Music Review: Baaghi 3

EXPECTATIONS

A big film always comes with major expectations when it comes to music. Moreover, with Tiger Shroff and Shraddha Kapoor coming together for a film which is produced by Sajid Nadiadwala, who has an ear for music, and directed by Ahmed Khan, who has been a choreographer for over two decades, it is a given that the music would turn out to be good. That said, as is the trend, most of the songs on Baaghi 3  are recreated versions and one waits to check out what does the soundtrack have to offer.

Music Review Baaghi 3

MUSIC

Baaghi 3 kick-starts on a ‘dhamakedaar’ note as Vishal-Shekhar recreate their own chartbuster hit ‘Dus Bahane 2.0‘. In the times when this is a job done by those who specialize in recreating hit songs of others, it is a pleasant surprise to see Vishal-Shekhar picking this up and doing complete justice to this Panchhi Jalonvi written track. While the beats are all there and the hook is thrilling as ever, one can well see the kind of maturity that comes on display with the experienced composers doing it themselves with singers KK, Shaan & Tulsi Kumar.

Well, this is where the originality around original composers recreating their own songs stops as Tanishk Bagchi, the specialist, is roped in for Bappi Lahiri’s ‘Bhankas’. A recreation of Kishore Kumar and Asha Bhosle’s ‘Ek Ankh Marun To‘ from Tohfa, this song (which as originally written by Indeevar) is given a pacy treatment by Tanishk Bagchi with Dev Negi and Jonita Gandhi doing the job along with lyricist Shabbir Ahmed. An out and out massy number which is aimed for the single screen audiences, this one does the job.

The song which is picturised for the single screen audiences and has a tone and mood which is multiplex oriented is Nikhita Gandhi rendered ‘Do You Love Me‘. Originally written, composed and sung by Lebanese artist Rene Bendali, this one has Disha Patani sizzling it up for screen. Let the fact be stated that the recreated version is actually better than the original. Moreover, the hook of ‘Do You Love Me’ is impressive too. However, somewhere the energy of the song could have been better as it could well have complimented Disha’s striking presence on screen.

There is good energy on display though when Pranaay composed ‘Get Ready to Fight’ returns from where it left in Baaghi 2 after being heard first in Baaghi. There is something truly thematic about this track that always works and it could well act as a motivational and inspiring piece as well which isn’t restricted just to the play of the film. Written by Ginny Diwan and composed by Siddharth Basrur, this one fits in quite well as a part of the film’s thrilling action packed narrative.

Sachet Tandon sung ‘Faaslon Mein’ is actually the first original number, which is created only for Baaghi 3, to arrive in the soundtrack. Written by Shabbir Ahmed, this love song could well have managed to cover some sort of distance had it been released earlier and promoted more aggressively. In fact this Sachet-Parampara song has a melodic base to it and could well have found more popularity had it been a part of a romantic drama like Kabir Singh instead.

Last to arrive is ‘Tujhe Rab Mana‘ which is about the bond between two brothers (played by Tiger Shroff and Riteish Deshmukh). This one features right at the beginning of the film and is inspired by ‘Tere Jaisa Yaar Kahan’ that was heard in Amitabh Bachchan’s Yaarana. However, the buck stops at the hook line as the rest of the song has an entirely different tonality set by composer Rochak Kohli with new lyrics by Gurpreet Saini and Gautam G Sharma. It is good to hear Shaan in a new song here, though he did set the tone with ‘Dus Bahane 2.0‘ earlier on.

OVERALL

The music of Baaghi 3 works for the ‘masala’ genre of the film. Though a couple of songs could have done better with added pace, tried and tested numbers like ‘Dus Bahane 2.0’, ‘Get Ready to Fight’ and ‘Bhankas’ make up for that. 

OUR PICK(S)

‘Dus Bahane 2.0’, ‘Get Ready to Fight’, ‘Bhankas’

Music Review: Shubh Mangal Zyada Saavdhan

EXPECTATIONS

As is the current trend with majority of Bollywood flicks, soundtrack of Shubh Mangal Zyada Saavdhan too has released alongside the arrival of the film in theatres. Though an early release of the jukebox can well help gain added popularity in days preceding to the film’s release, one wonders if this trend would reverse in time to come. Moreover, yet again there are three recreated songs in this album which has over half a dozen numbers in there.

Music Review: Shubh Mangal Zyada Saavdhan

MUSIC

Yo Yo Honey Singh (composer), Kinder Deol (lyricist) and singer J-Star’s ‘Gabru’ from the album International Villager is recreated by, who else but, Tanishk Bagchi as ‘Pyaar Tenu Karda Gabru’. A fun track all the way which is already quite popular, especially up North, this one is a celebratory outing with newer lyrics by Vayu. Singer Romy does quite well in rendering this hard-core Punjabi number that is set to be a chartbuster all over again.

Tanishk – Vayu come together to create number of songs in Shubh Mangal Zyada Saavdhan and one of their first collaborations is ‘Mere Liye Tum Kaafi Ho’. Ayushmann Khurranna brings himself behind the mike for this Vayu written number and his voice actually comes across as quite different in here. A decent track which is easy on ears, it comes across as a situational number at best as it doesn’t really have that punch in there to emerge as a chartbuster.

Second recreated song in the album is ‘Arey Pyaar Kar Le’ which is a take-off on Bappi Lahiri and Anjaan’s ‘Yaar Bina Chain Kaha Re’ from Anil Kapoor and Amrita Singh’s Saheb. A good recreation by Tanishk Bagchi and Vayu, this one has Bappi Lahiri’s voice been retained which actually works tremendously for the song. While Ayushmann Khurranna chips in as well, the real fun is to listen to Bappi Lahiri due to his unique vocals. A good take on 80s nostalgia.

It’s time for the Kakkar family to come together for ‘Ooh La La’. While Tony Kakkar writes and composes this one (along with Tanishk Bagchi), his sisters Sonu Kakkar and Neha Kakkar take centre-stage to let their hair down. A fun number all the way, its promotion surprisingly kick-started quite late in the film’s campaign and it could well have been beneficial had this been earlier. Not that the song is a huge chartbuster in the making but still it has the kind of energy in there that would have pepped the film even further.

Mika steps in soon after for Tanishk – Vayu created ‘Aisi Taisi’. Though the fun element is intact this time around as well, as has been the case with most of the songs heard before, at the end of the day it only fits in the needs of being a situational outing. Same is the case with ‘Raakh’ which is actually a melancholic outing and arrives out of nowhere. Though Arijit has sung for this Tanishk – Vayu creation, the punch is not really there and you don’t quite crave to return and give this one a repeat hearing.

There is some fun that comes to the proceedings though Anuradha Paudwal and Mohammad Aziz’s ‘Kya Karthe The Saajna’ from Anand-Milind’s ‘Lal Dupatta Malmal Ka’ is sampled for ‘Kya Karte Thay’ by Tanishk Bagchi and Vayu. Though Zara Khan tries to bring in something quirky to the proceedings, the fun element actually comes in when the original makes an appearance.

OVERALL

The music of Shubh Mangal Zyada Saavdhan turns out to be decent enough with a couple of songs making an impression, albeit both being recreations. Somehow the new songs that have been created for the film don’t quite cover the distance and had there been a chartbuster ortwo there, it would have only helped the soundtrack further.

OUR PICK(S)

‘Pyaar Tenu Karda Gabru’, ‘Arey Pyaar Kar Le’, ‘Ooh La La’

Music Review: Love Aaj Kal

EXPECTATIONS

Back in 2009 when Love Aaj Kal had released, its music had turned out to be a roaring success. Yet again, it’s the team of Pritam and Irshad Kamil coming together for Imtiaz Ali and one waits to see that after creating magic for Saif Ali Khan and Deepika Padukone a decade ago, whether they have repeated the same for Kartik Aaryan and Sara Ali Khan as well.

MUSIC

It is old world charm revisited with ‘Shayad’ which has Arijit Singh taking center-stage. Just the kind of song that is made for hearts deeply in love, this one is for die hard romantics. Be it the lyrics, music or the manner in which Arijit Singh goes about rendering this one, ‘Shayad’ is a winner all the way. No wonder, its ‘reprise version’ comes later in the soundtrack as well with newcomer Madhubanti  Bagchi giving Arijit coming. Had this song been promoted more aggressively, it could well have turned out to be a major chartbuster already.

Next to arrive is ‘Mehrama’ and the song just picks up from where ‘Shayad’ left, hence turning out to be yet another beautiful melody that makes an entry right into your heart. Darshan Raval and Antara Mitra pair up for ‘Mehrama’ which later also arrives in an ‘extended version’ and makes you long for the one you love. These two songs, coupled with an additional version each, set the ‘sur’ of Love Aaj Kal and one expects the romantic mood to continue right through.

This is the reason why ‘Raftaar’ rendered rap track ‘Parmeshwara’ turns out to be nothing but a rude shock. A truly annoying piece which just doesn’t manage to register itself and is a misfit both in the soundtrack as well as the film’s narrative, it tries to be all cool and smart but fails big time. This one just didn’t have a place in the music of Love Aaj Kal.

Arijit Singh is back in the fold and he croons two back to back tracks, ‘Rahogi Meri’ and ‘Haan Tum Ho’. Yet again, it’s the usual romantic mood that is created in these love songs that are just the kind that one expects in an Imtiaz Ali film. Not that these songs are chartbusters in the making as they aren’t really massy in their presentation and outlook. However if you just want to sit back, relax and think about the one whom you love the most, ‘Rahogi Meri‘ and ‘Haan Tum Ho’ (which has Shipra Rao entering the fray as well) truly end up fitting the bill.

Mohit Chauhan had rendered ‘Yeh Dooriyaan’ in the first Love Aaj Kal and there is a new version of the song that arrives in the latest Love Aaj Kal with the same title. The singer brings all his experience into play with this heartfelt number that is just the kind which is to be heard with quietness and serenity all around. Carrying a good dose of pain with it, this one has the signature theme that went in the background of ‘Yeh Dooriyaan’, hence bringing on the nostalgia.

The tonality of the soundtrack changes though with ‘Dhak Dhak’ and though this one is at least somewhat better than ‘Parmeshwara’, yet again it is a misfit into the soundtrack. Trying to infuse ‘pahadi’ style into the contemporary sound, this Nikhita Gandhi and Akasa rendered track tries to bring in everything from Rumi to internet in one go but doesn’t really make you play it in loop all over again.

Thankfully, it is back to romantic zone with ‘Aur Tanha’ which sees KK return after a hiatus. With a guitar in the background, this is yet another song which has a heart in love longing for the one closest to it. A soft rock number that goes well with the film’s narrative, this one could well make it as a bonfire affair amongst youth.

The soundtrack concludes with a bang though with Arijit Singh and Shashwat Singh coming together for ‘Haan Main Galat’. A new age version of ‘Twist’ that had made huge waves in Love Aaj Kal [2009] more than a decade back, this one actually turns out to be a very good version of the original. Number of times one has complains around recreated versions not really matching up to the original but this one actually succeeds in taking it to the next level. Chartbuster.

OVERALL

The music of Love Aaj Kal has consistency written all over it, barring a couple of songs which are misfits. There may not be many chartbusters out there but if you are the one who is either truly in love with someone or is nursing a broken heart, Love Aaj Kal does well in rekindling those emotions well enough.

OUR PICK(S)

‘Haan Main Galat’, ‘Shayad’, ‘Mehrama’, ‘Yeh Dooriyaan’

Music Review: Street Dancer 3D

EXPECTATIONS

With close to a dozen off songs in Street Dancer 3D, one expects an out and out musical in the offering from filmmaker Remo D’Souza. With Varun Dhawan, Shraddha Kapoor, Prabhudeva and Nora Fatehi as the principle cast members, there is a good visual appeal on the cards as well. Multiple composers, lyricists and singers come together to put together the soundtrack.

Gann Deva Full Song Street Dancer 3D Varun Dhawan, Shraddha Kapoor

MUSIC

A.R. Rahman’s chartbuster ‘Muqabla’, which has regaled audiences for over two decades now, is back in the fold with – who else but Tanishk Bagchi – bringing on the recreation. The essence of the original, especially the passages, is kept intact even as Shabbir Ahmed and Tanishk Bagchi add on to the lyrics that had been originally written by Valee. Yash Narvekar and Parampara Thakur do well to bring on the energy and though the end result is satisfactory, all said and done one would rather go back to the original.

Badshah continues to bring on the sound of seduction with ‘Garmi’ where he plays the triple role of being the composer, lyricist as well as singer. He is joined by Neha Kakkar who is just the right voice for this track that has Nora Fatehi at her sizzling best and Varun Dhawan serenading her. Expect this one to play on in night clubs for quite some time to come.

Tanishk Bagchi and Intense join hands for ‘Illegal Weapon 2.0’ which is yet another recreated version. Written by Priya Saraiya and Garry Sandhu with latter pairing up with Jasmine Sandlas behind the mike, this Punjabi-Western combo number is just the kind that is made for the night clubs. That said, this one had the kind of set up to it which would have been propelled to a higher stage had it been more energetic.

Sachin-Jigar have composed as many as five songs in the album and the first one to arrive is ‘Dua Karo’. A situational track written by Priya Saraiya with a sad undertone to it, this one is a ‘sufi rock’ number that is rendered by Arijit Singh. Bohemia chips in as well for an intermittent rap portion, something that makes an impression primarily along with the film’s narrative.

Guru Randhawa’s chartbuster track ‘Lagdi Lahore Di’ is brought to fore all over again with Sachin-Jigar taking charge and Tulsi Kumar stepping in as a female vocalist. The song has been a huge success across the country, especially up North and its re-entry in Street Dancer 3D brings on an added shelf life. However, just as was the case with ‘Illegal Weapon 2.0’, this one too could have gained further from enhanced energy. Somehow this one appears to be rather subdued.

Shankar-Ehsaan-Loy and Sameer’s ‘Hindustani’ [Dus] is recreated by Harsh Upadhyay and the results aren’t really the kind that would have taken the song to the next level. As a matter of fact this one seems like a rather rushed job and even though the voices of Shankar Mahadevan and Udit Narayan are retained, the punch is clearly missing.

‘Bezubaan Kab Se’, which has a thematic appeal when it comes to the ABCD franchise set by Remo D’Souza, appears in a new version with Siddharth Basrur and Jubin Nautiyal crooning for Sachin-Jigar who compose as well as write this one along with Mayur Puri. While it does play a part in carrying forward the core spirit of ‘Bezubaan’, somehow it doesn’t cover the distance.

Next to arrive is Gurinder Seagal sung and composed ‘Pind’ and somehow this sad song about returning to the motherland only slows down the soundtrack further. Kunaal Vermaa writes this Punjabi-Hindi number which has a very dull feel to it and just doesn’t manage to make its presence felt or register any sort of impact whatsoever.

It is back to some dance and fun with Neeti Mohan, Dhvani Bhanushali and Millind Gaba coming together for Sachin-Jigar created ‘Nachi Nachi’. Though the song has a good hook to it, somehow there hasn’t been any promotion whatsoever which means this Millind Gaba and Asli Gold created track would largely go unannounced. This is followed by a devotional track comes next in the form of ‘Gann Deva’ which is in praise of Lord Ganesha. Written by Bhargav Purohit, composed by Sachin-Jigar and sung by Divya Kumar, this one doesn’t make an impact either.

Garry Sandhu’s ‘Sip Sip’ finds a recreated version in ‘Sip Sip 2.0’, courtesy Tanishk Bagchi and Kumaar. Jasmine Sandlas comes behind the mike for this Punjabi-Hindi number which hasn’t really been immensely popular at an all-India even as an original. The recreated version is the kind that could have covered some distance but since it hasn’t been hammered all along, that won’t really turn out to be the case.

OVERALL

The soundtrack of Street Dancer 3D starts off well but then as it proceeds, the impact starts getting lesser and lesser. The good thing is that this one is a music heavy album as a result of which around four to five songs do ultimately manage to make an impression.

OUR PICK(S)

Muqabla’, ‘Garmi’, ‘Illegal Weapon 2.0’, ‘Lagdi Lahore Di’

Music Review: Panga

EXPECTATIONS

One expects situational soundtrack for Panga, considering the fact that it is a slice of life film with sports as the core theme. Though Shankar-Ehsaan-Loy and Javed Akhtar come together to create half a dozen songs for the film, one doesn’t quite expect a chartbuster outing here since there has hardly been any promotion either for the music as the focus has been on the film.

Music Review: Panga

MUSIC

Harshdeep Kaur, Divya Kumar and Siddharth Mahadevan come together to create the title song ‘Panga’ which has a good hook to it. A feel good number with a catchy rhythm, this one has certain nicety to it, courtesy the manner in which the singers come together to croon this one. This one has an anthem feel to it and could have covered some distance with good promotion.

Jassie Gill, the leading man of Panga, takes charge as a singer for ‘Dil Ne Kaha‘, which has the kind of sound that one associates with Salman Khan’s Dabangg franchise. Reminding one of ‘Tere Mast Mast Do Nain’ with a bit of ‘Brathless’ feel to it in the manner in which it begins, ‘Dil Ne Kaha’ is a romantic track that comes in two versions with Jassie Gill and then Shahid Mallya taking charge. Asees Kaur is the common factor in both the songs and she does well as she has been over a period of time now.

Next to arrive is ‘Bibby Song’ and this one tries to be all funny. However, at best this one is a situational track with no real appeal outside the film. Annu Kapoor comes behind the mike for this one alongside Sherry and you don’t really get hooked on it. As a matter of fact you move on to the next in line soon enough to check out what rest of the soundtrack has to offer.

Shankar Mahadevan makes a belated entry as a singer with ‘Jugnu’ and he has Sunny for company. Though he does well as a singer all over again due to his characteristic voice, overall the music – with a Sufi touch to it – stays on to be situational at best. A montage number which is about dreams and aspirations, it goes with the theme of the film but that’s about it.

Last to arrive is ‘Wahi Hai Raste’ which has Mohan Kannan taking charge. This one brings with it the mood and feel which one associates with the kind that was heard in the non-mainstream films of the 70s. A little later in the album, Asees Kaur’s voice is heard. With Bengali folk music base to it, ‘Wahi Hai Raste’ is just about okay and doesn’t quite warrant repeat hearing.

OVERALL

The music of Panga is largely situational with a couple of songs at the beginning making some sort of an impression.

OUR PICK(S)

‘Panga’, ‘Dil Ne Kaha’

Music Review: Jai Mummy Di

EXPECTATIONS

Filmmaker Luv Ranjan has certain style when it comes to creating soundtrack for his films. His Pyaar Ka Punchnama series as well as Sonu Ke Titu Ki Sweety in particular have boasted of youthful peppy music. Now that his production Jai Mummy Di is releasing, one expects something similar from over half a dozen songs that appear in the soundtrack.

Music Review: Jai Mummy Di

MUSIC

As is the trend, Jai Mummy Di too kick-starts with a couple of recreated songs. First to arrive is Sukh-E Muzical Doctorz composed and Jaani written ‘Mummy Nu Pasand’ which has been recreated by Tanishk Bagchi who is also the man behind additional lyrics. Sunanda Sharma is the singer here and boasts of a distinct voice which is strikingly different from many of her ilk and hence lends quite a solid impression. The song has a catchy hook to it and is a chartbuster all the way. Even if you haven’t heard this song before, you would like it this time around.

Next to arrive is the chartbuster track ‘Lamborghini’ which has a beautiful sound to it and has just the right mix of Punjabi mix and ‘desi’ feel with a slightly Western touch to it which gives it an edge. Written by Kumaar, this celebration track has a peppy presentation by Meet Bros who utilize the vocals of Neha Kakkar and Jassie Gill quite well to result in a number that would find a place amongst youth as well as elderly alike.

The surprise though is ‘Dariyaganj’ which is rendered by Arijit Singh. It is always so refreshing to hear a new team collaborate to create something melodious and this is where one would complement lyricist Siddhant Kaushal and composer Amartya Bobo Rahut. They put together an unconventional hook for the song’s title while ensuring that the melody element remains intact. Rest is taken care of by Arijit who along with Dhvani Bhanushali makes sure that this romantic number finds itself in your playlist. Later Dhvani goes solo to make further impact.

With a hat-trick of good songs, expectations soar further from Jai Mummy Di. Mika Singh is the man of the moment as his boisterous vocals kick-start the proceedings for ‘Ishq Da Band’. The manner in which the singing team (with Shilpa Surroch and Harjot K Dhillon as the other singers] comes together for this Gaurav Chatterji composed and Ginny Diwan written number, you get the feeling of one of those David Dhawan films from the 90s where ‘masti’ and ‘dhamaal’ ruled in many a Govinda or Salman Khan starrers. This one is fun while it lasts.

Yet another new team joins forces for the title track ‘Jai Mummy Di’. Composer Parag Chhabra and lyricist Shellee join hands for this situational number. Though there isn’t anything really memorable about this Nikhita Gandhi, Parag Chhabra, Vivek Hariharan and Devender Pal Singh sung track, expect this one to arrive at certain montage sequences in the film to lend entertainment to the narrative.

Though Amartya Bobo Rahut and Siddhant Kaushal had done quite well in ‘Dariyaganj’, same can’t be said about ‘Manney Ignore Kar Rahi’ which comes across as a jamming session at best. Agreed that this Amitabh Bhattacharya rendered number aims to be all funny and has a parody flavour to it, the end result is the kind which can possibly be enjoyed only if accompanied by some really entertaining visuals.

Last to arrive is ‘Ajaa Ajaa’ which has a 50s style rock-n-roll feel to it and is yet another situational track. One in fact wonders at what situation of the film will this Divya Kumar sung number appear eventually as it comes across like a force fitment. Composed by Rishi Singh & Siddharth Amit Bhavsar (who also lend additional lyrics), this one is written by Gautam G. Sharma and Gurpreet Saini who don’t quite manage to come up with anything memorable.

OVERALL

The music of Jai Mummy Di starts well with a couple of recreated songs and then a couple of original songs making a mark. However, the impact tapers a bit as it progresses further. Nonetheless, it still manages to almost deliver what it promised with at least 2-3 songs expected to play on for some more time to come at least.

OUR PICK(S)

‘Mummy Nu Pasand’, ‘Daryaganj’, ‘Lamborghini’

Music Review: Chhapaak

EXPECTATIONS

When it comes to a concept film like Chhapaak, one expects a situational soundtrack at best. Moreover, director Meghna Gulzar has a certain style of music in her films and one is assured of that with Gulzar as the lyricist. Shankar – Ehsaan – Loy are the composers of Chhapaak which has just four songs.

MUSIC

Arijit Singh gets to croon three out of four songs in Chhapaak and none of these is a romantic number. Title song ‘Chhapaak’ comes next and it narrates the plight of how a few drops of acid can scar a person for life. This one in fact has the kind of sound that one associates with Vishal Bhardwaj, given the kind of collaborations that he has had with Gulzar over the years.

Siddharth Mahadevan comes behind the mike for a love song ‘Nok Jhok’ which is again situational in appeal. Not the kind of song that one would expect to have a chartbuster appeal, it in fact has the kind of sound that one heard back in the 90s as a part of Indi-pop albums. A decent number which is soothing to listen to, though not quite expected to cover a long distance.

It is back to Arijit Singh as he begins from where he left in the title song ‘Chhapaak’. This time around the song in question is ‘Khulne Do’ and the theme is that of hope and belief around something good about to happen. The song has an ordinary tune and doesn’t really carry the kind of pull that would make a listener play it on repeatedly after listening to it once. There is a bit of a follow up version of the song though that comes in the form of ‘Sab Jhulas Gaya’, and the results are just the same.

OVERALL

As expected, the music of Chhapaak is strictly situational and the recollection is restricted to just its placement in the film’s narrative.

OUR PICK(S)

Chhapaak, Nok Jhok

Music Review: War

EXPECTATIONS

When Hrithik Roshan and Tiger Shroff come together for a film, the music has to be special. This is what happens as well in this short-n-catchy soundtrack by Vishal-Shekhar which has just two songs, both written by Kumaar, with three theme tracks put together by Sanchit Balhara and Ankit Balhara.

MUSIC

It’s ‘Ghungroo’ right at the beginning and has Vishal-Shekhar’s stamp all over it. They put together the right team of singers as well, what with Arijit Singh modulating his voice in a major way to sound like Hrithik Roshan. A westernized tune with a ‘desi’ feel to it, ‘Ghunghroo’ goes to the next level with one of the most underrated female singers around, Shilpa Rao. The lady had made waves back in time with Vishal-Shekhar’s ‘Khuda Jaane’ [Bacha Ae Haseeno] as well and she is on fire yet again in this rollicking track as well which is a huge chartbuster already.

Next to arrive is ‘Jai Jai Shivshankar’ which features the dance face-off of last many years, what with Hrithik Roshan and Tiger Shroff bringing their best moves on screen. Yet again, Vishal-Shekhar do well to get the right vocals for both the actors, what with Vishal bringing himself on board for Hrithik even as Benny Dayal gets into a playful mode for Tiger. As is the case most of the times with Kumaar, the lyricist comes up with some unconventional words for ‘Jai Jai Shivshankar’ which has already gained huge popularity and would be played for months to come.

From here on arrive three theme tracks by Sanchit Balhara & Ankit Balhara. First up is the ‘War Theme’ which has just the kind of sound that one associates with a Bond, Mission Impossible or Bollywood’s very own Don franchise. In fact this has a kind of punch to it which should make it integral to the next installments of the War franchise that would be unleashed in time to come.

This is followed by ‘Kabir’s Theme’ and ‘Khalid’s Theme’, both of which have strong Western base to them, hence allowing the narrative of the film exciting, engaging and truly thrilling. In fact latter also has English lyrics by Vishal Dadlani who also comes behind the mike to croon these couple of lines, hence adding on further punch.

OUR PICK(S)

‘Ghunghroo’, ‘Jai Jai Shivshankar’, ‘War Theme’

Music Review: Housefull 4

EXPECTATIONS

‘Bala’ did the trick! Time and again it has been said that even if there is just one blockbuster song in a film, it can elevate its fortunes in a big way. This is what happened with Housefull 4 as well which had ‘Bala’ turning out to be a rage en route the film’s release. The other songs that were put together by Sohail Sen and Farhad Samji only turned out to be an added bonus.

MUSIC

There is a signature Housefull feel to the manner in which ‘Ek Chumma’ kick-starts the proceedings for Housefull 4. When it comes to the franchise, the music is expected to be peppy, lively and catering to the masses. This is what is the case with this Sameer Anjaan written number as well which has composer Sohail Sen also come behind the mike along with Altamash Faridi and Jyotica Tangri. Together, the team ensures that there is a catchy number in the offering which is reminiscent to the kind of music that was popular back in the good part of the 80s and 90s.

The song which brings the house down though is ‘Shaitan Ka Saala’ which has its hook based on Tony Montana’s ‘Bala’. However, Sohail Sen along with the film’s director and lyricist Farhad Samji spins it in a big way to come up with an even more entertaining piece that turns out to be far better than the original. One of the biggest chartbusters of 2019, it was also notable for its unique dance step, something that led to hundreds of cover versions that are popular till date. A bonafide blockbuster song all the way.

Another recreated song that arrives next is ‘The Bhoot Song’ which is based on Laxmikant-Pyarelal and Anand Bakshi’s ‘Bhoot Raja Bahar Aaja’ from yesteryear film Chacha Bhatija. Farhad Samji and Sandeep Shirodkar come together to recreate their own version with Mika Singh taking over the center-stage and being his energetic best. In fact Farhad Samji plays a triple role here of being a composer, singer as well as lyricist (along with Vayu) with help also coming from Devi Sri Prasad who lends signature music to the track. A fun passable number.

The song which turns out to be a good celebration track though is ‘Chammo’ and this could well have been the first to be promoted. A lavishly picturised song that reminds one of the kind of songs that filmmakers like Manmohan Desai and Raj Kumar Kohli used to have in their films back in the 70s and the 80s, ‘Chammo’ has Sohail Sen and Sameer Anjaan do well all over again. With a strong base in Hindustani classical music as well, this one has Sukhwinder Singh, Shreya Ghoshal and Shadab Faridi come together and give this one as a grand appeal.

Last to arrive is Danish Sabri sung ‘Badla’ and this one turns out to be truly forgettable. Perhaps the core idea behind this Farhad Samji composed and written number was to ham it up, as is apparent in the lyrics as well as the music of this parody number. However, by and large this one actually turns out to be the weakest spot of the soundtrack as well as the film’s narrative. This one can be conveniently skipped.

OVERALL

The music of Housefull 4 is just the kind that one expects from Housefull franchise. By and large it’s the kind that goes with the pace of the narrative and stays along as the accompanying partner.

OUR PICK(S)

‘Bala’, ‘Chammo’, ‘Ek Chumma’

Music Review: Marjaavaan

EXPECTATIONS

Well before Marjaavaan was gearing up for release, a lot was being spoken about the music that had been put together for the romantic action drama. With the soundtrack comprising of almost a dozen songs, it was further established loud and clear that music would play a major role in taking forward the narrative of this Milap Zaveri directed film. Multiple composers, lyricists and singers come together to put together music of Marjaavaan which has multiple recreated versions of the yesteryear hits as well.

Marjaavaan Music Review

MUSIC

As expected, it’s an out and out love song ‘Tum Hi Aana’ that opens the soundtrack of Marjaavaan. Payal Dev is the composer of this beautiful melody that should find its way into one of the most popular love songs of 2019. Pretty well written by Kunaal Vermaa whose lyrics are heart rendering to say the least, the strength of ‘Tum Hi Aana’ also lies in the manner Jubin Nautiyal sings this one. No wonder, as many as four versions of the song are heard with Jubin also going for a happy and sad version each and then pairing up with Dhvani Bhanushali for a duet too.

The love song that takes the soundtrack forward is ‘Thodi Jagah’ which has really sentimental lyrics put together by Rashmi Virag. Moreover, with Arijit Singh taking over the center-stage, you know that the outcome would be straight from the heart, and that indeed turns out to be the case as well. Reminding one of the kind of music that was heard in Aashiqui 2, this one is an original composition by Tanishk Bagchi who does quite well here. Later, the song is heard in Tulsi Kumar’s voice as well and she too is impressive with her rendition here.

Tanishk Bagchi gets into a recreation mode soon after though with as many as two numbers to his credit, ‘Ek Toh Kum Zindagani’ and ‘Haiya Ho’. Both songs are originally written by Indeevar and have late Firoz Khan as the director. While ‘Ek Toh Kum Zindagani’ is a Kalyanji-Anandji composition [‘Pyar Do Pyar Lo’] from Janbaaz, ‘Haiya Ho’ is based on Laxmikant-Pyarelal’s ‘Chahe Meri Jaan Tu Le Le’ from Dayavan.

Though Neha Kakkar’s rendition is just apt as she comes with an apt follow up to Sapna Mukherjee’s voice, the male inclusion by Yash Narvekar in ‘Ek Toh Kum Zindagani’ could have been totally avoided. On the other hand Tulsi Kumar & Jubin Nautiyal’s rendition of ‘Haiyaa Ho’ [originally sung by Jolly Mukherjee and Sapna Mukherjee] turns out to be actually a better version and could well have been more aggressively promoted.

Another recreated version that arrives next is ‘Kinna Sona’ which has Meet Bros and Kumaar coming up with their own take with Jubin Nautiyal & Dhvani Bhanushali doing the honors behind the mike. This one in fact turns out to be rather mild in comparison to the versions that one has heard in the past and surprisingly also takes a lot of time to actually come to the point.

Next to arrive are situational numbers that remind one of songs like these that were placed in the action packed narrative of the 70s and the 80s. As a matter of fact this genre of songs are still quote popular in films being made down South and it is apparent that Milap Zaveri was influenced by that style of filmmaking here. No wonder, he has Palak Muchhal lead from the front for ‘Raghupati Raghav Raja Ram’ which is composed by Tanishk Bagchi, written by Manoj Muntashir and appears just before the climax of the film. A passable track.

The one that does lend goose bumps though is Aditya Dev composed ‘Hasbi Rabbi’ which has Altamash Faridi & Kamaal Khan come up with the kind of rendition that has a haunting appeal. Based on traditional lyrics, this one too is old fashioned in style but goes well with the overall treatment of the film. The version that did elevate the proceedings of the film is ‘Hasbi Rabbi Naat’ which is composed by Sanjay Chaudhary and written and sung by Mujtaba Aziz Naza. This one lends a short and impactful closure to the soundtrack.

OVERALL

The music of Marjaavaan is quite satisfying and is in fact even better than expected. A well rounded affair which has everything for everyone, be it the masses or the classes, Marjaavaan would be picked up by music lovers in time to come as well.

OUR PICK(S)

‘Tum Hi Aana’, ‘Thodi Jagah’, ‘Ek Toh Kum Zindagaani’, ‘Haiya Ho’

Music Review: Tanhaji – The Unsung Warrior

EXPECTATIONS

When it comes to a film like Tanhaji – The Unsung Warrior, the expectation is that of a situational score. Moreover, since the core genre of the film is action-drama, all that is required too is three to four tracks that come at just the right points in the film. This is what the team of composers, lyricists and singers delivers as well.

MUSIC

It’s a euphoric beginning for Tanhaji – The Unsung Warrior as composer Mehul Vyas puts together a ferocious piece, ‘Shankara Re Shankara’. He sings this Anil Verma written track as well along with Adarsh Shinde and together the trio delivers a song which has a 70s and 80s feel to it in the way it is orchestrated and delivered. For the situational in the film, this one works.

The experience of Sukhwinder Singh and Shreya Ghosal is apparent right at the beginning of ‘Maay Bhavani’ which pretty much takes off from where ‘Shankara Re Shankara’ left. With both the songs based on Indian Gods, one can sense the kind of feel that the team wanted to bring in the soundtrack here. Ajay – Atul bring in their characteristic style into play in this Swanand Kirkire written number, especially in the way ‘mukhda’ transitions to ‘antara’. Yet another situational number, this one goes with the essence of the film.

Sachet-Parampara, who are known most for their melodious songs, especially in last year’s all time blockbuster Kabir Singh, showcase their versatility with ‘Ghamand Kar’. They compose as well as sing this Anil Verma written number which is ferocious in its appeal. Pretty much the theme track of the album, this one has a haunting sound of ‘ra ra ra ra’ which elevates the soundtrack to a great degree. Appearing at just the right juncture in the film, this one should actually have been the opening song of the soundtrack as well. Very well orchestrated.

Last to arrive is ‘Tinak Tinak’ and this too is a product of Sachet-Parampara and Anil Verma combo. Appearing during the end credit roll of the film and picturised on Kajol, this one has Harshdeep Kaur coming behind the mike. Though the styling of the song compliments the kind of set up that Tanhaji – The Unsung Warrior boasts of, somehow this one doesn’t quite manage to make much of an impression. More so since the film as a whole doesn’t really have any romantic undertones and hence this one comes across as rather misfit.

OVERALL

The soundtrack of Tanhaji – The Unsung Warrior delivers as expected. Though there aren’t many memorable songs out there, they do well enough to keep the film’s narrative engaging.

OUR PICK(S)

‘Ghamand Kar’, ‘Shankara Re Shankara’

Music Review – Pati Patni Aur Woh

EXPECTATIONS

Of late, music in films starring Kartik Aaryan has invariably turned out to be of chartbuster variety. It was seen earlier this year in Luka Chuppi as well and now 2019 is ending with a bang, what with each of the songs from   turning out to be a chartbuster.

Music Review - Pati Patni Aur Woh

MUSIC

It is time to welcome yet another recreated version, this time that of Tony Kakkar’s mega hit number ‘Dheeme Dheeme’. The man who has been getting it right for most of the times, Tanishk Bagchi, hits a six yet again with this version which has Tony Kakkar and Neha Kakkar coming together for this rollicking club track. A superb number that has a huge foot tapping appeal and is set to rock the show for many more months to come as well, ‘Dheeme Dheeme’ has Tony Kakkar, Tanishk Bagchi & Mellow D contributing towards the lyrics as well.

A love song comes next in the form of ‘Tu Hi Yaar Mera’ which has Neha Kakkar being heard in an altogether different avtar from her usual self. Instead of a fun-n-frolic outing, she becomes a part of a love song which has been beautifully composed by Rochak Kohli with Arijit Singh showing once again that he is the numero uno choice when it comes to singing his way right into the heart. Moreover, it is lyrics by Kumaar that make a good impact as well, hence ensuring that ‘Tu Hi Yaar Mera’ turns out to be a song that would have a good shelf life.

As for a love song that has certain depth to it, ‘Dilbara’ couldn’t have come at a better time, what with Sachet-Parampara doing well yet again after their superlative effort in Kabir Singh and then Pal Pal Dil Ke Paas. A Hindi-Punjabi song which has a trademark stamp of the composers-singers, ‘Dilbara’ is pretty well written by Navi Ferozpurwala who gets the feel of ‘dard-e-judaai’ right. In fact it is surprising that the song hasn’t been hammered to the fullest as this one carries good potential to find popularity amongst those mending a broken heart.

Last to arrive is yet another recreated version, ‘Ankhiyon Se Goli Mare’, which has stayed on to be a chartbuster even after a couple of decades since it was heard first in Dulhe Raja. The tune by Anand-Milind is given a good twist by Tanishk Bagchi who brings on board just the right singers in the form of Mika Singh and Tulsi Kumar to result in a song that sounds fresh till date. While the core peg ‘Ankhiyon Se Goli Mare’ as well as the ‘antara’ by Sameer is retained as is, the ‘mukhda’ goes through a transformation albeit without hurting the originality much.

OVERALL

The music of Pati Patni Aur Woh is on expected lines as there is no dull moment whatsoever. A couple of recreated dance numbers and then a couple of love songs ensure that this one turns out to be a well-rounded affair.

OUR PICK(S)

Dheeme Dheeme, Ankhiyon Se Goli Mare, Dilbara

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Music Review – Good Newwz

EXPECTATIONS

When a biggie arrives from the house of Karan Johar with a massive starcast led by Akshay Kumar and Kareena Kapoor along with Diljit Dosanjh and Kiara Advani, you don’t quite settle for something ordinary. Moreover, with the film also being titled Good Newwz, you expect the same flavor in the soundtrack as well.

Music Review - Good Newwz

MUSIC

Tanishk Bagchi, who is known more for his recreated versions, hits it out of the park with an original track ‘Chandigarh Mein’. A Hindi-Punjabi number that has an eclectic mix of singers in the form of Badshah, Harrdy Sandhu, Lisa Mishra and Asees Kaur, this one has Tanishk and Badshah coming together for the lyrics department as well. A dance number with a mega celebratory feel to it, ‘Chandigarh Mein’ has a really catchy hook to it which doesn’t take time to get on you, so much so that you find yourself humming this one soon enough.

Next to arrive is ‘Sauda Khara Khara’ which has stayed on to be a major chartbuster for many years now. Originally rendered by Sukhbir, this one has Diljit Dosanjh taking over the center-stage this time around, and the actor-singer does a really good job all over again. With Kumaar stepping as the lyricist, this one has Lijo George-Dj Chetas as the composers while Dhvani Bhanushali is also the newest entrant behind the mike. A Punjabi dance number, it is now bound to have an even longer shelf life due to the presence of Diljit and Akshay in the video.

The manner in which ‘Maana Dil’ begins, it reminds one of ‘Fakira’. However, the similarity is just for a few seconds as soon enough B Praak makes a solid impression once again with his characteristic voice even as Tanishk Bagchi spins together a soulful tune for this beautifully written sad number by Rashmi Virag. While the ‘mukhda’ makes a good impression, it’s the manner in which the ‘antara’ portions are put together that take the song, which has Farhad Bhiwandiwala as the additional singer, take it to the next level. Hear this one for sure.

It is back to celebrations with RDB’s ‘Laal Ghaghra’ brought to fore once again by Tanishk Bagchi, Manj Musik and Herbie Sahara. A fast paced dance number that sets one feet tapping from the word go, this one is written by Tanishk Bagchi & Herbie Sahara and sung with aplomb by Manj Musik, Herbie Sahara & Neha Kakkar. The song’s placement in the film is also apt as it adds on to the fun feel that director Raj Mehta has adopted for the first half of the narrative. With each of the four songs making a really impression, it is indeed ‘good news’ so far.

A song with a core Western touch to it, ‘Dil Na Jaaneya’ arrives next. Composed by Rochak Kohli and Lauv who also sing this one with Akasa leading the show, this one is a kind of song that one associates with an urban romcom entertainer by Karan Johar. A soft number which is soothing to the ear, it has a mix of Hindi and English lyrics, courtesy Gurpreet Saini, Ari Leff and Michael Pollack. Though one waits to see if the song gains as much as popularity as rest of the massy soundtrack, this one would go down as a classy outing which is also heard in an unplugged version with Arijit Singh leading the show.

Dance and celebrations continue with ‘Zumba’ which is based on Punjabi folk music that is commonly heard in weddings up north. Tanishk Bagchi does well to bring on core Punjabi flavor in this dance number that has a mix of contemporary and traditional lyrics by Vayu with Romy taking center-stage as the singer. This is a song that keeps the narrative of the film exciting. Last to arrive is the peppy theme music of the film, ‘Good Newwz Theme’, which is just an apt finale for the soundtrack. KSHMR and Tanishk Bagchi are the creators for this fun track.

OVERALL

The music of Good Newwz is quite good and has already helped the film find ample attention coming its way. With the film doing quite well in theaters already and the music gaining further thumbs-up from the audiences, expect the songs to play on for many more months to come.

OUR PICK(S)

Chandigarh Mein, Sauda Khara Khara, Laal Ghaghra, Maana Dil

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Music Review: Dabangg 3

EXPECTATIONS

There are good expectations from the music of Dabangg 3. After all, the music of both Dabangg and Dabangg 2 had done quite well, and composer duo Sajid-Wajid is expected to score a hat-trick with this one. Danish Sabri is the prime lyricist with others pitching in as well.

MUSIC

The album kick-starts with the title song ‘Hud Hud’ which has seen a variation of sorts this time around with Jalees Sherwani coming together with Danish Sabri as the lyricist. Somehow, the punch is missing in this re-dux version. Though the song is in the same zone as the earlier version, something which makes the ‘mukhda’ interesting, the ‘antara’ portions don’t quite work. Moreover, rendition by Shabab Sabri, Divya Kumar and Sajid doesn’t carry much energy either which results in ‘Hud Hud’ turning out to be rather ordinary.

As is the tradition with Dabangg franchise, there is yet another ‘naina’ song coming in the form of ‘Naina Lade’. The song belongs to the kind which was popular around a decade back when Salman Khan had many such chartbusters to his name. Perhaps the makers wanted to retain a similar sound in order to stick to the ethos of Dabangg franchise. However, what one ends up listening to is a rehashed version of sorts that has been written by Danish Sabri and rendered by Javed Ali.

There is some excitement that steps into the proceedings with Danish Sabri written ‘Yu Karke’ that has naughty undertones to it. In the same zone as ‘Saree Ke Fall Sa’ from Prabhu Dheva’s own R… Rajkumar, this one caters to the gentry and is an out and out massy number. Surprisingly, even though Salman Khan has sung this track which boasts of some eye catchy choreography and picturisation as well, the song hasn’t been promoted to the fullest. Payal Dev accompanies Salman Khan behind the mike and has her share of fun as well.

Badshah joins Danish Sabri as the co-lyricist for ‘Munna Badnaam Hua’ and in fact also opens the number with his rap portion. Considering the kind of set up that Dabangg has, it seems a bit odd to have Salman Khan lip synching to a rap outing here. One of his favorite singer Kamaal Khan takes the lead along with Mamta Sharma for this fun-n-celebration track that is doesn’t really turn out to be another ‘Munni’ [Dabangg] or ‘Fevicol’ [Dabangg 2]. Still, it is a better recreated version when compared to ‘Hud Hud’.

Veteran lyricist Sameer Anjaan along with Sajid write ‘Awara’ that doesn’t really impress even after a couple of listening. Newcomer Muskaan renders this song and one can’t really say that she ends up making an instant impression. Moreover, the tune is way too old fashioned here; so much so that another newcomer singer Salman Ali isn’t able to salvage the song much.

Last to arrive is ‘Habibi Ke Nain’ which has Jubin Nautiyal taking charge with Shreya Ghoshal soon after. A love song which is on the same lines as ‘Awara’ or ‘Naina Lade’, it scores in maintaining consistency but in the process also ends up becoming yet another romantic track that doesn’t really have in it to cover much of a distance. Irfan Kamal’s lyrics try to be all poetic and soulful but somehow the impact is missing, just as is the case with majority of soundtrack.

OVERALL

While relatively speaking the music of Dabangg 3 is not a patch on Dabangg or Dabangg 2, even on an absolute scale it doesn’t have much in there to go a long way in time to come.

OUR PICK(S)

Munna Badnaam Hua’, ‘Yu Karke’

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Music Review: Dream Girl

EXPECTATIONS

Though Ayushmann Khurranna’s upcoming release is titled Dream Girl, one doesn’t expect a romantic soundtrack here. Reason being that even with Nushrath Bharucha as the leading lady, this Ekta Kapoor and Raaj Shandilyaa film isn’t really a love story and instead a comedy about a man who mimics the voice of a woman. Hence, one expects a situational fun score by composers Meet Bros who are joined by lyricist Kumaar.

MUSIC

This is what one gets right at the onset too as Amit Gupta croons ‘Radhe Radhe’ which turns out be a fun song about Radha-Krishna love story. Ayushmann Khurranna gets into a full-on fun mood with this song which is also his biggest when it comes to the stage, setting and the canvas. In fact the manner in which this song is composed and orchestrated, it also reminds one of the kind of music that Sajid-Wajid created at the turn of the millennium. A good foot tapping number that also sees a good remix version, courtesy DJ Harshit Shah.

There is more fun in store with Jonita Gandhi and Nakash Aziz letting their hair down and coming together for ‘Dil Ka Telephone’. Yet again, there is ‘masti’ and ‘mazaa’ galore in this song that has a 50s style retro feel to it. A song where Ayushmann Khurrana gets into phone conversations with his various suitors, this one is a fun outing with a good hook to it that catches up with you instantly. In fact it would really add on to the film if portions of the song, which also has a remix version by DJ Himani Singh, appear at various junctures of the narrative.

It is a hat-trick of fun songs with Mika Singh and Jyotica Tangri coming together for the legendary Marathi song ‘Dhagala Lagali’. A foot tapping song that has no dull moment whatsoever, this one is instantly catchy and would immediately find attention in the Maharashtra belt. A lively song with good music arrangements going for it, ‘Dhagala Lagali’ could well find itself on the list of DJ’s favourites also in quick time.

The mood changes though with a sufi outing ‘Ik Mulaqaat’. On the same lines as ‘Dekhte Dekhte’ [Phata Poster Nikhla Hero], this one has Altamash Faridi taking the lead and singing in a style similar to that of Nusrat Fateh Ali Khan. With guest lyricist Shabbir Ahmed pitching in, this romantic number has Palak Muchhal pairing up with Altamash. Meet Bros aim to give this one a contemporary touch by fusing it with rock elements as well. Though one doesn’t expect this one to be covering a very long distance, as a part of the film it should fit in well.

The soundtrack of Dream Girl concludes with a mandatory Punjabi ‘desi’ number ‘Gat Gat’ which has Jass Zaildar and Khushboo Grewal coming together. Yet again, there is good foot tapping appeal that the song carries, hence ensuring that the celebratory mood continues. In fact this is one of those songs that could well have been unveiled a little earlier as well since it has in it to become popular in time to come if promoted aggressively.

OVERALL

Dream Girl boasts of a good soundtrack with Meet Bros and Kumaar doing well to create songs that work for the narrative and also have it in them to enjoy a longer run as well beyond the release of the film. Hear it for some entertaining times.

OUR PICK(S)

‘Dhagala Lagali’, ‘Dil Ka Telephone’, ‘Radhe Radhe’

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Music Review: Pal Pal Dil Ke Paas

EXPECTATIONS

A launch-pad is always special, especially so when it is that of a star son. Moreover, when the debut affair is a love story then you do expect soulful music as well. This is what makes one look forward to what does Sunny Deol has in store for the launch of his son Karan Deol along with newcomer Sahher Bambba. The good thing is that he brings on board hottest sensations Sachet-Parampara to put together the soundtrack with Siddharth-Garima doing the honours as the lyricists. Rishi Rich produces the music and his touch is quite visible in there.

MUSIC

Newcomer Hansraj Raghuwanshi, who is known for his devotional songs, makes his Bollywood foray with ‘Aadha Bhi Zyaada’. A number about living life to the fullest, this one is a peppy outing and in fact reminds one of ‘Sochna Kya Jo Bhi Hoga Dekha Jaayega’ from Sunny Deol’s Ghayal. That song was rendered by Bappi Lahiri and incidentally Hansraj’s voice pretty much sounds similar to that of the veteran composer-singer. Meanwhile, Karan Deol too makes an intermittent appearance as a rapper in this song which does carry the sound of ‘Jai Bhole’.

The song that is set to become an anthem in time to come though is the title track ‘Pal Pal Dil Ke Paas’. An excellent number that is very high on melody and showcases the best side of composers Sachet-Parampara, it has poetic lyrics by Sidharth-Garima that makes a very strong impression. Meanwhile, the song is made special due to the voice of Arijit Singh who is superb all over again and also Parampara Thakur who shows once again that other than being an efficient composer, she is also a very good singer.

No wonder, the song deserves to be heard in a repeat mode and that is evident in the kind of confidence that the makers have as well, what with ‘Pal Pal Dil Ke Pass’ arriving in as many as three more versions. Whether it is the second version, the ‘celebration’ version or the one which goes by the title ‘Suun le Rabb’, the song is beautiful every time it is heard and one just can’t let the melody go off from one’s mind and heart.

Composer Tanishk Bagchi makes a special appearance with a solitary number, ‘Ho Jaa Awara’. He too demonstrates once again that there is a lot more to him than the recreated versions that he is largely known for, what with this one turning out to be yet another beautiful number in Pal Pal Dil Ke Paas. Monali Thakur is the one who kick-starts the proceedings for the song and somewhere also reminds one of the kind of pitch that Hema Sardesai used to take in her songs back in the 90s. Ash King is her accompanying partner in this peppy-n-sweet outing.

It is back to Sachet and Parampara and this time around other than being the composers, they are also the singers for three songs in a row. First to arrive is ‘Ishaq Chaliya’ which has a good hook to it and makes one tap feet instantly. A Punjabi-Hindi number, this one has a good pace as well and lends a happy sound to the overall outing. A difficult song to sing, especially the manner in which Sachet brings on the hook words, this one takes a bit of time to grow on you but eventually you get a good hang of it.

This is followed by ‘Dil Uda Patanga’ which has Parampara Thakur taking the lead and Sachet Tandon joining her soon enough. A song which has a teenage feel to it with an Indi-pop flavour, there is certain innocence to it that should work with the teenagers if the film manages to strike a chord with the audiences. Play this one loop and you won’t be disappointed at all.

Third song that arrives in the voice of Sachet and Parampara is ‘Maa Ka Mann’ and this one is a devotional piece with a difference. While the sound of ‘Satnam Shri Waheguru’ keeps playing in your mind during the track’s duration, you like the manner in which there is a soulful feel being carried. This one should make for a good situational piece in the film’s narrative.

OVERALL

The music of Pal Pal Dil Ke Pass was expected to be good but the soundtrack actually goes on to exceed expectations. Sahcet-Parampara, Sidharth-Garima and Richie Rich do quite well in their biggest album till date where they are entrusted to put together music for the two newcomers. There is certain consistency in the film’s music and that is always on the cards as well when there is a single team put together in charge instead of multiple composers, lyricists and singers. This one is a winner.

OUR PICK(S)

‘Pal Pal Dil Ke Paas’, ‘Ishaq Chaliya’, ‘Ho Jaa Awara’

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Music Review: Chhichhore

EXPECTATIONS

One isn’t really sure of what to expect from the music of Chhichhore. Considering the fact that it is set as a campus entertainer, one expects situational music at best from this soundtrack that has been put together by Pritam and Amitabh Bhattacharya. That said, since the film is produced by Sajid Nadiadwala who has a keen ear for music, one expects some melodies too.

Music Review Chhichhore

MUSIC

The soundtrack kick-starts with the sound of ‘Woh Din’ and it is just the right kind of number that one expects at the beginning of a film with a campus setting. Had it been a romantic beginning, one may have felt a tad disappointed. Thankfully what one hears here is a beautiful rendition by Tushar Joshi who sings this heartfelt number with simple lyrics and beautiful melody. You are actually transported into the stage and setting of a college and later when the Arijit Singh version arrives, you lap up the song all the more. This one has a long shelf life.

Surprisingly though, the song that follows just doesn’t entertainer. Though set as a kind of number that could well have been an outcome of a jam session in the studio, ‘Control’ tries to be all funny and entertainer but falls flat. There is a horde of singers in the form of Nakash Aziz, Manish J. Tipu, Geet Sagar, Sreerama Chandra and Amitabh Bhattacharya but the overall outcome fails to make any kind of impact despite repeated hearing. It may just manage to make some kind of an impact if picturised interestingly.

Thankfully, the experiment of getting multiple singers together in yet another campus track, ‘Fikar Not’, works quite well. Reminding one of the kind of mood that Pritam had created for ‘Galti Se Mistake’ [Jagga Jasoos], this one by Nakash Aziz, Amit Mishra, Dev Negi, Amitabh Bhattacharya, Sreerama Chandra and Antara Mitra is a fun track all the way. In fact it also carries a good message of thinking only about the current times rather than wasting one’s time and energy in worrying about what future has in hold. This one could work well in a long run.

A happy-sad song comes next in the form of ‘Kal Ki Hi Baat Hai’ and it is after a while that one hears K.K. in a Pritam composition. A situational number about recollecting the good times gone by, it comes across as a track that would play on as a montage sequence. One just hopes that since this one has a slow pace composition wise, it doesn’t slow down the film’s narrative when it plays on screen.

The song that is set to grow quite well in time to come though is ‘Khairiyat’, which is also the best of the soundtrack. This one appears in a couple of versions, one happy and one sad by Arijit Singh. A song which is about a lover wondering if the one whom he believes to be his life no less even thinks about him while being far away, ‘Khairiyat’ boasts of a beautiful melody and deserves to be played in loop. Though it has been released recently, one just wonders about the kind of distance it would have already covered had it arrived a couple of weeks back.

OVERALL

The music of Chhichhore is the kind that grows on you and has the potential to make an even better impression when heard and experienced in the context of the film. This one has a classy feel to it.

OUR PICK(S)

‘Khairiyat’, ‘Fikar Not’, ‘Woh Din’

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Music Review: Khandaani Shafakhana

EXPECTATIONS

Considering that Khandaani Shafakhana is a Bollywood film, it has half a dozen songs in there. Otherwise a film with a subject revolving around ‘let’s talk about sex’ hardly has the kind of premise which would warrant a music album. Nonetheless, this is indeed the case with this Sonakshi Sinha, Badshah and Varun Sharma film and one waits to hear what is in the offering.

MUSIC

As is the trend, a couple of recreated numbers – both courtesy composer and lyricist Tanishk Bagchi – open the soundtrack. First to arrive is Jasbir Jassi’s ‘Koka’ which is a good party number that has an immense foot tapping appeal to it. With Badshah and Dhvani Bhanushali joining the fun and Mellow D chipping in with additional lyrics, ‘Koka’ has been a chartbuster over a period of time and would only consolidate its hit status in months to come as well.

Next to arrive is ‘Sheher Ki Ladki’ which was a rage back in time when seen in the film Rakshak. The song is recreated with Badshah and Tulsi Kumar, and the overall results are quite good all over again. The core hook of the song is what makes you revisit this one all over again, and there is someting intoxicating about ‘Sheher Ki Ladki’ that it sounds as fresh as ever.

After a couple of dance songs arrives a romantic track which is put to tune by Payal Dev and written by Shabbir Ahmed. Titled ‘Dil Jaaniye’, this one rendered by Jubin Nautiyal and Tulsi Kumar is a pleasant hear and stays well with you for its near five minute duration. With a bit of Punjabi in there, this one is fine while it lasts though, its heard-before feel means you don’t quite carry it with you after you are through listening to it.

It’s back to party time with Badshah playing a triple role of composer, lyricist and singer for ‘Saans To Le Le’. As is the case with Badshah tracks, there is an inherent hook sound here as well and that’s what sticks in your mind after you have heard it a couple of times. Though overall the song, which also has Rico chipping in as a singer, doesn’t really give the impression of a major chartbuster in the first go, one waits to see how it is picturised. That could well make a difference to the overall popularity that it ends up gaining eventually.

The song which arrives next actually turns out to be a soothing outing that makes one feel that it could well have appeared a bit earlier in the soundtrack. The manner in which Tochi Raina sings ‘Udd Jaa’ is indeed quite impressive and the overall effort by composer Rochak Kohli and lyricist Kumaar is also something that you do notice. Yet again, this one isn’t the kind that turns out to be an instant chartbuster. However, there is something soulful and serene about this situational number that you wouldn’t mind playing it in loop and listening to it for long.

Rochak Kohli concludes the album with Altamash Faridi sung ‘Bheege Mann’ and this time around the end result is just about ordinary. A slow moving situational track written by Gautam G Sharma and Gurpreet Saini, it actually brings down the pace of the soundtrack. Had there been one of the three party numbers placed as the last song in Khandaani Shafakhana, it may just have made for a better end result.

OVERALL

The music of Khandaani Shafakhana turns out to be better than expected. One expected that most of the songs in there would be situational but this one actually turns out to be a good collage of songs with dance numbers, situational songs and a romantic number thrown in as well.

OUR PICK(S)

‘Koka’, ‘Sheher Ki Ladki’, ‘Saans To Le Le’, ‘Udd Jaa’

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Music Review: Arjun Patiala

EXPECTATIONS

There are good expectations from the music of Arjun Patiala. After all, films coming from the house of Dinesh Vijan always result a chartbuster score, case in point being Luka Chuppi, Stree, Raabta and Hindi Medium to name a few. Moreover, Arjun Patiala has the kind of subject that promises peppy score and then there is Diljit Dosanjh as the main lead along with Kriti Sanon who further add on to the fun element. Sachin-Jigar are roped in as the composers for Arjun Patiala and this time around Dinesh Vijan decides to go for an out and out original soundtrack.

MUSIC

It is a Guru Randhawa show all the way as he sings, writes and co-composes ‘Main Deewana Tera’ with Sachin-Jigar. The song reminds one of the kind of sound and rhythm associated with ‘Badtameez Dil’ [Ye Jawaani Hai Deewani] and the good part is that it works quite well too. Credit it to the sound of trumpet which brings in the similarity but the fact remains that everyone attached to the song, including singer Nikhita Gandhi, truly have a blast with this fun-n-peppy party number which has all in it to set the dance floor on fire while it is played on.

The song which arrives next, ‘Crazy Habibi vs Decent Munda’, is a major chartbuster in the making as well and rest assured it would find some good audience for itself in the long run. Yet another Guru Randhawa sung and written number, this one has Benny Dayal chipping in with Arabic vocals and lyrics. With a good rhythm to it that makes the song instantly catchy, this one has Sunny Leone pairing up with Diljit Dosanjh and Varun Dhawan for an ‘item song’ outing. Moreover, it is remarkable to see how Guru Randhawa’s voice suits Diljit Dosanjh so very well.

Soon enough, Diljit Dosanjh comes up with a song of his own as he croons ‘Dil Todeya’. Yet again, Guru Randhawa writes and co-composes this one with Sachin-Jigar and the team ensures that the soft romantic number does manage to find a place of its own in the proceedings. Yes, it is a bit difficult to adjust to the sudden change in mood as one is coming fresh from a couple of outright dance numbers. Still, one waits to see how does ‘Dil Todeya’ grow in time to come and manage to find an audience.

Sachet Tandon, who has been creating a good impression of late with ‘Bekhayali’ [Kabir Singh] and ‘Khwabfaroshi’ [Jabariya Jodi], gets into a different mood altogether with ‘Sachiya Mohabbatan’. This time around he gets into a Punjabi melody zone instead of soft rock mode that he typically explores, and the results are actually good. A beautifully composed number by Sachin-Jigar which has simple yet effective lyrics by Priya Saraiya, ‘Sachiya Mohabbatan’ is the kind of number that would be picked by those who loved ‘Duniya’ [Luka Chuppi].

It is back to fun, party and celebrations with ‘Sip Sip’ and this time around Sachin-Jigar make way for Akash D who writes and composes ‘Sip Sip’ that has Guru Bhullar coming behind the mike. Yet again, it is the hook of the song that manages to make an instant connect and it doesn’t take much time before you find yourself grooving on it at the dance floor. The intermittent rap portion is also quite good and one just wonders why the song wasn’t released much in advance itself. This has in it to emerge as a good chartbuster in time to come.

OVERALL

The music of Arjun Patiala is even better than what one expected out of it. While the three dance numbers are all potential chartbusters in the offering, a couple of love songs do make their presence felt as well. Considering that this soundtrack is made of original numbers instead of recreated versions, it may take some time for popularity to come but it will come eventually.

OUR PICK(S)

‘Main Deewana Tera’, ‘Crazy Habibi’, ‘Sachiya Mohabbatan’, ‘Sip Sip’

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Music Review: Jabariya Jodi

EXPECTATIONS

There are good expectations from the music of Jabariya Jodi. Films with Sidharth Malhotra in the lead have traditionally seen at least one major chartbuster and with ‘Khadke Glassy’ out, you look forward to what more do producer Ekta Kapoor and her team have in store for the actor. Moreover, there are as many as eight songs in the album with different set of composers, lyricists and singers team up for that.

MUSIC

It is a winning start for Jabariya Jodi as Ashok Mastie’s yesteryear chartbuster ‘Khadke Glassy’ is heard all over again in this Tanishk Bagchi recreation. With Yo Yo Honey Singh teaming up for this one along with Jyotiga Tangri, ‘Khadki Glassy’ turns out to be a foot tapping outing all over again. Tanishk Bagchi also steps in for additional lyrics along with Channi Rakhala and what you end up listening to it as a three minute musical piece that is set to add on to Sidharth Malhotra’s repertoire of Punjabi chartbusters after ‘Kaala Chashma’ [Baar Baar Dekho].

Later in the soundtrack, the song also arrives in a ‘Glassy 2.0’ version which has Jyotica Tangri leading from the front. This version has Ramji Gulati stepping in as a composer with Kumaar writing some new lyrics altogether. That said, the core hook and rhythm remains just the same and what you end up hearing is a good version which brings in an altogether new flavour.

Bhojpuri chartbuster ‘Zilla Hilela’ is heard in Jabariya Jodi and it has the regional flavour intact. It makes sense as well since the film is set in that belt where such music is quite popular. Tanishk Bagchi is the man for the job and he steps in as a composer as well as co-lyricist with Shabbir Ahmed to deliver another catchy outing. An ensemble of singers come together in the form of Raja Hasan, Dev Negi, Pravesh Mallick and Monali Thakur to deliver a song that may just makes its way into celebratory occasions up North.

After two back to back dance numbers arrives a soothing love song in the form of ‘Dhoonde Akhiyaan’. This time around Tanishk Bagchi comes up with an original number and does well to present to audience a song with a sufi touch to it. Yasser Desai and Altamash Faridi pair up for this Rashmi Virag number which has a smooth flow to it, though one wonders if a female voice in the song would have made it sound further complete.

Sachet Tandon recently gave a massive chartbuster ‘Bekhayali’ [Kabir Singh] and he along with co-composer Parampara Thakur pair up as singers too for ‘Khwabfaroshi’. While it is good to hear a new word altogether for a Bollywood song, courtesy lyricists Siddharth-Garima, overall too the song impresses quite well. You can sense Sachet-Parampara touch in this soft rock outing which can well turn out to be the one that enjoys a long run. The more you listen to this song, the more it hooks you on. This one is a potential chartbuster too.

In a soundtrack like this, it was surprising not to hear Arijeet Singh’s voice all this while. Well, the wait is over as composer Vishal Mishra and lyricist Raj Shekhar come together to set the stage for Arijit Singh’s ‘Ki Honda Pyaar’. Now this is a kind of number that could well have fitted into the milieu of Kabir Singh due to its romantic appeal. The song takes a little while before you catch its sound but after a while you are happy to play this one on loop. Later the song is repeated where Neha Kakkar leads the show with Vishal Mishra and you enjoy it again.

Last to arrive is ‘Macchardani’ and its beginning is the kind that briefly reminds one of ‘Sweetheart’ [Kedarnath]. However, the similarity just ends during the ‘mukhda’ piece as the song comes on its own with composer Vishal Mishra and lyricist Raj Shekhar take it forward. Brindani Mishra chips in with folk lyrics for this Vishal Mishra and Jyotica Tangri rendered number which is just about decent and should make for a situational outing at best.

OVERALL

The music of Jabariya Jodi delivers well as other than instant chartbusters like ‘Khadke Glassy’ and ‘Zilla Hilela’, there are love songs like ‘Khwabfaroshi’ and ‘Ki Honda Pyaar’ as well which promise to play on for long in time to come.

OUR PICK(S)

‘Khadke Glassy’, ‘Zilla Hilela’, ‘Khwabfaroshi’, ‘Ki Honda Pyaar’

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