Music Album Details ♪ Music by: Rana Mazumder, Siddharth Pandit, Anjjan Bhattacharya & Madan Mohan ♪ Lyrics by: Kumaar, Revant Shergill, Sandeep Nath, Kausar Munir & Raja Mehdi Ali Khan ♪ Music Label: Saregama ♪ Music Released On: 26th July 2018 ♪ Movie Released On: 27th July 2018
Saheb Biwi Aur Gangster 3 is a Bollywood action / crime thriller starring Sanjay Dutt, Jimmy Shergill, Chitrangada Singh and Mahie Gill in lead roles, directed by Tigmanshu Dhulia and produced by Rahul Mittra and Tigmanshu Dhulia. The film opened to mostly negative reviews, but thankfully, we music reviewers don’t have to poke our little noses into that. The music album of the film is primarily composed by Rana Mazumder, who made a spectacular debut last year with Tigmanshu Dhulia’s ‘Raag Desh’, in which the guest composer was Siddharth Pandit, also featuring as guest composer here. They are joined by Anjjan Bhattacharya too, the second guest composer. Now, I barely remember any tracks from the previous installments of this franchise, showing how short their repeat value was. Let’s see whether the tracks in this instalment are any better.
Let’s get the songs by the two guest composers covered first — just my OCD, nothing else. 😂
Kesariya Jugni is another of the countless takes on the ‘Jugni’ folk song, but other than the tumbi nothing reminds me of the original, so I don’t think I’d classify it as a recreation! Anjjan Bhattacharya, who I always believed to be the melody master when Meet Bros. Anjjan was still a trio, takes the opposite path here; he relies more on the sound to propel his song forth. The aforementioned tumbi gives the song its required Punjabi energy, while other techno sounds help give it a universal connect. Dhols and all are present, but don’t contribute much. My favourite touch was the “Aao ji aao sarkar…” portion sung by Amit Gupta. The Nooran Sisters (whose surprisingly it is the first song of the year ONLY! 😕) carry the entire song on the shoulders; whenever it starts getting remotely repetitive, the Noorans keep it interesting and listen-worthy. Kumaar’s lyrics are something that would fit into a ‘Tanu Weds Manu 3’ as well, but Anjjan’s music it what makes it suit the vibe of this franchise.
The other guest composer Siddharth Pandit creates the Baba Theme, which succeeds as a gangster song, but fails to keep the listener attentive. Revant Shergill’s rendition is weak, the composition is closer to a recitation of sorts, and the arrangements are way too repetitive (more than Sanju’s ‘Baba Bolta Hai’ too!) for my liking. Revant Shergill even pens the lyrics, which again, are unsatisfactory. This song is something to skip if you get bored of repetitive sounds in songs.
Rana Mazumder starts his portion of the album with a recreation (more like a cover) of Lag Ja Gale from ‘Woh Kaun Thi’. After Lata Mangeshkar, the only singer who’s gotten even close to her rendition was Shreya Ghoshal, who I’ve been fortunate enough to hear singing this live! Rana Mazumder though, ropes in Jonita Gandhi, who had me floored by her rendition! Obviously not close to Lata di’s rendition, but from the current crop of singers, it’s only Gandhi who can get even this close to Shreya’s rendition too. What’s an added bonus, is that Mazumder keeps the arrangements really, really wonderful. The calmness and emotion of the original song has been kept intact, since Rana has used a beautiful orchestra, wonderful twinkling sounds, a mellifluous flute, chimes, and even a well-placed, iconic sitar. Of course, Madan Mohan ji‘s song is immortal, but I’m pleasantly surprised with this presentation of it. It is definitely a recreation I’d want to reach a million views in a day, but sadly, that kind of ‘recognition’ is in some other song’s fortune. 😦
As we veer over to Rana Mazumder’s original part of the album, we see a shift in the music from the modern, gangster-y music which the two guest composers had used in their songs, to a noticeably Pancham-ish vibe in Mazumder’s original songs. Three of the next five songs have that distinct Pancham touch, the first one being Andheron Mein Rishtey, which features in two versions, both with the same jazzy arrangement, which was a staple arrangement for detective/gangster films in the 70s or so. The trumpets are fascinating, as is the bass, and the composition is aptly sinister, as are Sandeep Nath’s lyrics. The Male Version by Arijit Singh falls below the Female Version by Mandakini Bora (newcomer?) though; Arijit’s sleepy voice just didn’t suit the theme of the song. Mandakini renders the song sensuously; such songs are best in female voices, I feel. That said though, her voice isn’t something I’d listen to the song solely for.
More along the Panchamda vibe is Dil Ka Parinda, which is crooned by the composer along with Usha Uthup. It starts with a pacy Latin rhythm with amazing Spanish guitars and Caribbean-style percussions. The first time around, the song sounds a bit pretentious, but it grows on you with the number of times you listen to it; Usha Uthup as usual is at her best in such songs; she leaves no stone unturned in making it her own song. Even composer Rana Mazumder tries to pull off a Pancham, but he doesn’t do it as well as he had done under Vishal-Shekhar’s music direction in ‘Twinkle Twinkle’ (The Dirty Picture). Even if you don’t like retro songs, you should listen to this song if only for the guitars and percussions. Sandeep Nath’s lyrics, yet again, are fun, though nothing exciting.
Rana departs from the Pancham vibe gradually, but Aye Huzoor still has some distinct Pancham touches in the arrangements. Rana uses sitar wonderfully again, and a very commendable use of muffled tabla sounds makes it a very delightful composition. The ‘Hey Shona’ (Ta Ra Rum Pum) duo Shaan and Sunidhi Chauhan render the song beautifully; Sunidhi is singing in the same voice which she had sung in, in that song as well. Though the composition is listener-friendly, I don’t think I see myself revisiting it many times in the future. Kausar Munir has written some cliché Bollywood romance lyrics, but they’re not dated as in irritating at all.
The last song, Davaa Bhi Woh, is drastically different from the previous songs of the album. It is entirely reminiscent of the Ismail Darbar – Sanjay Leela Bhansali combinations in ‘Hum Dil De Chuke Sanam’ and ‘Devdas’, especially the latter. Right from the female chorus in the beginning, to the overbearing tablas and kathak sounds, like the ghungroos and bols, this song is splendid. The new singer Saberi Bhattacharya is wonderful as well, and reminds me of Alka Yagnik in places. Rana Mazumder spins a beautiful melody based on Raag Khamaaj (I believe; don’t quote me) and reminds you of other songs like ‘Jagaave Saari Raina’ (Dedh Ishqiya). The conclusion to the song is magnificent as it should be, and I wonder what it is doing here in this soundtrack. 🙄
Saheb Biwi Aur Gangster 3 turns out to be the most memorable album of the franchise; I can see myself humming most of these tunes in the near future at least! Rana Mazumder manages to churn out entertainingly varied songs even for a gangster flick!
Total Points Scored by This Album: 6.5 + 4 + 8.5 + 6 + 6.5 + 7 + 7.5 + 9 = 55
Album Percentage: 68.75%
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: Davaa Bhi Woh > Lag Ja Gale > Aye Huzoor > Dil Ka Parinda > Andheron Mein Rishtey (Female) = Kesariya Jugni > Andheron Mein Rishtey (Male) > Baba Theme
Music Album Details ♪ Music by: Shankar-Ehsaan-Loy & Summersalt ♪ Lyrics by: Javed Akhtar & Kit Shangpliang ♪ Music Label: Zee Music Company [“Rock On (Revisited)” on T-Series] ♪ Music Released On: 20th September 2016 ♪ Movie Releases On: 11th November 2016
Rock On 2 Album Cover
To hear the full songs of this album on Saavn CLICK HERE
Rock On 2 is an upcoming Bollywood musical drama starring Farhan Akhtar, Shraddha Kapoor, Arjum Rampal, Purab Kohli, Shashank Arora, Prachi Desai and Shahana Goswami. The film has been directed by Shujaat Saudagar, and produced by Farhan Akhtar and Ritesh Sidhwani. The film is a sequel to the 2008 hit film, ‘Rock On!!’ which was like the pioneer for rock music in India, giving a whole new genre for the nation to like, love and perform for themselves. Shankar-Ehsaan-Loy had given a brilliant soundtrack for that movie, and after that rock became an integral part of Bollywood music as well. However, times have changed, and now, after eight years, the rock scene in India has changed a lot! What Shankar-Ehsaan-Loy did in ‘Rock On!!’ now seems very ordinary (in that rock has evolved over the years) and now many composers have started using rock as a way of conveying both angst and fun, in almost all movies. Now, in 2016, the sequel to that movie is releasing, and the trio yet again, have to live up to expectations, but not necessarily live up to the standards of the first album (because rock has changed!) Though comparisons will definitely take place, I will try my best not to, because of the time that has lapsed, and also, because of the change of director for the second film. (The first one being directed by Abhishek Kapoor). Since Shraddha Kapoor and Farhan Akhtar are the female and male leads, it goes without saying that they’re going to sing songs in the album, and hopefully, Shankar-Ehsaan-Loy use their limited abilities to bring out the best in both! 🙂 After that epic album to ‘Mirzya’, I’m kinda sure this one will sound less impressive, but you really cant blame the trio, because the genres are miles apart! Also, there is one song where Meghalayan band Summersalt collaborates with the trio, which is the seventh song of the album. So let’s see whether this album rocks on or not! 😛
Sure enough, the album starts off with a song sung by none other than Farhan Akhtar, the lead actor of the movie, and lead singer of the Magik band (the band in the movie, in case anyone forgot). The song kicks off with a very groovy, and catchy rock guitar riff, and Farhan’s voice takes over to start off the melody of the song. The composition is quite bland, however. The mukhda is very low-key, and doesn’t scream in your face, “Hey, I’m a rock song, so you better cringe!” I liked that. Even the hookline is very catchy, and especially that line before the hookline which goes, “Sab jaan jaaye tumko…” is very catchy, and I like the way they drop down the scales one by one, in that line. Though the hookline has the singers scream in your ears, you end up liking it, because it is done very well, just like a professional rock song. It is the antaras, that cause the problem in the song. Well, at least the first antara is fine, it is just a repetition of the mukhda. However, once the second antara arrives, you can’t help but notice how long the song has been stretched, and on top of that, the quite sublime composition of this antara doesn’t help. It just gets you wanting the song to end soon, which i believe shouldn’t happen at all in a rock song! The composers do many great tricks with the arrangements though. The vibrant guitars are the main attraction of the song, especially that aforementioned riff. It plays throughout the song, and really helps in keeping you glued to the song. The drums (Jai Row Kavi) wonderfully supplement the guitars, and take the okay-ish melody to a different level. The interludes are full of great electric guitar solos, especially the second interlude, where the guitar first does a very awesome solo, and after that is broken down, making a sound like a machine gun does in video games. 😛 (I didn’t know how to describe that!) That part is electrifying! The vocals by Farhan are surprisingly full of zest, but (obviously because of the high notes) Siddharth has to give him a little help (which is okay with him, as long as it is something to do with screaming, that too, in perfect tune!) with the hookline, and Siddharth just rocks the hookline. Farhan doesn’t sound too husky in the song, and that’s a pleasant surprise. Javed Akhtar has written a good song about standing up to any wrongdoings and standing up for our rights. So, this song is two-in-one: entertainment plus awareness campaign! A good opener for the album, but if only the composition were a bit more well-polished, the song would’ve been awesome!
Shraddha, as expected, gets her first song for the album right away, and the song starts off with an entrancing and weird semiclassical piece, with Shankar (in a very chipmunkish, nasal voice that is obviously tweaked) singing a very nice aalaap. The composition starts off very mildly, with a quite ordinary mukhda, which is thankfully graced by Shankar’s weird nasal voice, which serves a great attraction, seriously! The composition only picks up in the midst of the mukhda, when Shraddha starts to sing the “Yeh jeena bhi socho koi jeena Hai..” verse. And then she sings the hookline in a very low scale, and that’s when you start loving the composition, which then goes nowhere but uphill. Shraddha repeats the hookline in a high scale, and that’s when the rock guitars and drums start off too, and from that moment onwards, the song is just energizing and catchy. However, it takes like two minutes to get to that part. Nevertheless, the wait is really worth it. The antara comes three and a half minutes after the song starts, and it is quite angsty, and very well-composed, and just as well-rendered by Shraddha. Overall, the composition is catchy and memorable, if not fast to start off. The arrangements by the trio are beautiful yet again. The guitars and drums (Jai Row Kavi) as always provide the perfect background to the song, while Shankar’s AALAAPS provide a nice semiclassical and also alien touch to the song. The drums are really energetic and energizing, and are enough to give you music to a nice morning workout. Shraddha’s singing, be it the miracle of some autotune or natural, is marvelous. She hits every note with perfection, and doesn’t falteer at any step, as I thought she would. (Like she did in ‘Sab Tera’ from ‘Baaghi’ where she was quite too high-pitched). Javed Akhtar’s lyrics are good here too, and motivational. A show-stopper of a song, mostly because of the arrangements and vocals, while the composition yet again, falls a bit flat. Nevertheless this one is a #5StarHotelSong!!
3. You Know What I Mean Singer ~ Farhan Akhtar
A very happy-go-lucky guitar riff starts off the next song, which instantly reminds you of ‘Socha Hai’ from the first movie. The composition here too, is quite bland, though being so upbeat. The mukhda repeats twice in the song, while the hookline is just plain said, not sung. The antara is better than the mukhda, in that it has a more mellifluous composition. The arrangements are spunky, led by guitars and drums (Aatur Soni) again, and with the 2008 style of rock all around them. Theres not much more to talk about the composition and arrangements, because they are quite ordinary! In the interludes, however, there’s the usual nice rock guitar solos, that still sound impressive (that’s just because this is just the third song in the album) :p The hook where the backing vocalists sing “Oh-ohhh” sounds very clichéd, and also outdated. Farhan’s voice doesn’t help to elevate the pallidness of the song, because here, it is husky and very tedious to hear. Thankfully, the makers have kept the song short. Javed Akhtar’s lyrics are so conversational, that it seems awkward at a point. When you experience déjà vu in such a youthful song, it means things are wrong, because the song is so plain!… You know what I mean! 😉
4. Manzar Naya Singer ~ Farhan Akhtar
Here comes Farhan yet again, with another song, this time, a dulcet romantic melody. The composition is very pleasant and breezy — something that normal people in the real world (not characters in Bollywood) would compose and sing impromptu. The pleasantness of the composition actually works for it this time, and the trio churns out a very plain, simple song that touches your heart. The mukhda hooks you in all its simplicity, while the hookline very nicely blends in with the song, though reminding you of a lot of other such songs. The antara has quite some high notes, which, surprisingly, Farhan manages to touch rather smoothly. At the end, the mukhda repeats, and the song ends just as calmly as it had started. Talking about the arrangements, Shankar-Ehsaan-Loy have very beautifully employed a guitar riff that plays throughout the song, and is the USP of the song! (Do they need a riff to do that for them every time!? This is getting quite repetitive, but still wonderful!) But again, Shankar-Ehsaan-Loy are the best at those small riffs, be it vocal riffs or guitar riffs or wonderful percussion riffs. Speaking of percussion, the wonderful percussion (Anupam Deghatak) of shakers in this song brings that nice soothing quality to the track. The whistle in the interlude, instantly reminded me of that tune from ‘Teen Gawah Hain Ishq Ke’ (Mirzya), but then it dissipated and changed paths smartly and quickly. Backing vocals are beautifully placed in the antara, and the second mukhda. A female voice that seems to have gotten lost in the song suddenly appears somewhere towards the end, and that was quite weird, because it didn’t appear anywhere else before or after. Stray voice unleashed!! The vocals by Farhan are husky and faltery here too, but nevertheless, perfect for this type of song, which needed a faltering voice, as it was supposed to emulate normal people, and not Bollywood characters. 😛 Jokes apart, Farhan sounded good here, and the high notes in the antara particularly sounded well polished. Javed Akhtar’s lyrics are just as simple and normal as anything else in the song. Pleasing, calm and above all, normal!#5StarHotelSong!!
5. Tere Mere Dil Singer ~ Shraddha Kapoor
So after three songs by Farhan and one by Shraddha, one more song by Shraddha pops up on the album, and this one is just pure bliss. The “Tu Tu Tu Ru Ru Ru” vocal loop wonderfully opens the song up, and likewise, this is the USP of this song, and Shankar-Ehsaan-Loy once again rely on this loop to carry the song. The mukhda is very well-composed, and oh-so-melodious. Technically the title of the song is in the mukhda, while the hookline is different — “Saari Jo kahaaniyaan hain..” and both the a and the hookline sound great in their own place. The hookline takes the song to a high, from where it never drops down. The whole magic of the composition is just so magical and entrancing, and it is the only song on the album which instantly reached out and hooked me. The ANTARA is also very beautiful, with a great assemblage of notes that complement the hookline and the entire song very well. So, the trio scores full marks with the melody of this song, but they still resort to the vocal loop to carry it forward.. Why!! Anyway, the arrangements are beautiful. A wonderful sarod helps Shraddha to make the song sound even more magical, playing the tune of her vocal loop itself. The rock plays a very little role in this song, though I guess the digital beats in the hookline are supposed to resemble the rock sound. However, the electric sarod replaces the guitar really well. The whole song has a similar sound to that of ‘Udja Re’ and also ‘Tumhari Meri Baatein’ from the first film — entrancing and mystical. Shraddha’s vocals are mystifying as well, and here, though it is evident that she has been autotuned, the whole thing just appeals nevertheless. The programming does justice to her rendition, and the trio has spun magic with their technical touches. Javed Akhtar, yet again, writes a good song, this time with a more melancholic feel to it. ‘Tumhari Meri Baatein’s equivalent fares far better than ‘Socha Hai’s equivalent. Shankar-Ehsaan-Loy bring a quite otherworldly feel to this one! Mystical!#5StarHotelSong!!
So here comes the long-awaited duet between the two lead singers. Now, even though these two have sung enough songs on the album already, I am not feeling any tedium, because the film actually calls for it.. So we can’t really complain. At least the lead actress isn’t Tulsi Kumar, and the lead actor isn’t Abhijeet. This time too, the composition is very mystical, and a kind of melancholia surrounds the whole song, but not the kind of tedious melancholia that gets you bored right away. This time, the melancholia actually works. The mukhda sees Shraddha start off the song, on a beautiful note, with the trio’s low notes working nicely to attract your attention. However, it is only when the hookline arrives, that you actually start getting the hang of the song and grooving to it. This time, the trio doesn’t rely on any instrumental piece to carry forward the song, and this one has pure melody taking it forward. The hookline has a mind-blowing composition. As Farhan takes over with the second stanza, which has the same composition as the first, you start drifting away a bit from the song. His portions aren’t as interesting as Shraddha’s and his voice (in this song) doesn’t really have that capacity to keep listeners listening. His part starts off the same way that Shraddha’s does, but then takes a different turn, as the tune changes as he progresses towards the hookline. After that, it is merely an instrumental piece to listen to, which ends the song on a high. More about that later. The arrangements are impressive in this song. A wonderful sarod (Soumik Dutta) takes centre-stage here too, while the rock elements keep entrancing you. The guitars are impressive as always (here taking a number of impressive variations), while the drums (Darshan Doshi) are just as intriguing. The interlude between Shraddha’s and Farhan’s stanzas, has that wonderful sarod piece, accompanied by piano, as well as a nice shaayari by Shraddha. The piano accompanies the singers well in the stanzas, and then hands over things to the rock instruments. At the end, as I said before, there is a wonderful instrumental piece which just keeps you hooked. There is another wonderful electric guitar solo there, which makes sure you don’t go anywhere. The backing chorus with their chants nicely helps the instrumental piece get more interesting, and it ends with a striking guitar strum. Javed Akhtar’s lyrics are at their philosophical best, and he really weaves up a thought-invoking poem. Another mystical composition, which unfortunately gets highly tedious in the middle. Arrangements propel the listener through the tedium.
The next song finally sees some other singers taking the mic. And who else it is but the bold-voiced Usha Uthup? Along with a North-East Indian band called Summersalt, two of whose members accompany Usha on the vocals front. The composition for this one is quite fun and upbeat, but again, just as ‘You Know What I Mean’, I couldn’t quite catch hold of it. It might sound stupid, but I felt that the composition was just too typical, and reminded me of some European folk song. I found nothing in the composition that was hooking in any sense, and the hookline seemed very passable. The Khasi portions were fun to hear, but then it is not something I would hear again and again, either. The vocals by Usha Uthup seemed overshadowed by the Khasi band, whose lead male singer, Kit Shangpliang really excelled in the vocals. Usha seemed sidelined like a side attraction in the song, while the female Khasi singer barely had much of a scope to open up. The arrangements were pleasant, with the folksy duitara (Adorbha C. Shangpliang) sounding very nice and groovy. The rock arrangements in this song were quite similar to those in ‘You Know What I Mean’, and I found it quite boring. The Hindi lyrics were good, and depict a very free nature, while it was fun to hear the Khasi lyrics and not understand them. Very mixed feelings about this song…
This next song seems like such a misfit in this album.. But I’m still gonna review it as if I am a robot who can’t really make that out. The composition seems like a song that just ran away from the ‘Mirzya’ album and made a home for itself in this album — maybe a rejected song that was supposed to be there before ‘Hota Hai’. 😛 Or maybe an unused song that was lying around since the days of ‘Mission Kashmir’. The angsty feel in the song makes me feel this song isn’t going to be one that the band in the movie performs, but it might be a background song, which plays at a critical point in the storyline. The composition is quite interesting, a typical Shankar-Ehsaan-Loy Punjabi folk composition, which has a very catchy hookline. The rest of the composition is quite low-key and ordinary, something that didn’t really compel me to listen to it over and over again. The arrangements are fantastic here as well (tired of saying this so many times!) The keyboard (Gulraj Singh) which very professionally tries to imitate the tumbi, is the USP of this song, and it does a good job too. The rock element, though, is surprisingly the best part of this folk misfit. The rock guitars (played here by Ehsaan Noorani) and drums (Aatur Soni) always go well with a nice Qawwali-esque folk composition, and that is evident here too. The bass (Dibyajyoti Nath) really stands out here, which it didn’t in the previous songs. The percussions (Anupam Deghatak), mainly tabla, stand out well, but sound very clichéd and heavy. The dhols (Hanif Dafrani & Aslam Dafrani), which seem to be remnants of Shankar-Ehsaan-Loy’s ‘Hulla Re’ (2 States), really do a great job in catching the listener’s attention. Meanwhile the dholaks (Prasad Malandkar) fail to reach out in the hard-hitting rock. The vocals are amazing too, with Digvijay Singh (the one from ‘Jaago Mohan Pyaare’ from ‘Katti Batti’) overshadowing Shankar! His voice is simply magical! However, Shankar shows his finesse in the high notes and aalaaps. Javed Akhtar’s lyrics are not excellent, but they’re good here. A song that doesn’t fit into the album, but even if I judge it without knowing that, a song with a very underwhelming composition for a Punjabi folk song! The only great thing here is the arrangements, AGAIN!
♪ Extra Song – released by T-Series
9. Rock On (Revisited) Singers ~ Farhan Akhtar & Shraddha Kapoor
Since the first album was on the T-Series music label, of course T-Series retains the rights for the remake to the title song, and so this track released separately later on. This could well have been the first promotional song of the album, but the makers chose ‘Jaago’ instead. On a whole, the overall sound of both the songs is the same, and the electric guitar riff that is the USP of the original song, gets a makeover here. It was broken down like staccato in the original song, whereas here, it is a complete, flowing guitar piece. I liked the change, it sounds fresh. The new composition is good too, especially the mukhda, which instantly drew me into the song. The hookline is already a favourite of the nation, and I can’t really comment anything else on that, as it is wonderful. The antara is beautifully composed as well, and continues the original hookline, not to mention supports it, well. The arrangements are, as in the rest of the album, electrifying. The electric guitars and drums (Darshan Doshi) yet again, provide the awesome rock feel to the song, without making it too boring. Again, a nice guitar solo graces the interlude. The vocals though, is where the song could’ve been a bit (a lot???) better. Farhan sings well, and I can’t really say much since he sang the original song, but I couldn’t help feeling that after the “Zindagi milegi na dobaraaa”, he sounds as of a ghost has suddenly possessed him or he is suffering from a sudden chill. I don’t know..! Shraddha has sung her parts very flatly, and it could’ve been way better. Well, yes, it kind of brought the raw feel to the song, but I would’ve enjoyed it if it were technically right as well. Javed Akhtar’s lyrics suit the youthful craze of the song, and will do well. A good revamp of the title song, and I really can’t expect more than this for this remake, so it is a #5StarHotelSong!!
Rock On 2 is a very underwhelming album. I started listening to it with a lot of hopes, thinking Shankar-Ehsaan-Loy would repeat the magic of the first album, and also because of their recent release, ‘Mirzya’, which was beauuuutiful. However, the trio seems to have delivered some quite stale songs. When an album I expected so much out of, disappoints in this way, I start doubting myself. 😬 The songs really fail to strike that chord, barring a few of them. The others rely on gags like a repeating guitar riff to propel them forwards. On a brighter note, a thing I noticed about the album is how Shraddha’s songs (except the title track) are mostly the mellow, sobre and melancholic types, while Farhan’s are the upbeat ones. Maybe it has something to do with Shraddha’s character in the movie, who isn’t allowed to explore herself as a musician owing to her parents’ restrictions. But I noticed that and found it worthy to be pointed out. Also noticed that Shankar-Ehsaan-Loy seem to be struggling with modern-day and normal-life-movies albums after their comeback. ‘2 States’ and ‘Dil Dhadakne Do’ being an exception, their other albums for rom-coms and other urban-themed movies have been underwhelming, like ‘Katti Batti’, ‘One By Two’, and ‘Ghayal Once Again’, and now this. On the other hand, they composed awesome music for period films and films with a different theme. So I guess that that has become their weak point over the years. Anyway, when such a talented trio disappoints you can’t really do anything (because you know it is not going to happen again and again) but wait for their next album in the hope of it being better than the last! Rock mode is definitely ‘off’ for this one!
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: Tere Mere Dil > Udja Re > Manzar Naya > Rock On (Revisited) > Jaago > Woh Jahaan > Ishq Mastana > Hoi Kiw / Chalo Chalo > You Know What I Mean
Which is your favourite song from Rock On 2? Please vote for it below! Thanks! 🙂
Next “dish”: Tum Bin 2, Chefs: Ankit Tiwari & Nikhil-Vinay
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
To hear the full songs of this album on Saavn 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 < प< 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! 🙂
Music by:- Jeet Gannguli | Lyrics by:- Rashmi Singh | Music Label:- Sony Music | Music Released On:- 6th May 2014 | Movie Releases On:- 30th May 2014
Citylights Album Cover
To hear the full songs of this album on Saavn CLICK HERE
After directing the critically acclaimed ‘Shahid’ last year, this year Hansal Mehta is back with a film called Citylights, starring Rajkummar Rao, who was also the lead actor in ‘Shahid’. Starring alongside him is debutante Patralekha. The film is about a Rajasthani farmer whose life gets struck by tragedy, and so he moves to Mumbai, where he hopes to find a better life, but understands that life in the city isn’t that easy, when he reaches to Mumbai. Hansal Mehta’s last ‘Shahid’ only had one song called ‘Beparwah’ which was composed by Karan Kulkarni. Due to poor promotions, many people are not aware of this gem of a song. Since this film is produced by Mukesh Bhatt, it was obvious that there would be many songs and not just one. The soundtrack was very much awaited ever since the film was announced. The music of the film has been composed by Jeet Gannguli, who had recently composed ‘Suno Na Sangemarmar’ for ‘Youngistaan’. I don’t like much of his music as, most of the time, he just remakes his Bengali songs with Hindi lyrics. However, in this album, he has not reused any of his Bengali tunes, which is a great achievement, I must say! Kailash Kher was going to compose for this film first, but he left the project due to royalty issues. So let’s see how Jeet has done in place of Kailash Kher!
The two princes of romantic songs these days, have both sung a version of this song! Good that Jeet is being fair to both of them! 😀 Arijit has been roped in to sing the romantic version, and he is the perfect choice for it! I cannot imagine anyone else singing this song! The tune is just plain awesome! It is a typical Jeet Gannguli composition– romantic and soothing. Though it is a romantic song, because it is a bit slow, it sounds like a sad song. The lyrics are by a newcomer Rashmi Singh, and she has written this song beautifully! The lyrics are very sweet and romantic. The song starts with a wind instrument followed by piano notes, then Arijit starts with his magical voice. The tune of the mukhda and antaras both are great! The use of violin is outstanding in this track too! It has an awesome melody which will stay with you for a very, very long time! The Unplugged Version by Mohammed Irfan is more of a Sad Version of the song, in which the singer is supported mainly by piano. Mohammed Irfan’s robotic type voice, which sounds as if it has been altered with some software, sounds great as usual! The violin orchestration done is also brilliant and you will feel as if you are listening to an orchestra in London or somewhere else abroad. Though he doesn’t carry this song out with as much ease as Arijit, he still does a commendable job, and delivers what is needed for the Unplugged Version of this song. A great melody, which you will instantly like, but won’t instantly forget! 😀 Definitely a #5StarHotelSong!
2. Darbadar:-Singer ~ Neeti Mohan
Starting with piano notes and electric guitar, this song instantly hooks you with its haunting tune (which I realized after a friend pointed it out 😛 , thanks, I guess you know who you are! 🙂 ) The moment Neeti starts singing, you will not at all dare to skip this track, either because you are too scared to do so 😛 or because you have loved it! Most probably the latter option, right? 😀 The song mainly describes the main plot of the movie, about how Rajkummar’s character is searching for a better life in the city, and hence, the line ‘Dhoondhe jo tu pagle, nahi woh yahaan’! Rashmi Singh’s lyrics perfectly describe the plot of the movie! Neeti Mohan’s vocals will make sure you won’t miss this track, they are so great! This is probably her most meaningful track yet! A great haunting melody by Jeet Ganguly, great lyrics by the newcomer Rashmi Singh, and exceptional singing by the versatile Neeti Mohan! It is yet another #5StarHotelSong!
Woah! Here is a completely different side of Arijit’s voice which I have never heard before! He sings with a very rustic voice, and I was surprised that Arijit could sing like this! Jeet has composed a traditional Bengali folkish tune, which will instantly remind you of ‘Monta Re’ from ‘Lootera’. Arijit sounds as if his throat is dry, and it is very hard to sing like this and bring that effect to your voice. The lyricist has compared the character of Rajkummar to a bird, who leaves his nest and goes to a different land. The song is all about how Rajkummar’s character doesn’t like it in an environment totally different from his home. Wow! What a nice way to tell this– by comparing the character to a bird! Rashmi Singh seems like a promising lyricist! What great lyrics she has given! The tune is very sweet and such that you can never hate this song! The Unplugged Version of this song is pretty much the same. It has the same amount of instruments, so I don’t know why they have called it Unplugged! Jeet Gannguli’s singing is even more rustic than Arijit’s, but I felt that Arijit’s version is a bit better because the vocals are better in that version. Listen to this song for peace and a calming effect. It is the third#5StarHotelSong in this album!!
4. Soney Do:-Singer ~ Arijit Singh
I think Jeet Gannguli is trying to repeat ‘Aashiqui 2’ by giving more than 50% of the album (not counting the unplugged versions) to Arijit to sing. However, no complaints at all! Arijit has carried out this song with great ease. It is another haunting melody, most probably based on some raaga. It is a very complicated song to sing, with many low notes, which Arijit has sung effortlessly! The sargam piece after the second antara has been sung superbly. The haunting tune which plays on loop is just mind-blowing! The percussion is also great, and it sounds like a dafli. The lyrics are also good, mainly about the main character finding life in the city hard. I couldn’t stop myself from keeping it on loop, it’s just so magical! One of the best classical-based songs of the year! And the FOURTH#5StarHotelSong of this album!
5. Citylights (Title Song):-Singers ~ Ustad Rashid Khan, Usha Uthup
This track starts with techno sounds, almost similar to those which Jeet Gannguli had used in the title song of ‘Shirin Farhad Ki Toh Nikal Padi’. But the song after that is totally different. It is a semi-classical song, with Rashid Khan taking care of the classical parts, and Usha Uthup singing the contemporary parts. It is a fast-paced track efficiently describing the chaos in the city. It instantly reminded me of ‘Hona Hai Kya’ from ‘Talaash’, the background music is quite similar. The vocals by both of the singers are flawless, but I felt that the composition is lacking something, and that was a likeable tune. Even though there isn’t much scope for a great tune with the word ‘Citylights’, I thought that after the above four songs, Jeet Gannguli would impress with the title song as well, but he didn’t, sadly. However, since the song is situational, maybe it will make more sense in the movie. Not bad, but not as good as the other gems in this soundtrack.
Overall:-To be frank, when I learnt that the composer was initially going to be Kailash Kher, I suddenly had no expectations from this album, because the composer would be Jeet Gannguli. So I didn’t really care much about when the soundtrack is releasing. However, when the first song promo (Muskurane) released, I loved it! Since then, I was waiting for this album to release, and when I heard the songs, I was blown away! The songs were GREAT! I had never expected such a gem of an album from Jeet Gannguli. I had liked only a few songs from his previous films, with ‘Raaz 3’ and ‘Aashiqui 2’ leading, but they were mostly recyclings from Jeet’s Bengali albums! Therefore, I’m happy to announce that my favourite album by Jeet Gannguli is now Citylights! Okay, sorry for slipping into award-show-presenter-mode 😛 . But seriously, Citylights is not one of the best albums of Jeet Gannguli. It’s THE best! 😀 Good to see Jeet Gannguli getting over his Bengali songs which he seems to unconditionally love. He should understand that his music turns out better if it’s original! ‘Citylights’ is Jeet Gannguli’s best album, at least in Bollywood! However, I’m pretty sure that these songs are SO good, that some years down the line, some of the directors of his Bengali films will beg for him to remake these songs in BENGALI! 😀
Final Rating for this Album:- (Seriously? Can’t you guess?!) सा < रे < ग < म < प < ध < नी
Note:- The letter which is underlined is the final rating
The next “dish” is from early 2014 special:- Hasee Toh Phasee, Chefs:- Vishal-Shekhar
Well, this was actually the first album I had reviewed about two weeks ago, and this review is the reason because of which my friends suggested that I should start writing a blog. But of course I have edited it a bit for the blog! 😛
Music by:- Sanjeev Srivastava | Lyrics by:- Puneet Sharma, Shaheen Iqbal | Music Label:- T-Series | Music Released On:- 4th April 2014 | Movie Releases On:- 25th April 2014
Revolver Rani Album Cover
To hear full songs of this album on Saavn CLICK HERE
After the praise, both by critics and audience, received by ‘Queen’, Kangana Ranaut is back in another film where she plays the central character, paired opposite comedian Vir Das. The movie is a romantic comedy drama set against the backdrop of politics. It is directed by Sai Kabir. Queen’s music by Amit Trivedi had got a lot of praise for its easy-on-ears songs. However, this film has music by Sanjeev Srivastava, who had done a C-Grade film in 2006, and disappeared after that, probably because that film and its music went unnoticed by people. Now, he has got an opportunity to make it big in Bollywood, so he will naturally take it and perform better. Even the lyricists, I have heard of only once or twice, but in small films. I did not have much expectations from this album, but when it released I saw that it had 15 songs, out of which 2 are reprises. So I expected at least half of them to be decent. What’s more, it has songs sung by legends such as Asha Bhosle, Usha Uthup and Rekha Bharadwaj! So did this album perform as per my expectations, or did it exceed my expectations? If you want to know that, you’ll have to read on!
This particular track will remind you of Bollywood’s old RD Burman 70’s-80’s style music. Usha Uthup’s vocals are flawless. Usha Uthup uses her typical lowpitched voice. In the background can be heard gunshots and dialogues from policemen also come at regular intervals in the song. Overall it is an awesome track. The antaras have a better tune than the mukhda. The song is a typical title song describing the character of Kangana Ranaut, Alka Singh. This track is a must listen if you are a fan of Usha Uthup or Bollywoods old 70s-80s music, and it is not a track you would get to listen to everyday these days. The lyrics are also great describing the Rani. The reprise version is not that different except for the fact that it has slower beats and it sounds like a very slow remix version of the title song. It disappoints as compared to the Original. The original is way better. Stick to the original, no need of hearing the reprise. A must-listen track sung by the Queen of 70’s and 80’s disco Bollywood, Usha Uthup.
2. Thaayein Kare Katta:-Singer ~ Piyush Mishra, Lyrics by ~ Puneet Sharma
The last time I remember hearing Piyush Mishra in a mainstream Bollywood movie was in Saheb, Biwi and Gangster Returns over a year ago. This song is another song describing the main character, Revolver Rani or Alka Singh. In this song, Piyush Mishra has used a very nasal voice. The music in this song and its tune are very catchy and it will make you listen more. However, you will get bored once it gets upto the second antara after the mukhda and first antara. The vocals and lyrics are very funny. There are shakers played throughout the song too. This song will surely make you groove to it and has a very rustic feel due to Piyush Mishra’s vocals. It will remind you of Gangs of Wasseypur. A good song with awesome vocals, music and tune but a bit lengthy.
3. Kaafi Nahi Chaand:-Singer ~ Asha Bhosle, Lyrics by ~ Shaheen Iqbal
Wow!! That feeling that you get while listening to Ashatai’s voice after such a long time is just too great! What can I say about this song? It’s so lovely that whatever I say about it is too less. It is a very melodious song which is of the same type of romantic tracks which Asha Bhosle’s late husband, the one and only R.D. Burman used to give Bollywood long ago…but of course not of the exact same standard as those! Guitar, harmonium, flute and tabla, are all used in the song and they are put to very great use. Even a shaker-like voice can be heard providing beats throughout the track. It can be seen from this song that even though she is old now, Ashatai hasn’t lost her beautiful voice texture! She sings with as much expressions as you could possibly think of. The mukhda and antaras have an equally awesome tune. Must-hear song which is so soothing it can even put you to sleep…in the good sense of course!#5StarHotelSong
4. Chal Lade Re Bhaiya:-Singers ~ Piyush Mishra, with Backing Vocals by ~ Abhishek Mukherjee, Mayur Vyas, Lyrics by ~ Puneet Sharma
This track is a fultoo gangster ‘bhailog’ song. Piyush Mishra gets another song in this album and once again, considering the type of song, he has delivered exactly what was needed for this song! This song had less scope for good music, and it will sound weird. However, the movie must have such a situation, or else I don’t think any Music Director would compose such a song! At the starting, there are vocals sounding like pigeons which have been done by Mayur Vyas and Abhishek Mukherjee (who was a contestant in Sa Re Ga Ma Pa Singing Superstar 2010). And they have done such a great job with backing vocals throughout the whole song! The mukhda is way better than the antaras tune wise. The long antaras will bore you so much I can’t describe it. Even the lyrics are written as per the requirements of the movie. Try this track only for the great backing vocals. Not as great as the first three tracks but still worth a listen.
5. Sulgi Hui Hai Raakh:-Singers ~ Sanjeev Srivastava, with Backing Vocals by ~ Gorisa, Lyrics by ~ Shaheen Iqbal
This song is sung by the composer himself, who, I have to say, is a pretty good singer also! It starts like a Vishal Bharadwaj track. It’s a contemporary number which has the composer singing very passionately supported by guitars and drums. A complex composition which changes pitches a lot of times but still you won’t fall in love with it instantly as these Rock songs are common nowadays. But the repeating part which goes ‘Aye zindagi…’ Is worth giving a listen. Electric guitars play in the interlude and a slightly haunting/eerie bit with piano notes plays after the guitars stop. This song is definitely worth a listen but, again, definitely not better than the first three songs in any way! I don’t know how a contemporary song like this will fit in an album full of Desi type songs. Even the movie seems very Desi type so definitely this song doesn’t fit in this album or movie. Give it a listen for the composer’s vocals. Nothing more in this track except the common Rock material of today!
Now what to say about this track? After two slightly different tracks, the album returns to its greatness with this song. It is a type of wedding sangeet song describing the happy event of the wedding of Kangana’s character in the movie. The bride and groom are compared to birds in a line of the song. It is a cute song with a rustic feel which you will instantly fall in love with. Rekha Bharadwaj’s earthy vocals are flawless as usual. The chorus part ‘Banna Banni chahek chahek…’ Has a very cute and catchy tune. The various instruments used make the song what it is. A Dandiya-like instrument gives the beat throughout the song and it sounds great! The mukhda and antaras are both equally great. The overall tune of the song is very cute. A must-listen track with great vocals, lyrics, music, EVERYTHING!
7. I Am Brutal:-Singer ~ Sanjeev Srivastava, Lyrics by ~ Puneet Sharma
Had I praised the composer for his “wonderful” singing? Well, after hearing this song, I feel like taking back all the praise I have given this composer regarding his singing! This is a short track completely written in bad English with senseless lyrics which I guess is for the character of Vir Das in the movie. The composer might have been trying to copy R.D. Burman’s singing style and texture but to be honest, he fails miserably. This track doesn’t deserve to have any listeners and you should just skip this track! Good that it’s short!
8. Saawan Ki Aye Hawa:-Singers ~ Garima Aneja, Rap Vocals by ~ Rahul Gandhi, Lyrics by ~ Puneet Sharma
I saw the name of Rahul Gandhi in the credits of this song and I was instantly curious to know what he has sung in this song. Turned out that he has just done a little rapping portion which was, frankly speaking, not necessary in the song. He doesn’t even sing that small rap portion with any expressions! The female vocals by a newcomer Garima Aneja are good and the tune of this song is also very nice. It seems that the song has been made normally first and then remixed and edited, to give a ‘cool’ effect with all the techno beats and rapping part. The tabla theka which plays in the antaras is worth hearing. Thus song is okay okay. Strictly above average though the overall composition is nice. I would have preferred it more if the remix type effect wasn’t added to it. Hear it for the newcomer’s great vocals and the cute composition by Sanjeev Srivastava, and don’t pay attention to Rahul Gandhi’s part–he will bore you! 😀
9. Bol Rahi Hai Payal:-Singers ~ Avi Dutta, Anweshaa Dutta Gupta, Lyrics ~ Shaheen Iqbal
This song is a typical 90s type romantic track. The tune is nothing new and very much heard-before. The male singer Avi Dutta sounds a lot like Kumar Sanu. It starts with Anweshaa singing some lines in Hinglish which sound very sappy to be honest. 😛 However, both the singers sing their part nearly flawlessly. The whole song will remind you of the days when Kumar Sanu and Alka Yagnik used to rule the music industry. This is strictly a very average track which you may like in the first listen but in the subsequent listens you will really get bored as there is nothing new in the song, unless you are a very big fan of 90’s music by Nadeem-Shravan, Jatin-Lalit etc. The lyrics are also old 90s type lyrics. Everything from the ‘Hay-Hay…’ to the ‘Saajan saajan..’ Has been heard before in the past two decades. It makes a one time listen because in the first listen, it will be great, in the second, it will become okay, and the third listen will be the last time you hear it unless you want to hear it only once more for Avi Dutta’s great imitation of Kumar Sanu or Anweshaa’s beautiful surila voice! 😀
10. Chanda Ki Katori Hai (Lorie):-Singers ~ Garima Aneja (Female Version), Piyush Mishra (Male Version), Lyrics by ~ Puneet Sharma
With this song, Garima Aneja gets her second song of the album. She sounds a lot like Shilpa Rao in the song. It is a very short but soothing melodious lullaby which will, as expected, put you to sleep. The violins have been played awesomely throughout the song. Towards the end, it gets a little eerieness in it. The Male Version is sung by Piyush Mishra with the same musical arrangements. Out of both versions, I personally liked the Piyush Mishra because of his rustic vocals. Very calm song which you will love!
11. Pehle Lohe Ki Chingaari:-Singers ~ Sameera, Gorisa, Keka, Manjeera, Lyrics by ~ Puneet Sharma
This song is sung by a choir of female singers. It gives a feel of a war and while listening to it, you will see images of war in your mind. A very strong tune which is literally repeated throughout the song which is why it will bore you a bit, but never mind. The orchestra has a very big part to play in this song. If the objective of this song is to make us feel angry and a bit sad, it definitely works in doing exactly so! A very different track which we rarely get to hear nowadays, give it a try!
12. We Mix You Michael Jackson:-Singer ~ Saleem Javed, Lyrics by ~ Puneet Sharma
Another track which is full of bad lyrics and even worse music, but slightly better than ‘I Am Brutal’. It gives a feeling of a maata ka jaagran in the gaanv. With Hindi and English lyrics and full of microphone feedback effect and dholak beats, it is a tribute to Michael Jackson, which I doubt MJ would acknowledge were he alive today. Moreover, nothing the singer is saying can be understood. Towards the end of the track, the tempo increases and the singer gets a lot out of tune. This track is not great but very funny to listen to. Listen at your own risk!
This track is another soothing song which gives a very calming effect. The singer does his job very well. The shehnaai and sarangi can be heard prominently in the song. The line which is repeated ‘Naya nahi lekin naya lagey ye din’ has a very nice tune which you won’t forget quickly. The music is also commendable. However, the length of the song is a big problem, which can make it a bit boring to hear. This track won’t leave you and will be stuck in your head for a long time. Must-hear track.
Overall:-The album is full of songs which will remind you of the past of Bollywood. Leaving a couple of songs, the songs of this album are surprisingly good. I was not expecting much from this album, but it took me by surprise and yes, the answer to the above question is that the soundtrack surprisingly exceeded my expectations. The newcomer Sanjeev Srivastava has given commendable music, however, he has made many of the tracks exceed five minutes duration, which makes them a bit boring to hear, even though the music might be good. The Title Track, Kaafi Nahi Chaand and Banna Banni will surely stay with you longer while the others, you might find yourself humming strictly once or twice in a while. However, a negative point about the album is that it doesn’t have much repeat value, except the song, ‘Kaafi Nahi Chaand and another is the length of the album and the number of tracks in it. But still, the answer to the above question which I had given you all to think about is that the soundtrack surprisingly exceeded my expectations! 🙂
Final Rating for This Album:- सा < रे < ग < म < प < ध < नी < सां
Note:-The letter which is underlined is the final rating.
Next “dish’:- Hawaa Hawaai, Chefs:- Hitesh Sonik & Amole Gupte