered. Meet Bros. Anjjan have put many techno elements into the song, making you wonder whether their intention was to make it a club song! Arijit shines in both low and high notes, and under Meet Bros. Anjjan’s direction, sounds sweet and innocent. The tune of the antaras has been changed, and this tune also is likable, which Arijit sings with ease. The rock guitars, techno sounds really make the originally calm song sound more lively than it should. But I kind of liked that too. The strings which have been played the second time the hookline comes, keep you listening. Interludes, one rock, the other Church choir-like, are attractive too! Lyrics by Kumaar are the same usual romantic lyrics, with just the hookline retained from what Faiz Anwar had written. After hearing this redux of such a great 90s song, I have very mixed feelings as I love Sonu’s original version, but this one sounds great as well, as a standalone song, if not compared to where it is remade from. Arijit didn’t shine like Sonu, but it still sounded great thanks to Meet Bros. Anjjan trying to match the level of their song with the original. Though it didn’t work, the result is appreciable! #5StarHotelSong!!

 

7. Dhol Baaje
Singers ~ Monali Thakur, Meet Bros. Anjjan, Music by ~ Meet Bros. Anjjan, Original Composition by ~ Ismail Darbar, Lyrics by ~ Kumaar, Original Lyrics by ~ Mehboob

Another remake, again done by Meet Bros. Anjjan. This time, the hit track ‘Dholi Taaro Dhol Baaje’ from 1999 movie, ‘Hum Dil De Chuke Sanam’ has been targeted. However, this remake fares much better than ‘Deewana Tera”s because and just because of a strong composition. It starts strong with dhols and dholaks playing energetically, after which a very catchy loop of a Rajasthani folk instrument plays. When Monali enters, she makes you smile very broadly, and sounds very sweet and cute! Meet Bros. Anjjan have beautified this song with fully traditional instruments, with just a few techno sounds here and there. The hookline has been broken in a pretty weird way, which might appeal to some, but may be hated by others. I liked it. Nothing else is similar to the original song. The antaras are the best parts of the whole song. Monali sings all the small nuances and variations brilliantly, making you say Waah! Her voice is so crystal clear that you cannot imagine anyone other than her who could’ve done so much justice to the song and sung with so much expression and energy. Kumaar’s new lyrics make the dance song sound like some item song where the girl is just yapping on about herself, but the composition being mild, doesn’t make them seem all that item-ish either. So the great composition balances the mediocre lyrics. Arrangements, as always with Meet Bros. Anjjan’s songs, impress to the core. The beats make you groove along to the rhythm. Especially the electronic tablas are very, very attractive. Of course nowhere near the original, but enjoyable! Very great effort to remake this song, and it succeeds, mostly thanks to the great vocals by Monali! #5StarHotelSong!!

 

8. Ek Do Teen Chaar
Singers ~ Neha Kakkar, Tony Kakkar, Music by ~ Tony Kakkar, Lyrics by ~ Tony Kakkar

This last track does the job of breaking this great run of awesome songs from this album. A club song, frankly not needed in this movie, and an utterly atrocious one too, at that. It has all you need to make an unsuccessful party track — Neha Kakkar trying to show off, Tony Kakkar getting too overconfident with his other song ‘Khuda Bhi’ that he decided to make a club song as well, and failed at it miserably. It doesn’t even have a catchy hook like ‘Desi Look’, neither does it have any appreciable arrangements. In fact, the arrangements are way too loud and unbearable. Lyrics do not even deserve to be discussed. Tony has just written a mixture of words, only for the sake of rhyming them. Whether they make any sense or not, I guess he forgot to check. :/ For me, the album ends at ‘Dhol Baaje’ itself! Skip this one!


Ek Paheli Leela is another multi-composer album, which fares quite well compared to other multi-composer albums we have encountered last year. With only two disappointing songs, one by Dr. Zeus (I’ve actually never expected anything from him anyways, so its alright with me.) and the other by Tony Kakkar (Yes, this was shocking. He could’ve worked way harder on this one.) the album doesn’t exactly disappoint and stays true to its marketing as a musical.

 

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 Bin Nahi Laage > Khuda Bhi > Glamorous Ankhiyaan > Saiyaan Superstar > Dhol Baaje > Main Hoon Deewana Tera > Desi Look > Ek Do Teen Chaar

 

Which is your favourite song from Ek Paheli Leela? Please vote for it below! 🙂

 

Next “dish”: Dharam Sankat Mein, Chefs: Sachin Gupta, Jatinder Shah, Meet Bros. Anjjan & Shamir Tandon