RATHER ‘DEAD’Y!! (DADDY – Music Review)

Music Album Details
♪ Music by: Sajid-Wajid, Olefonken & Bappi Lahiri
♪ Lyrics by: Danish Sabri, Prashant Ingole & Anjaan
♪ Music Label: T-Series
♪ Music Released On: 21st August 2017
♪ Movie Releases On: 8th September 2017

Daddy Album Cover

 

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

To buy this album on iTunes CLICK HERE


Daddy is an upcoming biographical crime film, starring Arjun Rampal, Aishwarya Rajesh, Anand Ingle and Nishikant Kamat. The film is directed by Ashim Ahluwalia, and produced by Arjun Rampal and Rutvij Patel. The film documents the life of gangster-turned-politician Arun Gawli. The film has music by Sajid-Wajid and a Norwegian DJ named Olenfonken, and I would expect something good from a movie about a gangster’s life. Let’s see how close to my expectations the composers deliver!


1. Eid Mubarak

Singers ~ Shabab Sabri & Tanvir Hussain, Music by ~ Sajid-Wajid, Lyrics by ~ Danish Sabri

Sajid-Wajid are usually great at Qawwali, and here they present a Qawaali as the first song. Well, the composition is the traditional Qawwali, and so it isn’t hooking right away, but if you’re the Qawwali lover, you would love it. As always, for a Sajid-Wajid song, they give it booming arrangements, making it worth listening to as a Qawwali. Harmonium, tablas, dholaks make the arrangements very rich and beautiful. As for the vocals, Shabab and Sa Re Ga Ma Pa 2016 contestant Tanvir Hussain (who’s exceptional with those aalaaps), handle them well. Lyrics are suitable too. A trademark Sajid-Wajid Qawwali.

Rating: 3/5

 

2. Zindagi Meri Dance Dance

Singers ~ Alisha Chinai & Vijay Benedict, Original Composition by ~ Bappi Lahiri, Music Recreated by ~ Olefonken, Lyrics by ~ Anjaan

Now I know I’m breaking my own rules, but this song is so bad it calls for a long review. 😅 Get ready. So the song starts with a nice, retro beat (the beat from Bappi Lahiri’s old song “Zindagi Meri Dance Dance” from “Dance Dance”, the song which this song is a “remake” of). After that an emcee announces that we, the audience are now going to be taken to the moon, and asks us to look at a rocket, in which the whole audience will apparently fit, without any food supply, water supply or anything. Then he erases all our doubts and tells us that a particular Mehbooba and her Mehboob are going to climb out of this rocket, and dance, in the “pyaar ki masti“, on the moon. Then we get to hear the Mehbooba, who says “Hi Darling, I want to daaaaance with you. Daaaaance. Daaaance of love. Daaaaance on the moon.” It’s so cringeworthy you feel like stopping the song then and there, but you continue for the sake of it. Later we learn that the boy’s life is “Dense” (“Zindagi Meri Dense Dense“). Well of course bro, life is a dense jungle, you need to bear with it. Luckily for us, the girl pronounces “Dance” well enough. All throughout the song, a good composition is spoiled by various stupid interjections by the characters, and it is so irritating. Midway, the Mehboob decides he has the money and brains enough to take his Mehbooba to Venus. Now if I were him I would die before going to Venus, because I would anyway die on Venus. Someone please tell him he’s gonna die on Venus. His Mehbooba, stupid as she is, complies, and gets all happy about going to Venus, and even counts down! And then the stupid backing chorus sings “Venus! We Are Venus!” I don’t know if they know they’re speaking incorrect English or whether they think they are Venus. The Mehboob and Mehbooba further go on to romance on Venus! She says “Dekhe Jo Tu Aise Mujhe, Mere Kadam Dagmagayein!” Well, I bet that’s because of the poisonous gases, lady. But she doesn’t get the point, and keeps romancing him. Later she gets bored of Venus (Or maybe an alien is after them) so the lady very casually points out, “Darling, Chalo Kisi Aur Duniya Mein Chalo” (Let’s go to another world.) And the smart Mehboob immediately says “Mars.” Ugh, idiot!! Thankfully they don’t romance on Mars, and the makers stop the song there, instead of going till Pluto. Still, the song ends at a staggering six and a half minutes! 😛 Olefonken has basically remixed the old song, but nobody will like it anyway. The only thing this is good for, is a hearty laugh.

Rating: 1.5/5

 

3. Aala Re Aala Ganesha

Singers ~ Wajid & Ganesh Chandanshive, Music by ~ Sajid-Wajid, Lyrics by ~ Prashant Ingole

Where the first song was a Qawwali, the last song is a Ganesha song. And very badly composed too. Such a dark composition doesn’t suit a Ganpati song at all. It’s a typical Sajid-Wajid bad composition with no appeal at all. Those percussions are the same percussions they use everywhere, the dhol taashas, but that’s actually the best part of the song. The vocals are terrible, Wajid doing it himself. He is accompanied by Ganesh Chandanshive (‘Deewani Mastani’ fame) who disappoints as well. Lyrics are just so cringeworthy, like “Shambhu Cha Baal Kon?” (Who is Shankar’s son?). And then the chorus answers ‘Ganesha’. Another bad Ganesha song to release in the season, after the one from ‘Sniff’.

Rating: 1.5/5


Daddy is such a bad album, it is unbelievable. Two composers who used to be on the A-list of Bollywood composers once upon a time, now making this kind of music, is really sad. The guest “song” by Norwegian DJ Olefonken too, is dumb. Rather than “Daddy”, it should be called “Dead-y”!!

 

Total Points Scored by This Album:  3 + 1.5 + 1.5 = 6

Album Percentage: 40%

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

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

Recommended Listening Order: Eid Mubarak > Zindagi Meri Dance Dance= Aala Re Aala Ganesha

 

Remake Counter:
No. Of Remakes: 29 (from previous albums) + 01 = 30

 

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

SOUTH MEETS NORTH! (TUTAK TUTAK TUTIYA – Music Review)

Music Album Details
♪ Music by: Sajid-Wajid, Vishal Mishra, Gurinder Seagal, Dr. Bal Sidhu, Raaj Aashoo & Music MG
♪ Lyrics by: Irfan Kamal, Danish Sabri, Manoj Yadav, Pranav Vatsa, Shabbir Ahmed, Dr. Bal Sidhu, Lil Golu, Malkit Singh, Veer Rahimpuri & Music MG
♪ Music Label: T-Series
♪ Music Released On: 19th September 2016
♪ Movie Released On: 7th October 2016

Tutak Tutak Tutiya Album Cover

Tutak Tutak Tutiya Album Cover

 

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

To buy this album on iTunes CLICK HERE


Tutak Tutak Tutiya is a trilingual horror comedy film, made as ‘Devi’ in Tamil and ‘Abhinetri’ in Telugu, starring Tamannaah Bhatia, Prabhudeva and Sonu Sood in lead roles, and Amy Jackson in a special appearance. The movie is directed by Vijay, and produced by Sonu Sood. The movie opened to mixed to positive reviews in all three languages, while the film’s music was creating a wave among masses, and I was writing my exams. 😛 So, heading directly towards the music. The music for the Telugu and Tamil films has been given by Sajid-Wajid and newcomer, Vishal Mishra, each having composed two songs each. These four songs have been included in the Hindi album, along with a bonus of three more songs that will cater to the Hindi audiences and increase the buzz of the movie in Punjab. 😛 They are all either Punjabi songs or by Punjabi artists, and added just to attract the Hindi audience. These songs are composed by Gurinder Seagal, who gave that great non-film single, ‘GF BF’ earlier this year. He has remade one of Dr. Bal Sidhu’s wedding numbers, ‘Rail Gaddi’. The next song is a remake of Malkit Singh’s ‘Tutak Tutak Tutiya’, also the namesake of this album, and that has been recreated by Raaj Aashoo. Lastly, Music MG comes with an original club number, which I’m not excited for. Let’s jump into this ‘Tutak Tutak Tutiya’!


1. Rail Gaddi
Singers ~ Navraj Hans, Swati Sharma & Lil Golu, Original Composition by ~ Dr. Bal Sidhu, Music Recreated by ~ Gurinder Seagal, Original Lyrics by ~ Dr. Bal Sidhu, New Lyrics by ~ Shabbir Ahmed, Rap by ~ Lil Golu

The first track on the album is one that will really get those Hindi audiences attracted to the film like bears are attracted to honey. A remake of the hit Punjabi track ‘Rail Gaddi’, this one has already made people go crazy around the nation. As you guys know and must be thinking now, I do not like many of these remakes of Punjabi pop numbers. However, this one is different! The composition, which I found out was originally by Kuljit Bhamrah, but T-Series have credited Dr. Bal Sidhu, is good and catchy, and even Gurinder’s new additions are not bad, though a bit generic. The most generic it gets is in the antara, where the song sounds like a direct lift-off from the antara of the ‘Housefull 3’ song ‘Malamaal’. Or maybe all Punjabi songs sound the same to me. Anyway, the song starts with a hilarious dialogue said in a funny style, and then the quintessential tumbi makes its presence felt by playing the hookline tune. Navraj Hans’ programmed voice sounds good, and also sounds like Vishal Dadlani at places. I appreciate that Gurinder trued to get a big singer to sing the song, but the heavy programming done on his voice could’ve been cut down upon, especially after he sang with such finesse, that rock song ‘Raj Karega Khalsa’ in ‘A Flying Jatt’. Swati Sharma barely gets any scope to sing anything in the first antara, as she gets just one line, which sounds very bad. However, the second antara is all hers, and she spoils whatever fun the song was giving you by singing that. Again, the programming kills her voice, and makes it sound ridiculous. Lil Golu is back, without Yo Yo Honey Singh this time, and his rap might make you faint. He has a rap before both antaras, and both of them are ridiculously stupid. The hookline is definitely the best part of the song, and when the hookline is the best part of a REMADE song, you know things are wrong. However, the arrangements do help to make this one an enjoyable club song. Gurinder, who I think is very good at club beats (after hearing ‘GF BF’ that is) has made the pacy club beats overshadow his run-of-the-mill composition. The great electronic shehnaais really entertain. Shabbir Ahmed’s lyrics are the usual random stuff that people ignore due to the pacy beats, so even I’m ignoring those. 😛 Quite entertaining and enjoyable, but a remake that could’ve been better in terms of vocals and composition. Not lyrics because this is the maximum level of IQ that I expect from such songs!

 

2. Chal Maar
Singer ~ Wajid, Music by ~ Sajid-Wajid, Lyrics by ~ Irfan Kamal

Sajid-Wajid enter the album for the second song, which is also the first song of the album that is from the Tamil/Telugu versions. And I understand why Prabhudeva must’ve chosen this song for the film! Last October, Sajid-Wajid and Prabhudeva had given us a treat called ‘Cinema Dekhe Mamma’ (Singh Is Bliing), which was a complete desi tune with desi music. This time too, though Prabhudeva isn’t the director here, Sajid-Wajid, two of his favourites, give a song that is at par with that one. The first time you listen to the song, you’ll be like ‘Where am I? Why am I even listening to this?” But after some listens (if you give it time, that is) the composition starts to unfold its magic. The upbeat, very desi composition starts growing on you, and finally, grabs you completely. That shehnaai-like loop just intrigues you and it plays so many times, that you just start loving it! Of course, Sajid-Wajid are experts in giving this kind of music. 😀 But this time, it just worked too well. The composition too, seems average at first, especially the line before the hookline (“Bheja hai kamar pe…. Bend it like Beckham baby!”) and the hookline itself, which consists of only two words, Chal and Maar, seemingly shouted out randomly. The line just before that though, is so sweet and attractive! It goes “Chakhne de, haaye chakhne de, tere ishq ka zaayaka”. Sajid-Wajid have composed that line so beautifully, I die every time I hear it! 😀 The antara, though it could’ve been better, does its job of keeping you glued. What is the reason? The arrangements, of course! You all know how I praise Sajid-Wajid so much for their amazing arrangements every time, and this time too, they have stunned with their magnificent percussion, the slow South-Indian style rhythms and the AMAZING brass band. Of course though, that shehnaai loop (which is actually played on a melodica) is supposed to be the USP of the song, and it definitely is for me! The guitars are wonderful as well. The Tamil and Telugu versions of the song have been sung by Benny Dayal and Nakash Aziz respectively, and at first I was frustrated because we got stuck with Wajid. However, after hearing the song, I can happily say that Wajid, one of the composers, has rendered the song very nicely. He sounds youthful as well as cool! When he sings that sweet line that I pointed out, I just start to sing along. He sings that line so nicely! 😀 And he sings the hook phrase with such attitude, that I concluded that he was the perfect choice for the song. Irfan Kamal’s lyrics too, are ignorable. Very enjoyable, and a perfect song for Prabhudeva to show off his moves onscreen! Hats off to Sajid-Wajid yet again for the arrangements! #5StarHotelSong!!

 

3. Tutak Tutak Tutiya
Singers ~ Malkit Singh, Kanika Kapoor & Sonu Sood, Original Composition by ~ Malkit Singh, Music Recreated by ~ Raaj Aashoo, Original Lyrics by ~ Veer Rahimpuri, New Lyrics by ~ Malkit Singh & Shabbir Ahmed

Yet another remake we have on the album. This one serves as the title track. This one is a remake of Malkit’s 80s hit, ‘Tutak Tutak Tutiya’, and Raaj Aashoo has got the chance to recreate this one. And he seizes the opportunity and makes gold of it. The song starts again, with the representative of Punjabi songs, tumbi, followed by dhadd and a wonderful flute that just makes you feel happy. The composition of the mukhda is basically the same as that of the original, with the first line revamped by Raaj Aashoo. The song mostly follows the same composition of the hookline, and it is a very strong and effective tune. Especially the “Haye Jamaalo!” The antara is short and catchy as well, and definitely a new addition. After that, the hookline takes over once again, until the song ends. The arrangements are basically insane club beats, along with mad flutes winning your heart, and EDM that makes you wanna dance. The vocals are good, with Malkit Singh having re-recorded the song with the new lyrics that he, along with Shabbir Ahmed, has written. Kanika Kapoor gets a very small scope to open up, but her portions sound cute as always. Sonu Sood does a rap portion that is entertaining for all that it’s worth. Raaj Aashoo also makes the vocalists sing “Tutak tutak” in the background at the beginning, and that effect is so cool! 😀 The lyrics are average again, and meant for fun. A foot-tapping remake of a classic pop song, with Raaj Aashoo’s flute standing high above everything else! #5StarHotelSong!!

 

4. Love The Way You Dance
Singers ~ Jazzy B, Sonu Sood & Millind Gaba, Music by ~ Music MG (Millind Gaba), Lyrics by ~ Music MG (Millind Gaba)

The way this song starts, your mind suddenly cries out “West!” 😛 The shameless aping of the West that happens in so many Bollywood club songs, is evident in this song as well. And guess what? Millind Gaba is back, after his epic fails in Bollywood, from that ‘Welcome Back’ title song, to the most recent ‘Housefull 3’ song ‘Malamaal’. The composition, I admit, is quite decent, as it tries to keep you hooked. However, it just doesn’t work out. The club beats are a direct lift of Millind Baba’s own ‘Welcome Back’ title song. Also, the hookline is so pathetically composed, that whatever you feel about the start of the song, all evaporates because of the hookline. The generic composition has nothing to offer in terms of variation or innovation. This Music MG has a unidimensional thought and composition style. The vocals by Jazzy B are just irritating, and the overdone Punjabi lyrics by Millind are too much to handle. Sonu Sood’s rap sounds horrifying. Of course, this is a horror comeda, isn’t it! 😀 Terrible attempt to ape the West!

 

5. Chalte Chalte
Singer ~ Arijit Singh, Music by ~ Vishal Mishra, Lyrics by ~ Manoj Yadav

The next song marks the entry of another composer into the album, this time, a debutant – Vishal Mishra. Now this is the same Vishal Mishra who sang a song in ‘Shorgul’ as well. He steps into composing with this film, and with such a composition, you know he didn’t just foray into composing just for the sake of it! The composition is extremely pleasing and calming, as well as groovy at the same time. The mukhda has the power of pulling you in instantly, and the hookline is so, so cute, that you just cat ignore it. What’s more, it doesn’t force itself on you, and rather, plays on its own will, and you don’t even get to know. The antara is just a continuation of the sweetness. Both the times it plays, you are reminded of those sweet songs where the boy is just preoccupied with thoughts of some girl he’s seen somewhere in the middle of nowhere, that always play in Bollywood films. One of them is ‘I Love You’ (Bodyguard), and this song reminded me a lot of that, as well as the recent ‘Purza Purza’ (Akira). Vishal’s decision to get Arijit to sing this song turns out to be a very efficient one. Arijit, with sweetness ozzing out of his voice, delivers it with the same cuteness as it was meant to be delivered. His high notes leave you stunned, while he is, as it is, a master at low notes. The arrangements are awesome as well, with a cool jazzy touch to them. The guitars throughout provide a foot-tapping rhythm, while electronic beats are at their best in the song. A rock guitar interlude steals the show when it plays, even though it plays for about less than 10 seconds. Manoj Yadav’s lyrics are the first good lyrics in the album, and they do suit the romance theme, as well as give you some good words for your ears to chew on. Trippy! #5StarHotelSong!!

 

6. Suku Suku
Singer ~ Shivranjani Singh, Music by ~ Sajid-Wajid, Lyrics by ~ Danish Sabri

The next song turns out to be Sajid-Wajid’s second and last song in the album, and it starts with very, very impressive hip-hop beats through which they really prove their mettle at making music of so many different styles yet again. The impressive introduction, though, gives way to something that just falls downhill until the antara. The mukhda is such a weakly composed one, that I’m surprised Sajid-Wajid couldn’t get a better opening line to such a wonderfully opened song. The tune sounds sappy and something that goes in very low status movies. I mean, what is “Dance karle aiissaaaa, Sridevi jaiiiisaaaa!”!? The hookline too, is not impressive at all. However, the antara is composed so nicely and sweetly, in a pleasant desi tune, that you wonder how the duo could get this tune after such a bland opening. The composers have paid too much attention, as always, to giving a very great auditory experience to the listeners. The arrangements are just mind-blowing. With very cool EDM and techno beats, the composers score high with the arrangements. A very entertaining and professional African percussion piece plays in one of the interludes, and that is just not to be missed. Backing vocalists going “Yeah!” at random places also qualifies as good Western-styled arrangements. 😛 And the composers have aced that as well. The vocals by Shivranjani Singh, who seems to have become the composer duo’s favourite now for item songs, instead of Mamta Sharma, sings the composition well, but the texture she gives to her voice, makes her sound drunk like always. (Like she sounded in ‘Lalla Lalla Lori’ from ‘Welcome 2 Karachi’) She sings that antara very cutely though. 😀 And the hookline, sounds very obnoxious in her voice. WHAT IS A SUKU SUKU?! HOW DO YOU DANCE LIKE A SUKU SUKU?? These are the questions I would like to ask Danish Sabri, who, when the time comes, very nicely gives only backing vocals to Qawwali-esque songs, but when it comes to writing, writes all this ‘Suku’ stuff. :/ At least write something we understand? How do you expect us to dance like a Suku Suku if we don’t know what a Suku Suku is? Is that some new species discovered by you, Mr. Danish Sabri? Please enlighten us then! This song is suitable only for Suku Sukus. Barring the splendid arrangements, and the composition for the antara, this song is a Suku Suku!

 

7. Ranga Re
Singer ~ Shreya Ghoshal, Music by ~ Vishal Mishra, Lyrics by ~ Pranav Vatsa

For the grand finale of the album, we have a very dulcet melody to mellow things down after all that Suku Suku. Vishal Mishra is back to give this grand finale to the album. The composition is a very peaceful and soulful one, with touches of classical oriental Asian music. The melody is something that seems to be the only one on the abum that has been planned out before and made in a good amount of time, as it has turned out rather perfect. The mukhda has the low notes appealoung to you and luring you into the song, while the hookline takes things to a more lively scale, and it ends up chilling you with its majestic qualities. The antaras are just as beautiful, and deserve to be paid more attention, if you ask me. On a whole, the composition is very scintillating. In some places, it has shades of ‘Sapna Jahan’ (Brothers) and in others it also coincidentally sounds like ‘Rangaa Re’ (Fitoor). The arrangements are sparkling. First, we have mellow piano, along with flute (Varad Kathaurka) and a wonderful entrancing rhythm in the background. After that, things elevate to an all-out rock song, with guitars, both electric and acoustic (both by Vaibhav Pani) leading the way. In the interludes, Vishal Mishra weaves magic with the instrumentation. The first interlude has a dulcet flute solo, ranging from low to high notes. In the second, things are exactly opposite, with a lively and charismatic rock guitar giving a very electrifying performance. Vocals by Shreya Ghoshal are beautiful, but definitely not her best. At places, I thought she was singing like Shilpa Rao too! 😀 There is a particular part in the song where I loved her variations, and that is the last time she sings the word ‘Banjaaaraaa’, at 4:55 minutes into the song. Pranav Vatsa’s lyrics are good, and inspirational. A grand finale indeed! The only matured composition on the album, and sung by the Nightingale. #5StarHotelSong!!


Tutak Tutak Tutiya gives whatever it has promised, with songs catering to both masses and classes (with Vishal Mishra catering to the classes and the rest to the masses :P) The seven songs compiled for the Hindi version of the film are a great mix of the North Indian and South Indian flavour. Though Vishal Mishra’s songs sound more like Bollywood songs, the fact that they were originally for the Southern versions of the film, makes you look at it from a whole new light. The two remakes have been done good, and revamped so that the new generation will like them, with the title track faring slightly better. The four tracks that are also in the Tamil & Telugu versions of the album, are good, with ‘Suku Suku’ being the only disappointing one, but that one too has amazing arrangements. At the end though, it is Vishal Mishra who creates the most magic in the album, with both his songs working perfectly, and I’m sure, instrumental for the film. A perfect comedy film album, with a good mix of South and North India!

 

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: Ranga Re > Chal Maar > Tutak Tutak Tutiya > Chalte Chalte > Rail Gaddi > Suku Suku > Love The Way You Dance

 

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

NOT SO FREAKY; RATHER SWEET!! (FREAKY ALI – Music Review)

Music Album Details
♪ Music by: Sajid-Wajid
♪ Lyrics by: Shabbir Ahmed & Danish Sabri
♪ Music Label: T-Series
♪ Music Released On: 19th August 2016
♪ Movie Releases On: 9th September 2016

Freaky Ali Album Cover

Freaky Ali Album Cover

 

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

To buy this album on iTunes CLICK HERE


Freaky Ali is an upcoming Bollywood sports / comedy film, starring Nawazuddin Siddiqui, Amy Jackson, Arbaaz Khan, Jas Arora, Seema Biswas and Nikitin Dheer. The movie has been directed and produced by Sohail Khan, and presented by Salman Khan. The movie is an unofficial remake of Adam Sandler’s 1996 movie, ‘Happy Gilmore’, and revolves around the story of a debt collector, Ali, whose fate changes when he discovers that he is made for playing golf, and what follows is the inspirational story of Ali. The story seems good, and would be interesting to watch, but what grabs my attention is a question — Where do songs come in the picture here?? Leave it up to Sohail though, for finding a perfect musical duo to compose for the movie, and that is Sajid-Wajid, returning after eight months after the flop that their album to ‘Kyaa Kool Hain Hum 3’ was, with only ‘Jawaani Le Doobi’ busting the charts. This time, they decide to compose a mere three songs for the film, and that is surprising! Hopefully, they compose three gems according to the theme of the film, and stun us with their renowned arrangements. So, let’s see how many shots they score in their own musical game!


1. Din Mein Karengey Jagrata
Singers ~ Wajid, Divya Kumar & Swati Sharma, Lyrics by ~ Shabbir Ahmed

Sajid-Wajid start off this short album with a dance song, which is quite typical of their composition style, yet sounds different and unique. The song seems like a celebratory one, to be placed at a very happy occasion in the movie. The composer duo has produced a tune that doesn’t really fascinate you as such, but it still does what it is supposed to do, which is to entertain you. There are some places where the hookline is painfully dull and very heard-before and typical of Sajid-Wajid, but some lines are very polished and energetically captivating. The song starts off nicely, with some lines sung by Swati Sharma that are really quirky and funny, and when Divya Kumar starts, the song goes to a whole different level of fun and enthusiasm. The mukhda is quite captivating, managing to grab the listener’s attention, fortunately, because the rest of the song fails to match the enthusiasm of the starting, sounding uncontrollably outdated. The hookline itself is weak enough, but the antaras don’t help at all. (Reminding you a lot, lot, lot, of Sajid-Wajid’s ‘Phatte Tak Nachna’ from ‘Dolly Ki Doli’) However, just to save themselves from listeners leaving the song because of a weak composition, the duo infuses some great arrangements to catch your attention — rather, to divert it from the composition. The brass band is played in quite a quirky way, and after doing so many such songs in Bollywood, Sajid-Wajid seem to have got the hang of it. Some weird but catchy pigeon sounds grace the whole song, and the duo has put in more attractive sound effects like this. Of course, the traditional harmonium, dhols and electronic tablas can’t stay away in a wedding song by Sajid-Wajid! And no complaints, either. The duo cover up for the composition with their booming arrangements. The harmonium-led second interlude is a wonderful one. The duo also uses a lot of techno music to make the song connect more with the modern audience. The vocals are good as well, with Swati Sharma very nicely singing like a village girl, again, after ‘Banno’ (Tanu Weds Manu Returns). Her voice is very suitable for this track and kudos to Sajid-Wajid for roping her in for this song, and making it her first song with them. Also, I am afraid they would’ve used Mamta Sharma’s voice if not Swati’s so thank God! Divya Kumar is as energetic as ever, and though he has sung so many songs of this type previously, he just steals the show, along with Wajid, who accompanies him mostly in the hookline. The lyrics by Shabbir Ahmed are not too bad, and not excellent, but enjoyable and suitable for this type of song! Sajid-Wajid shoot back with this song, which could’ve done with a better composition, otherwise, it’s a song to tap your feet on and go crazy to!

 

2. Parinda Hai Parinda
Singer ~ Wajid, Lyrics by ~ Shabbir Ahmed

The next song happens to be a motivational song, and the duo have made an excellent song. The composition evokes memory of Ajay-Atul’s Marathi song from ‘Sairat’, ‘Aatach Baya Ka Baavarla’ in the first line, but that gets diffused as soon as the listener can catch it. The duo has come up with a composition which is quite melodious and soulful, with a distinct Sufi touch to it. The song has the power to make you hear it patiently for the first time. The mukhda is very good and the melody sucks you in, while the antara keeps up the sweetness, and the hookline is something that appeals to you even in its clichéd-ness! Overall, Sajid-Wajid have struck the right notes with the composition. The arrangements are beautiful too. With the violin very gracefully starting the song off, the acoustic guitar and cello take over to make the arrangements sound more Westernized. The use of strings throughout the song is marvelous, with each of them superseding the other, resulting in a grand orchestration by Sajid-Wajid, consisting of so many stringed instruments, like both electric and acoustic guitars, violins, a cello, and many other types of strings! The beats are wonderful as well, with a very catchy groove to them. What did bother me though, was Wajid’s singing. His voice sounded very unusually shaky and it definitely did not work in favour of the composition, because the first thing I noticed when I first heard the song was his singing itself! It just didn’t go well with the tune, that, in my opinion, required a very young and smooth voice. Shabbir’s lyrics again, are good. This time he writes many more Urdu words in the song, and they sound good for sure. 😀 The lyrics trace Ali’s journey and success well. A good song, but again, shortly misses to be a great song, because of wrong choice of singer!!

 

3. Ya Ali Murtaza (Qawwali)
Singers ~ Wajid, Danish Sabri & Payal Dev, Lyrics by ~ Danish Sabri

The name of this song suggests right away that it is a Qawwali, but T-Series still thought it better to specify that extrinsically just in case. Anyway, if you know Sajid-Wajid, then you should also know that they are awesome at making Qawwalis too. However, this here isn’t a traditional Qawwali. Rather, it is a fusion of two cultures, two traditions and ultimately, two religions. The composition is a very strong and instantly-healing type. It exudes strength and makes you feel protected all of a sudden. The duo has done a wonderful job in fusing a typical Qawwali composition with a typical bhajan composition. Both the tunes have fused together so well, that it is hard to think after hearing this song, that a bhajan and a Qawwali are two different music styles! Last we heard this kind of fusion between a bhajan and a Qawwali was almost two years ago in ‘Teri Dua’ (Hawaizaada). The duo excel with this fusion, and though there is an omnipresent dark and sinister tone to the song, it is nothing but strengthening and motivating. The duo’s fantastic arrangement skills are showed off in this song as well, more so because it is a fusion between two music styles. Most of the song is arranged on Ganpati beats, with the dhols, taashe and lezims, along with a very trademark Marathi tune played in the first interlude. The duo very nicely go back and forth between the bhajan and Qawwali. The song starts with the adlib before a traditional Qawwali, sung with a lot of confidence and gusto by Danish Sabri and Wajid. After that is over, the energetic Ganpati beats set in, on which the hookline has been arranged! Everything happens so fast, that you need a couple of times hearing the song to process it all! There is a seamless transition from the loud Ganpati beats to traditional Qawwali beats on the tablas in the mukhda, but the manjeeras from the Ganpati side still don’t stop!! The antara starts with a bhajan which is again followed by a Qawwali portion. The brilliant idea and thought behind the song leaves you in awe. The duo must’ve worked really hard to bring out the contrast, yet unity in the song. At the end, there is a big tempo change, and the bhajan is interspersed with cries to “Maula” and “Ya ali murtaza“. The vocals are spectacular, and the coordination between the two parts is what makes it sound even better. Wajid and Danish Sabri handle the Qawwali with lots of boost and confidence, while Payal Dev’s voice has this very overpowering quality, while singing the aarti. All three of them sound fabulous together. Danish Sabri’s lyrics are very devotional, and you just drown into them. Here, the gem of the album is hidden; A devotional song for two communities showcasing the unity of these two prominent communities. A genius idea of the makers gets executed excellently and turns out to end this album on a very grand scale! #5StarHotelSong!!


Freaky Ali turns out to be quite a good album. Sajid-Wajid live up to expectations from a sports film like this one, by delivering less, but good songs. All three songs have a different touch to them, and though the first two lack in one department, as a whole the album is good! Sajid-Wajid give music to this film about a ‘freak’ in a very non-freaky, but sweet and enjoyable way!!

 

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: Ya Ali Murtaza (Qawwali) > Parinda Hai Parinda > Din Mein Karengey Jagrata

 

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

 

Next “dish”: Raaz Reboot, Chefs: Jeet Gannguli & Sangeet-Siddharth Haldipur

THE ALBUM MIGHT MAKE YOU FLEE TO KARACHI!! (WELCOME 2 KARACHI – Music Review)

Music Album Details
♪ Music by: Rochak Kohli, Jeet Gannguli & Amjad-Nadeem
♪ Lyrics by: Rochak Kohli, Ravi Singhal, Kausar Munir & Sameer Anjaan
♪ Music Label: T-Series
♪ Music Released On: 29th April 2015
♪ Movie Releases On: 28th May 2015

Welcome 2 Karachi Album Cover

Welcome 2 Karachi Album Cover

 

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

To buy this album on iTunes CLICK HERE


Welcome 2 Karachi is an upcoming Bollywood action comedy film, directed by Ashish R. Mohan, produced by Vashu Bhagnani and starring Jackky Bhagnani, Arshad Warsi and Lauren Gottlieb in lead roles. The movie is about how two adventurers find themselves in Karachi, Pakistan where they meet a girl who plays the role of an ISI agent on chase. The trailer makes things look pretty interesting and one looks forward to the film because of Irshad Warsi and the comedy that follows him everywhere. As far as the music is concerned, I wasn’t expecting all that much, but was expecting some pretty good and enjoyable songs. The music has been scored by Rochak Kohli, who impressed us with his songs in ‘Hawaizaada’ earlier this year, Jeet Gannguli, who keeps impressing but didn’t quite do so in his latest project, ‘Ishqedarriyaan’, and Amjad-Nadeem from whom I expect nothing. So let’s find out what the album of ‘Welcome 2 Karachi’ has to offer!! 🙂


1. Lalla Lalla Lori
Singers ~ Vishal Dadlani & Shivi, Music by ~ Rochak Kohli, Lyrics by ~ Rochak Kohli

Rochak Kohli is someone who has gained great appreciation and praise from everyone for his three songs in ‘Hawaizaada’. Here, he has two songs. Now, since things are different in this movie — it is a comedy film, it is kind of commercially viable — Rochak needs to follow those guidelines, go with the script and give exactly those type of songs. And that is why, you might feel that his quality has stooped very low with his songs of this album. The first song starts with an instantly appealing techno tune, which is very catchy and easily grabs your attention. The vocals of Vishal Dadlani that come afterwards, “La la la, la la la Lori” are also pretty addictive. However, after that, things take a sharp U-turn, and become really weird, ungraspable and nonsensical. First of all, the tune after that didn’t hook me that much, except in the hookline. The same tune gets repeated as the antara. The voice of Vishal Dadlani has been programmed so heavily, that it might be the first time where his natural energy can’t been heard. Shivi (I believe that’s the same Shivi [R. Kashyap] who composed the album of ‘Tere Mere Phere’, and a song ‘Aisi Hi Hoon Mein’ from ‘Amit Sahni Ki List’ previously.) sounds weird and aptly drunk, going by the theme of the song. Her parts are the worst in both tune and vocals. Jackky’s rap is not that catchy, but neither is it worse as Honey Singh, Badshah and all. Of course, Jackky has just sung, and Rochak has composed and written the rap. Also, the rest of the song which Rochak has written too, is nothing great, and makes that lullaby about a bowl of milk into a lullaby about a bowl of alcohol. The whole song revolves around that. With all those negative points, however, I have got to appreciate Rochak’s arrangements, with awesome club beats, techno/EDM sounds, and towards the end, a wonderful concert effect, complete with claps and echoes. Not excellent, but pretty catchy in the hookline, which it needed. Vocals are average as they’ve been programmed too much, lyrics are bad, but arrangements stand out!! An apt party song, but good for nothing else!!

 

2. Boat Ma Kukdookoo
Singers ~ Mika Singh, Shivi, Deane Sequiera & Rochak Kohli, Music by ~ Rochak Kohli, Lyrics by ~ Rochak Kohli & Ravi Singhal

This song starts just as impressively (arrangements-wise) as the first, and loses its impressiveness just as quick as the first, as well. The beats with which the sing kickstarts, get you hooked. But only for a relatively short time. After that the interventions (by Rochak??) that go “Kuku duku duku du” makes you lose some interest, and those female vocals succeed in doing so completely, and whatever little patience and interest you have left, quickly drains out. Anyways, after that things get a bit better once again, when the song starts with its mukhda, sung by Mika in his usual characteristic style, that makes it sound enjoyable, undoubtedly. Rochak composes the mukhda in a catchy style, but the antara gets utterly ridiculous!!! Both of them do not go together at all, and it sounds pretty weird after that. The antara has Mika singing in a very low pitch, and it doesn’t really suit him. And those female vocals come back, this time with an even more stupid tune. The hookline, again, just as in the first song, is the best part of the song. Towards the end, we get to hear some experimentation from Rochak, adding garba beats in the party song, and also singing the trademark “Hey Jeereyyyyyyy” as soon as those beats start. I was expecting something good to go with the garba beats, but no such luck, and he just repeats the hookline in a higher tempo, where those irritating voices of Shivi and Deane come back. Arrangements are good, saving the song to some extent, consisting mostly of techno beats. The dhols have been added in the hookline very efficiently, and they are what makes the hookline as catchy at it is. And, as I’ve mentioned, that garba rhythm, though not utilized well, does give some relief. Rochak teams up with Ravi Singhal this time, and they both create very slightly entertaining but mostly cheap lyrics about Gujarati food items mixed with alcohol. A failure from Rochak, barring the arrangements and the hookline!! And Mika sounds good, but only in the high-pitched portions! Everything else is irritating!

 

3. Shakira
Singer ~ Shalmali Kholgade, Music by ~ Jeet Gannguli, Lyrics by ~ Kausar Munir

Jeet Gannguli, when he had composed for Vashu Bhagnani’s production ‘Youngistaan’, had remade one of his Bengali songs to give us ‘Suno Na Sangemarmar’, one of the best romantic songs of the year. This time, the makers give him not his usual genre, romantic songs, but give him an item song to make. Yup, item song. And to do the honours in this track, Jeet chooses Shalmali Kholgade, whom he has worked with in the Bengali music industry. The song starts with an entranocng shayari by Shalmali, making you ready for an awesome mujra track. But then, the middle-eastern instruments like the banjo, horns played in an Arabic style, alter the whole feel of the song. When Shalmali starts singing the mukhda, ich is quite catchy in itself, you can’t help but move to the groove of Jeet’s composition. He succeeds in doing something different, after the album of ‘Shirin Farhad Ki Toh Nikal Padi’ and ‘Kya Raaz Hai’ (Raaz 3). The antaras have been composed just as efficiently, which make you keep listening and keeps your interest towards the song intact throughout the song. The hookline, which showcases Shalmali singing the title of the song in various tunes, is addictive too. Shalmali’s fiery rendition, in a cute but flirtatious high-pitched voice, is another reason to love it. Arrangements have been done appreciatively as well, and hats-off to Jeet for succeeding in giving catchy arrangements in a track which we are not used to hearing from him (which of course, doesn’t mean that he can’t make one) The Arabic rhythm plays throughout the song, guitars and railway engine-type beats entertain you at places, and the strings are awesome! Kausar Munir writes lyrics that don’t degrade women, as in other item songs, but somewhere sounds a lot like the woman is bragging too much. The use of different places and cities in the lyrics, though, make them interesting to hear. It adds quirk as well as a mass appeal to the song. Something never expected from Jeet, and in which he surprisingly succeeds! A catchy Latino-Araboc flavored item song, with impressive vocals, lyrics and arrangements!!! #5StarHotelSong!!

 

4. Chal Bhaag
Singers ~ Wajid & Love Juneja, Music by ~ Amjad-Nadeem, Lyrics by ~ Sameer Anjaan

The last song which this album has to offer, starts with a catchy rock guitar riff, which builds up your interest as to find out what lies ahead. But all that lies ahead is an annoying rock song, sung in an irritating manner by nobody but the composers, Amjad-Nadeem’s cousin brother, Wajid along with someone called Love Juneja. Amjad-Nadeem try to make a suspenseful, situational track, that would also appeal to the masses, but fail to come up with a grasping composition. Wajid’s energetic vocals don’t help at all either, because they sound irritating due to sounding double. What at first sounds like something interesting, turns out to be an exhausting affair. First of all, though the arrangements are commendable, with rock guitars and drums, they need to be used with an efficient composition, don’t they? But because the composition isn’t at all good, they fail to impress either. Amjad-Nadeem take inspiration from Sajid-Wajid, but the song ends up nowhere near their brothers’ rock songs, which usually impress. Also, after the Mukhda and first antara get over, the moment when you realize that there’s another interlude and antara to follow, you have no wish to continue to hear the song, as it seems too stretched at one antara itself, that you would get exhausted by the time the second antara is over. So the song is unnecessarily long and stretched. Sameer writes his usual lyrics that fall under the ABSURD category, and they don’t impress nor do they entertain. They’re just stupid and don’t make sense. Nothing to hear here, except the rock arrangements!


Welcome 2 Karachi is an album, that might as well be forgotten within one week of its release and then again be remembered after the film releases, only to be forgotten forever after that. With only Jeet’s song standing out amongst the varying degrees of ridiculosity that the album has to offer, it can be said that it is one of the most middling affairs of recent times. Also, though the film might not be needing one, a romantic track would have been appreciated! Thank God that the album is short!! Instead of hearing this album, I advise you to flee to Karachi yourself! 😝😝

Okay, it’s not that bad, as each song has something or the other to offer, and hence I have given a rating that might seem too high for this album to you.

 

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

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

Recommended Listening Order: Shakira > Lalla Lalla Lori > Boat Ma Kukdookoo > Chal Bhaag

 

Which is your favourite song from Welcome 2 Karachi? Please vote for it below! 🙂

 

Next: 13th Music Mastani Monthly Awards (May 2015)

KAANON KE PARDE PHATTE TAK SUNNA!! (DOLLY KI DOLI – Music Review)

Music Album Details
♪ Music by: Sajid-Wajid
♪ Lyrics by: Irfan Kamal, Danish Sabri & Kumaar
♪ Music Label: T-Series
♪ Music Released On: 2nd January 2015
♪ Movie Released On: 23rd January 2015

Dolly Ki Doli Album Cover

Dolly Ki Doli Album Cover

 

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

To buy this album on iTunes CLICK HERE


Dolly Ki Doli is an upcoming Bollywood romantic comedy film, directed by Abhishek Dogra, produced by Arbaaz Khan & Malaika Arora Khan, and starring Sonam Kapoor, Rajkummar Rao, Pulkit Samrat & Varun Sharma. The film is like, literally the female version of “Ladies v/s Ricky Bahl”, because it’s about a girl who cons boys here. As always in an Arbaaz Khan production, the music has been given by Sajid-Wajid, who have opened up the year with a blast in the form of their album, “Tevar” and impressed us last year as well with their albums. This time, something crazy was expected from them, judging by the look of the film. So here’s my review of Sajid-Wajid’s album, ‘Dolly Ki Doli’.


1. Phatte Tak Nachna
Singer ~ Sunidhi Chauhan, Lyrics by ~ Danish Sabri

A Punjabi Wedding song is necessary in the rom-coms of today, so of course, this album starts with a very typpppical Punjabi wedding song, composed not very uniquely by Sajid-Wajid. The strange thing is that, inspire of the heard-before-ness, the song works very effectively, and Sajid-Wajid manage to come up with a hummable tune, very ear-friendly and one that is quite fun to groove to. Arrangements by Sajid-Wajid, however do disappoint here, because we are so attuned to them giving over-the-top arrangements, which burst through our headphones and instantly grab our attention. Alas, nothing of the sort here. Those electronic matkas / tablas (whatever it is supposed to be) do engage us towards the end though. Techno sounds also engage us in the interludes. Danish has come up with silly Hinglish lyrics that don’t impress much, but what do you expect from a con-girl faking a wedding? I certainly don’t expect flowery lyrics and philosophical lines! 😂 So lyrics are right at their place. The main attraction of the song, however, is Sunidhi and her awesome vocals, which have the ability to take any ordinary song to a different level. Her energy is matchless, and she knows when to use it and how. Under Sajid-Wajid’s direction, though, she always shines, is what I’ve noticed every time. Sp hit the floor and PHATTE TAK NAACHO! #5StarHotelSong!!

 

2. Fashion Khatam Mujhpe
Singers ~ Mamta Sharma, Wajid, Backup Vocals ~ Shabab Sabri, Lyrics by ~ Irfan Kamal

Sajid-Wajid had started the year with a good album, ‘Tevar’. However, it wasn’t perfect, and it had a flaw called ‘Madamiyan’ in it, sung by Manta Sharma and Mika. In their next album itself, in the same month, they dare to give us another utterly ridiculous item song in the form of ‘Fashion Khatam Mujhpe’. This time, I guess Mika refused to sing and so Wajid himself got to do the honours. Anyways, what do we have to do with all that! Let’s get to the review. The composition is a very, very annoying Haryanvi-type one, with equally Haryanvi accented lyrics and diction by the lead singers. Mamta never fails to do a “great” job in singing these songs. (I hope you saw the double-quotes there) Wajod doesn’t provide any relief either, and Shabab, being the backing vocalist that he is, decides to stay in the shadows (of Mamta and Wajid’s irritating voices in this song). As for the arrangements, they are so great (notice that I haven’t out any double-quotes) that it is a real pity they were wasted on this song. :/  Irfan Kamal is another person whose name we’ll have to write down in the “Absurd Lyricists” list, whose only member is Shabbir Ahmed. 😂 As for appeal, I won’t say anything, as these songs very rapidly spread in this country and are also (unfortunately) liked by people! So no comments on that topic. Repetitive and now dull, stuff from the Sajid-Wajid-Mamta trio! Worth only one listen for the arrangements!

 

3. Babaji Ka Thullu
Singer ~ Wajid, Rap by ~ Danish Sabri, Lyrics by ~ Danish Sabri

Sajid-Wajid get yet another interesting tagline to explore and experiment on, this time one that has already gained national awareness, thanks to Kapil Sharma and his talk show. So some of Kapil’s die-hard fans might be disappointed by the way Sajid-Wajid have built a song around the so-very-famous tagline. But some, like me (even I wasn’t that impressed at first, alright!) might be impressed by it and bring to notice the creativity in it. Okay, just kidding. The creativity does out very soon, right after we hear the rap which is of the same tune as the rap in ‘Shanivaar Raati’ from ‘Main Tera Hero’. After that, the antaras do entertain, but definitely do not stay with us for very long. The most catchy thing in the song is, without doubt, the hookline “tere pyaar mein mujhko kya mila-aa-aa-aa? Babaji ka Thullu” And I loved the way Wajid says “Thullu”! (He says “tullu” 😂 ) Actually, if there’s anything that stays with us for long after hearing the song, it has got to be Wajid’s awesome, ekdum bindass type rendition. He just sheds all his inhibitions and sings his heart out. The comic effect also wonderfully gets retained the way he sings it. Danish’s lyrics are way better here than ‘Phatte Tak Nachna’ and definitely should catch on with the youth in no time. The quirky arrangements are also very catchy. So, this song proves to be a just above average affair, with composition being lacklustre, but vocals, lyrics and arrangements awesome!

 

3. Dolly Ki Doli
Singer ~ Divya Kumar, Lyrics by ~ Irfan Kamal 

The rock genre is one in which Sajid-Wajid excel each and every time they touch it, literally. The case is the same with this song. Sajid-Wajid rope in the guy getting more and more famous day by day, Divya Kumar, and with his rustic, earthy voice, he does full justice to this composition. The composition by the duo is one that suits the theme of the movie, i.e, it has a thrilling effect, and at the same time is very gripping and one that has you listening for the whole time. Yes, some similarities to Pritam’s “Buddhi Do Bhagwaan” from “Players” in the antara and also some similarity to the album’s own “Phatte Tak Nachna”. Arrangements by Sajid-Wajid are very lively and energetic. The rock guitars do impress a lot. The wedding instruments like shehnaai have also been effectively infused into the rock portions, creating an awesome fusion. The hookline is so different, unique but manages to be catchy. Irfan Kamal has managed to remove his name from the list of “Absurd Lyricists” instantly after he was listed there, by giving at least some decent lyrics in this song. Divya excels in the song, and really proves that he can sing just any type of song. A rocking title song with rocking vocals and a rocking tune and music! #5StarHotelSong!!

 

5. Mere Naina Kafir Hogaye
Singer ~ Rahat Fateh Ali Khan, Lyrics by ~ Kumaar

Mild piano notes welcome us into the grand finale of the album, and it really is a Grand finale in the true sense. Rahat, who seems to be making a comeback every year now, makes a comeback into mainstream films this year directly after ‘Dedh Ishqiya’ last year. He shines as always. Sajid-Wajid, when united with Rahat, always do brilliantly. Their compositions for him are always a class apart, and so is his rendition for them. The arrangements in this particular song are very unusually soft, with soothing tablas and piano notes supporting Rahat, with the occasional harmonium. The interludes have been managed very beautifully. The first one has an awesome jazzy piano piece, whereas the second one surprises with a breathtaking harmonium solo. Sajid-Wajid’s love for naina finally comes out from the Salman Khan zone, and comes to Pulkit Samrat. Kumaar’s lyrics are very impressive. Again he proves that though he messes up sometimes in the dance tracks, he is definitely capable of delivering beautiful romantic lyrics for such songs too. All in all, a beautiful and classy love song sure to give you rahat! #5StarHotelSong!!


Dolly Ki Doli, though might not be as great as Sajid-Wajid’s other recent works, still manages to entertain for a while. With three songs impressing, the flaws in the other two (okay, one of the other two at least) can be ignored, and thus it can be said that this is an album which has everything for everyone. However, that doesn’t necessarily mean all of the songs clicked instantly. And many don’t stay with you for long, either. Only some manage to do so, but still, for the sake of the partyers out there, it is an enjoyable album. Sajid-Wajid have unfortunately dented their great hit album run by this album, but no worries as it was the script that called for it!

 

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: Mere Naina Kafir Hogaye > Dolly Ki Doli > Phatte Tak Nachna > Babaji Ka Thullu > Fashion Khatam Mujhpe

 

Which is your favourite song from Dolly Ki Doli? Please vote for it below! 🙂

 

Next “dish”: Hawaizaada, Chefs: Rochak Kohli, Mangesh Dhakde, Ayushmann Khurrana & Vishal Bhardwaj

 

A TEVAR-IFFIC START TO 2015!! (TEVAR – Music Review)

Music Album Details
♪ Music by:- Sajid-Wajid, Shafqat Amanat Ali & Imran Khan
♪ Lyrics by:- Kausar Munir, Danish Sabri, Sajid & Imran Khan
♪ Music Label:- Eros Music
♪ Music Released On:- 9th December 2014
♪ Movie Releases On:- 9th January 2015

Tevar Album Cover

Tevar Album Cover

 

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

To buy this album on iTunes CLICK HERE


As the year 2014 is coming to an end, and as I (very slowly) finished the reviews of movies of 2014, it is now time to turn our attention towards the music of movies of the coming year 2015. The first album I got my hands on was Tevar, a romantic action movie releasing on 9th January, 2015. The film stars Arjun Kapoor and Sonakshi Sinha in lead roles, with Manoj Bajpayee appearing in a negative role. The film has been directed by debutant Amit Ravindernath Sharma and produced by Boney Kapoor, Sanjay Kapoor, Sunil Lulla, Naresh Agarwal and Sunil Manchanda. The film is the official Hindi remake of the 2003 Telugu film ‘Okkadu’. Now, considering that the film is a South remake, everyone would naturally expect a masala soundtrack to the film, and who better than Sajid-Wajid for just that!? This year, the duo has been at a peak point in their career, giving albums like ‘Main Tera Hero’, ‘Heropanti’ and ‘Daawat-e-Ishq’ that took me by surprise after the disastrous ‘Bullett Raja’ last year. What’s more, when the duo had teamed up with Boney Kapoor for the last time, the result was a splendid, enjoyable soundtrack — ‘Wanted’. Now, one can only expect the same from the music of this movie, and hope that Sajid-Wajid just continue their spree of making hit songs that cater to the audience. This time, there is one guest composer too, that is Dutch rapper Imran Khan. The soundtrack also consists of an old (not OLD old, but not new either) composition by Shafqat Amanat Ali, recreated by Sajid-Wajid. So let’s just hope my reviews for 2015 releases start off on a good note with ‘Tevar’!

ALSO: Remember how I reviewed the albums ‘Titoo MBA’ and ‘Zed Plus’ back in November? CLICK HERE if you don’t… Well, many people suggested me to keep writing all reviews that way and told me that they liked that method.. So this year, let me try a little something different! 🙂 


1. Superman
Singer ~ Wajid, Music by ~ Sajid-Wajid, Lyrics by ~ Sajid, Kausar Munir & Danish Sabri

• Composition: The film, which revolves around a theme of ‘Attitude’ has to have at least one song full of just that, and that is presented to us in the form of this song. Sajid-Wajid’s composition is very catchy, and in spite of trying to sound ‘cool’ deliberately like ‘Baaki Sab First Class Hai’ from ‘Jai Ho’, it really works in sounding cool unlike the former song, thanks to the powerful and punchy tune which the other song lacked. The hookline also has that ability to make you hum it over and over, unknowingly. The rhythmic hook tune by the backing vocalists also grabs your attention when it opens the song.
• Vocals: Wajid’s full-of-attitude rendition really takes the composition to another level, making this the first time I must’ve ever praised his weird voice with that slight nasal twang in it. Backing vocalists do a good job and actually sound like the buddies of a guy trying to show off. Impressive vocals that work in favor for the song.
• Lyrics: Again, though the lyrics certainly don’t deserve awards, they sure do deserve to be praised for their relevance to the theme. Danish, Kausar and Sajid together have written lyrics that would be lapped up by today’s audience and that youngsters these days can relate to. The references to Superman and Salman Khan have been very smartly added.
• Music/Arrangements/Recording: You can always rely on one thing from Sajid-Wajid, that is, however bad be the composition, their arrangements are always enjoyable and groovy. This time too, they have put in efforts to make the arrangements sound great, and succeeded. Mostly supported by techno beats, the music of the song makes for a nice listen even if you didn’t like the song much. Recording is fab too.
• Mass Appeal: Definitely! The song will mostly appeal to children, youngsters and teenagers, but you might see some middle-aged people humming it as well. (Personal experience 😂 )
• Anything Special Worth Hearing? Nothing special as such, but the song overall makes for an enjoyable listen.
• #5StarHotelSong or Not? Yup.. #5StarHotelSong!!

 

2. Radha Nachegi
Singers ~ Ritu Pathak, Shabab Sabri & Danish Sabri, Music by ~ Sajid-Wajid, Lyrics by ~ Kausar Munir, Additional Lyrics & Rap by ~ Danish Sabri

• Composition: Sajid-Wajid, whom I consider to be experts at delivering traditional dance music, have done exactly what was expected in the next track, but they’ve added an unexpected, but very welcome Western-ish twist in the hookline, turning the song into a fusion dance number. The composition turns out to be predominantly engaging.
• Vocals: When I saw that Ritu Pathak was the lead singer, I was ready for a typical Ritu itemish song. After hearing the song, though, all I can do is praise her! Her voice is a perfect blend of the classical plus western elements needed for this song and kudos to Sajid-Wajid for finally dishing out her real talent and maybe just giving her a chance to finally prove herself in the industry. The backing chorus by Shabab & Danish Sabri in the prelude and interludes increases the spunk of the song as well.
• Lyrics: Lyrics here aren’t that impressive, mainly because of the déjà vu factor that they carry; we’ve heard such lyrics in too many Bollywood “Radha-Kanha” songs, and so frankly, hearing them once more doesn’t really make them sound any more fresh. Good attempt by Kausar though. The rap written by Danish, though totally irrelevant to the song, sounds good when heard with the song.
• Music/Arrangements/Recording: Again, Sajid-Wajid have left no stone unturned when it comes to arrangements. The arrnagements done by them here are fabulous as well. They give a sense of grandeur to the sing and create an ambience of an actual dance performance happening live in front of you. The sitars, tablas, tanpura, nagadas and all such instruments increase the traditional quotient in the song, while on the other hand, instruments like rock guitars and other techno sounds help to keep balance between traditionalism and modernity of the song. Grand percussion by the duo really makes the song sound huge.
• Mass Appeal: The song definitely has the power to strike a chord with semi-classical and fusion lovers. And of course, it will become huge amongst the masses.
• Anything Special Worth Hearing? The way the duo has composed and arranged the antaras of the song is something not to miss! Half the beauty of the song lies in those parts itself!
• #5StarHotelSong or Not? Surely.. A ticket for Ritu to re-enter Bollywood with renewed name and fame! #5StarHotelSong!

 

3. Madamiyan
Singers ~  Mika Singh & Mamta Sharma, Music by ~ Sajid-Wajid, Lyrics by ~ Kausar Munir

• Composition: With the next song, in walk the deadly combination of Sajid-Wajid and Mamta Sharma. The same old annoying item compositions which we’ve heard many times from Sajid-Wajid are rehashed and revived in the form of this song, resulting in a song that doesn’t impress much itself as an individual song. You can call it a revisitation of ‘Dhadhang Dhang’ from ‘Rowdy Rathore’ with a rowdier and raunchier (though not necessarily better) tune.
• Vocals: Mika hasn’t left us very much to expect from him, after his many disastrous releases last year, and as expected, he fails to impress. Mamta just comes and does her everyday thing, that is, try to be rowdy and succeed, but do it in such a way that you will get nothing but insults from listeners. Her voice literally pierces your eardrums. 😂
• Lyrics: From an item song, it is futile to expect some meaningful lyrics, and though it is Kausar with the pen here, she does nothing but disappoint in a way she has never done before.
• Music/Arrangements/Recording: Seems like Sajid-Wajid did have some self-respect left, and decided to at least arrange the song in a better way than they composed it. The beats, have the power to at least keep you listening through the whole song before pressing the ‘SKIP’ button. However, they make blunders here too, by adding those maddening horns! It’s as if they’re torturing us by purposely playing those harsh-sounding horns.
• Mass Appeal: Not a song that will appeal to everyone, but only a limited section of the audience! For the front-row seaters!
• Anything Special Worth Hearing? Nope!
• #5StarHotelSong or Not? Not at all!!

 

4. Joganiyan
Singer ~ Shruti Haasan, Music by ~ Sajid-Wajid, Lyrics by ~ Kausar Munir

• Composition: Well, who would have ever expected such a classy tune from Sajid-Wajid?! They have very effectively composed a beautiful tune, which is capable of bringing your hair stand upright because of the slight underlying haunting feeling to the composition. The song actually sounds like it would fit in a Bhatt album! The sincerity with which the duo has composed the song is really evident in the song. The impact that the hookline has is enough to take away your breath. The antara has been composed with proficiency by the duo. It emerges as one of the most complete and fulfilling composition of Sajid-Wajid.
• Vocals: Shruti singing, in spite of not being a member of the cast, is really a great thing. I wonder from where Sajid-Wajid got the genius idea of picking her up to do the honors of singing this song. However, one thing is sure, that they do not need to worry about whether they have chosen the right singer for the song. Shruti has sung each and every line with splendour and grace, and being a trained classical singer, her variations too, sound complete. Wajid, who sings along with her in the hookline, really makes a lasting impact.
• Lyrics: Finally, Kausar leaves her mark in the album, and spins wonderful words, that stay with you for long, also helping to improve the tune that Sajid-Wajid have come up with.
• Music/Arrangements/Recording: The magnificent composition has been accessorized by great orchestral strokes, wonderful percussion, and not to mention the impressive rock guitar pieces infused into the song. The buildup to the hookline has been done in the most striking way possible, with great impactful arrangements to provide the required effect. Strings are prominent throughout the song, and I have to praise Sajid-Wajid for using them so brilliantly!
• Mass Appeal: With proper promotion, the song will surely became a rage amongst lovers of soulful music.
• Anything Special Worth Hearing? The antara is the most impressive part of the whole song, in my opinion. Beautiful arrangements by the duo will keep your ears tuned to the song till it ends.
• #5StarHotelSong or Not? This one definitely deserves to be one, for being one of Sajid-Wajid’s most mature songs, so here goes… #5StarHotelSong!

 

5. Main Nai Jaana Pardes
Singer ~ Shafqat Amanat Ali, Original Music by ~ Shafqat Amanat Ali, Music Recreated by ~ Sajid-Wajid, Lyrics by ~ Kausar Munir

• Composition: The song, originally composed by Shafqat Amanat Ali for an album of his, gets recreated by Sajid-Wajid, and hopefully, will gain immense popularity (which it deserves!) after its inclusion in such a big-banner film. Though Shafqat had already done all there can be done to make the composition intact, credit has to be given to Sajid-Wajid for representing it to us, in a way that it will cater to Bollywood audiences.
• Vocals: Shafqat is top-notch in the song, and he delivers the variations with utmost ease, very smoothly. No other singer could have sung it better than he himself, and it kind of sounds reasonable to let Shafqat sing his own composition. His voice radiates a sense of peace and serenity to the listener.
• Lyrics: Lyrics have also been modified here and there by Kausar Munir, keeping the overall theme the same as the original song. The new lyrics by Kausar have been written such that it could appeal to the audience of Bollywood films as well.
• Music/Arrangements/Recording: Sajid-Wajid just never fail to make the arrangements awesome! Even in this song, they have done everything impressively. The tablas and rock sounds awesome together! Sitars and guitars as used together in the song are to die for! Recording has been done fabulously too.
• Mass Appeal: One can just hope that since it has been included in a Boney Kapoor production, it will get the deserved recognition, but that all depends on the audience! It surely does have the capability though!
• Anything Special Worth Hearing? The repeating chorus by Shafqat and Wajid is really soothing and worth hearing again and again!
• #5StarHotelSong Or Not? Definitely a #5StarHotelSong!!

 

6. Let’s Celebrate
Singers ~ Imran Khan & Sonakshi Sinha, Music by ~ Imran Khan, Lyrics by ~ Imran Khan

• Composition: Imran Khan, the Dutch rapper debuts in Bollywood to compose a club number, which he fails to make as catchy as his previous non-film songs. The composition doesn’t leave much of an impression and is likely to be forgotten after a month or so.
• Vocals: The vocals by him are no better, either. Though engaging at places, they do not help to grasp your attention as they should fpr the whole song. Sonakshi’s small cameo part doesn’t make much of a difference, as it is all autotuned, and anyone could have sung it.
• Lyrics: The song is full of weird lyrics, half the time not even making any sense, and contradicting themselves in every other line! This is really proving to be a tiresome debut by Imran!
• Music/Arrangements/Recording: Techno beats and nothing else fill up the song, but the recording has been done pretty good. Some of the beats attract while others just seem bland and dull.
• Mass Appeal: Will surely be enjoyed thoroughly by the party freaks out there, but if you ask me, it shouldn’t deserve that, either!
• Anything Special Worth Hearing? Nothing!
• #5StarHotelSong Or Not? Not this time, Imran!


Tevar sees Sajid-Wajid continue their hit run which they were on since last year, and yet again, they prove to listeners, that if they are determined, they surely can deliver a great album! Though the item song doesn’t impress (when do item songs impress nowadays!?) and Imran Khan fails to debut memorably in Bollywood, the album as a whole has variety, which is most important. There is a song for every kind of music lover in the album, and that is the best part about it. With this album, 2015 has been kicked off with an impressive, TEVAR-IFFIC start!!

 

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

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

 

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

 

Do share your feedback whether I should continue reviewing this way, or stick to my original format! 🙂 Thanks for taking your time to read my review! 🙂

Next “dish”:- I (Hindi Version), Chef:- A.R. Rahman

DAAWAT-E-SANGEET! (DAAWAT-E-ISHQ – Music Review)

Album Details:-
♪ Music by:- Sajid-Wajid
♪ Lyrics by:- Kausar Munir
♪ Music Label:- YRF Music
♪ Music Released On:- 17th July 2014
♪ Movie Releases On:- 19th September 2014

Daawat-e-Ishq Album Cover

Daawat-e-Ishq Album Cover

 

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

To buy this album on iTunes CLICK HERE


Daawat-e-Ishq is an upcoming romantic comedy and drama film starring Parineeti Chopra and Aditya Roy Kaput in lead roles. The film is directed by ‘Ishaqzaade’ fame Habib Faisal and produced by Aditya Chopra. Other supporting actors in the film are Anupam Kher & Karan Wahi. The music of ‘Ishaqzaade’ which was by Amit Trivedi had crested waves across the country, and same was expected from the music of this film which has been composed by Sajid-Wajid. They have been having a relatively good innings this year, what with the songs of ‘Main Tera Hero’ and ‘Heropanti’ gaining immense popularity when they released. Also, this is their first full album for Yashraj Films, and it is expected to be better than their previous albums this year. The film revolves around Lakhnavi and Hyderabadi culture and tradition, so that was also expected to reflect in the music. With all the hype surrounding the movie and its music, let’s see to what degree Sajid-Wajid have managed to give entertaining tracks for this album!


1. Daawat-e-Ishq:- Singers ~ Javed Ali, Sunidhi Chauhan

Looking at the name and theme of the film, the first thing that came into my kind was ‘Qawwali’. Sure enough, the first song is a Qawwali. The same Qawwali which we had heard glimpses of in the trailer, and I had instantly loved. The full track is just as awesome and just as energetic. When you hear Qawwali, the first thing you would think of would be harmonium, tabla and aalaaps. This song has tablas, aalaaps and sargam, (no harmonium) but with an interesting twist of rock, making it a rock Qawwali. Electric guitars have been used everywhere possible, and they sound awesome fused with the Qawwali. The rhythm of the rock guitars keeps playing in the background throughout the song. The tabla sounds awesome whenever it comes throughout the song. The santoor interlude is awesome, followed by the awesome sargam by an uncredited guy (probably Keerthi Sagathia or Shabab Sabri). The bulbul tarang with which the song starts is also played very beautifully. Next to talk about is the vocals. With two powerhouses such as Javed Ali and Sunidhi Chauhan on board, nothing could go wrong, and, it really didn’t! Javed Ali with his smooth yet loud and buland voice, sings effortlessly, whereas Sunidhi with her energetic voice also performs exceptionally. Their coordination is something worth hearing. The variations by Javed are mind-blowing. Especially in the last antara, when first Javed sings a line, then Sunidhi. It sounds great! The magical part is the conclusion of the song when the singers each say ‘daawat-e-ishq hai’ in different tunes and different styles. The strings supports the singers so beautifully in that part, that it will leave you stunned! When Sunidhi sings ‘hai qubool yeh humne maana…’ her voice sounds so angelic, and even more because of the instruments that support her. The lyrics are also great. The food theme has been mixed very well to make a romantic song. Words like tashtari, dastarkhwan show that the lyricist Kausar Munir has made sure that the theme of food (Hyderabadi style) should be reflected in the song. Other Urdu words just add to the richness, and since they sound very fancy, they make the song sound very, very authentic. Sunidhi gives a perfect end to the song, with her perfect and well-projected ‘ishq hai…’. A very authentic, and a very impressive fusion of two contrasting styles, Rock and Qawwali, resulting in a must-listen, in other words a #5StarHotelSong!

 

2. Mannat:- Singers ~ Sonu Nigam, Shreya Ghoshal & Keerthi Sagathia (Original), Sonu Nigam & Shreya Ghoshal (Reprise)

The next song is a beautiful, kind of haunting melody, started by wonderful sarod. Sonu is back in mainstream films after a long time, and he has finally gotten a song which is worthy of his voice. This song sees Sajid-Wajid treading A.R. Rahman territory, with many resemblances to Rahman’s 90s type of songs. Sonu starts with his sweet voice, instantly giving off vibes that would attract you towards the song. The lines are just magical, especially the tune of the line, ‘dariya na sahi…’. It is just so magnificent! The hookline is even more mystical, with awesome percussion, giving a very strong feel. The tune itself is so strong, and the percussion reminded me of A.R. Rahman in the 90s. Sonu is the correct choice for the song and he passes with an undoubted A+ for this song. Shreya, on the other hand has a very small part, but it is very catchy and sweet as well. Her part is preceded by Keerthi singing some folksy lines, with a more upbeat tempo which is very different from the rest of the song. He sings his part well. Shreya, as said before, sings well, but is given a very small part which is also in an upbeat tempo different from that of Sonu’s part. Still, her part is one of the best parts of the song. When Sonu picks up again after Shreya’s part is over, the tempo is again reduced, and I wonder how Sajid-Wajid could come up with such a transition without creating even a slight feeling of unease to the listeners. The transition takes place quickly, but also so smoothly that one doesn’t care about the sudden tempo changes. The last antara is even more beautiful, and has such a mature tune that one would instantly fall in love with it. Arrangements are exceptional throughout the song. The santoor interrupts at many places in the song, but nowhere does it seem uninvited or unwelcome. It sounds marvelous wherever it has been played. The dholaks in the upbeat paragraph sound awesome and give a bit of a Qawwali feel to this one as well. The oud after some lines sounds awesome. The violins just make it sound even more magnificent. The brass instruments have led a whole interlude, making it sound very grand. The reprise version is a bit less instrumentated, but there Shreya gets to start the song. However, Sonu and Shreya eventually end up with the same amount of lines. This version doesn’t create that impact which the first version did because of the folk part being omitted. Also, though Keerthi isn’t credited, one can clearly make out his voice. 😛 Lyrics in both the version, however are great and very romantic. Sajid-Wajid have succeeded in composing a beautiful romantic song by entering Rahman’s territory, resulting in a must listen haunting melody. #5StarHotelSong!

 

3. Rangreli:- Singers ~ Wajid, Shreya Ghoshal

After two stupendous songs, the excitement has just kept on increasing, and here comes the third song. First of all, with Wajid on board, we can assume that it must be a very mediocre song, so no established singer has agreed to sing it and Wajid had to employ himself to sing it. 😂 Okay, but sometimes he sings good, and the mention of Shreya Ghoshal still gives us some hope that it might be good. So you start the song and you are greeted with the maddening sound of dhols, horns and whatnot. It will make you feel you are in a very low-scale marriage in the village, which has unnecessarily loud and thunderous songs playing. The composition itself is so outdated (like the 90s) that one would imagine how Sajid-Wajid could dare put such a song (which sounds like a song that Govinda would dance on in the 90s) in a movie which stars Aditya and Parineeti, two of the actors who have proved themselves in this sudden inflow of newcomers, and who have innumerable fans by now. But no, Sajid-Wajid don’t seem to have any worries about the actors’ careers, and so they delivered this average typical Sajid-Wajid song, after two gems. The band-baaja is the most irritating part of it all! I understand it’s a wedding song, but that doesn’t mean put as much irritating band drums and horns as you want! The annoying arrangements have crossed the limits this time. Thank God that Wajid sounds decent in this song. But he and his brother have spoiled Shreya’s voice here. 😛 They have used two different pitches of her voice and put them together in the song. When they have used only one of her voices in the antara, however, it still sounds bad because they have made her sing in too high a pitch. Had they made her sing in a lower pitch, it would have sounded better. The lyrics are also average. I doubt the song will get any more popularity even after the movie releases. Utterly annoying, and disappointing after two beautiful songs. Sajid-Wajid are back to their usual nonsense (which they think is fun) in this track!

 

4. Shayarana:- Singer ~ Shalmali Kholgade

Whenever I see Shalmali in the credits as a singer of any song, be it by Pritam or by Himesh Reshammiya or by Sajid-Wajid, as is the case here, I get very worked up about it, and keep waiting for it to release. Sajid-Wajid had made Shalmali sing a club song and a Punjabi dance number in ‘Main Tera Hero’, so I thought they would be making her sing something just as crazy in this movie as well. And what I got was exactly the opposite of what I was expecting. I was delighted to hear a cute, happy-go-lucky, cheer-you-up type of song, which instantly caught my attention. Guitar starts this wonderful song, and drums join it later on. Shalmali sounds very cute in this song, and her unique voice is perfect for this song. First of all, I doubted that Sajid-Wajid had created this song. Their usual genre is very close to the traditional Indian music, and full of Indian sounds. Here, they have gone on a path somewhere between Amit Trivedi and Sachin-Jigar. Another coincidence is that both of these music composers have dubbed Shalmali to sing for Parineeti. 😀 And Shalmali debuted with Habib Faisal’s last film, too! So naturally Sajid-Wajid would be tempted to rope in Shalmali, and the result is brilliant! She has sung so beautifully, sounding rocking at the same time. The tune of the song is so catchy and cute, that you would have it on loop for hours on end! (I actually have!) The part ‘yakeen toh dila de, Tu hai yaa nahi hai’ has an awesomely sweet tune and so does the ‘aaye haaye zubaan bhi phisalne lagi’ part. Guitar has supported Shalmali very well throughout the song. In the interlude, a rock guitar joins as well, giving an awesome effect. The hookline is just awesome. It creates a wonderful ambience, that of peace and serenity. The snapping in the antara sounds great as well. The conclusion of the song has awesome variations by Shalmali, who seems to have aced them in the first go. When the song ends, you just feel like it ended too soon. A never-heard-before song from Sajid-Wajid! Very impressive composition with just as impressive vocals! #5StarHotelSong!!

 

5. Jadoo Tone Waaliyan:- Singer ~ Shabab Sabri

I believe Sajid-Wajid are the best at making Bollywood Qawwalis nowadays. Here they have composed another Qawwali in this film, this time giving it a more heavier rock twist. The rock guitars are still there, but Sajid-Wajid have made it more traditional, by making the tablas more prominent than they were in the title song. The song does sound a bit annoying in the beginning, but will slowly grow on you as time passes. Shabab has the right voice texture for these type of songs, but still one misses Rahat Fateh Ali Khan here. I hated this song a lot at first, but it slowly started to attract me towards itself. Now I have nothing against it. Sajid-Wajid have tried this type of Rock Qawwali once before in ‘Yeh Jo Halki Halki Khumariya’ in ‘Son of Sardaar’, which was also the type of song which grew on me very slowly. The difference was that Rahat Fateh Ali Khan was actually singing that song, whereas a relatively new guy is singing here. The lyrics are mostly Punjabi, but they sound good with the music. The saxophone interrupts in between with a beautiful interlude supported by drums. Otherwise the whole song is managed by the rock guitars and tablas. The song has been transported to great heights just because of the amazing fusion. A treat for Qawwali fans and also for Rock fans! I suggest all to give it some time to work its jadoo on you, because it is actually a tone waala jadoo! #5StarHotelSong!

 

6. Daawat-e-Ishq (Instrumental):- Instrumental, Arranged by:- Hitesh Modak

The instrumental version of the title track of this film, starts interestingly with the sound of food sizzling in a pan, followed by the dialogues of Aditya Roy Kapur. Looks like he is a waiter taking orders. 😛 The hookline of the title track has been played greatly with oud, and it creates an awesome nomadic/Arabic feel. The percussion is also awesome. It ends with a sizzling sound as well. Short, but worth hearing! Will sound very impressive in the theatre!


Daawat-e-Ishq must be a very ambitious project for Sajid-Wajid. First of all, it’s their first full album for YRF. Next, the two actors of the film have an immense fan following, so they must know that everyone would decide whether or not to watch the film depending on the music and promos. There, they have more pressure about whether they will be able to impress listeners with their music. Though they have given us some very (and by very, I mean VERY) cheap albums in the past, and are the butt of jokes everywhere, we can cut them some slack, and allow them to evolve more now. They have definitely evolved with this one, especially since they have provided music as per the theme and setting of the movie (just forget about ‘Rangreli’ okay? That’s a disgrace to wedding songs 😛 ) and have delivered some things which actually do entertain! The song ‘Shayarana’ sees them evolving a lot as composers. After ‘Main Tera Hero’ and ‘Heropanti’ this year, which were pretty good, but could have been better, and of course the “wonderful” 😛 music for ‘Jai Ho’ (only one song was wonderful :P) this album definitely surpasses all of their albums this year and emerges as one of their best albums. They got an opportunity to compose for YRF and they made the best of it. Sajid-Wajid are in form now, and I hope they continue to give us just as entertaining albums in the future! Overall, this album turns out to be a real musical feast!

 

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

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

 

Which is your favourite song from Daawat-e-Ishq? Please vote for it below! 🙂

 

Next “dish”:- Creature 3D, Chefs:- Tony Kakkar & Mithoon