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Bombay Talkies – Music review…Almost!

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Sukhwinder starts Give it up for bachchan! in a storytelling fashion reminding you of once in vogue the ‘natak-nautanki’ style of singing songs wherein singers used to talk/converse and then sing and repeat this midway into the song. Amit trivedi hits you then with neat arrangement almost immediately with liberal ‘BigB hain!’ and the neat neat neat beats take over and staying pretty much constant throughout. Better than the song, the inclusion of epic dialogues in the song is what makes the song different and bearable.(Lyrics – Amitabh Bhattacharya)

Akkad bakkad  – starts in a failry shubharamb-sque fashion and Mohit Chauhan teams up with Amit trivedi to bring this song. Creating an atmosphere of a play that is being presented musically, the lyrics try very hard to cover everything resulting in ‘too much effort’ sort of impression. The song mind you is not heavy but somehow doesn’t click. Nothing wrong with music arrangement. (Lyrics – Swanand kirkire)

MurabbaKavita seth soothes us with her return in this song wherein Amit Trivedi tries very hard to appear and impress us with his super velvet voice (and yodels mildly as well). The song is O.K. (after bachchan tribute song) when compared to the other songs of the album but that isn’t saying much. (Lyrics – Amitabh Bhattacharya)

Bombay TalkiesKailash kher starts the song that will make you presume that the music is by Kailasa. Shades of ‘tujhe goli maroonga’ line from LSD make it even more ‘familiar’ on the ears. Totally expected. Richa Sharma is a welcome part of the song and it’s good to have her back! The words again are very simple and again a very ‘stage play presentation’ make the song very unusual overall. (Lyrics – Swanand kirkire)

Murabba (Javed bashir) – The song stands out for the neat music arrangement and some real fast singing by Javed. Hint of brass bands as well (the slow sort) and a hurried male vocal back ups towards the end left me confused. Strictly O.K. (Lyrics – Amitabh Bhattacharya)

Bombay Talkies (2) – The good part – Udit narayan and Kavita come are a part of the song! The better part – excellent cross reference of some popular tunes. The sad part – The song ends too soon! Would have loved to hear more, much more of this one! (Reminded me of – Rab ne bana di jodi’s – fir milengey chaltey chaltey song especially when the ‘change words on familiar tune’ game was being played by the backup singers). (Lyrics – Swanand kirkire)

Overall a below average music album by all means. I would have survived well without listening to this album actually. The only song that stands out is – Give it up for bachchan!

I guess the problem is with the packaging of the overall product. An O.S.T. must compliment the feel of the overall film. While it’s nice (and a little too evident) that the film is ‘celebrating’ 100 years of cinema, the packaging and presentation was too ‘elite’ to have come out with such a below average music album. Amit trivedi has maintained the excellent choice of music instruments and the music has a very ‘neat’ feel. That’s it.

Wondering how many lost technicians are getting their dues by the self appointed representatives of ‘Indian cinema’

(If you feel there are some details missing, that’s because I am way too tired from the music of this album…that’s why, Almostareview!)

If you still want to brave the music, You can listen to it here. Special thanks to Bollywoodhungama.com for saving my money. A firm believer in buying music from legal sources, I would have had to chase the makers for a refund!

Luv Shuv Tey Chicken Khurana – Music review

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A Chimta coupled with slow beats and a naughty punjabi flute..all this along with an excellent group of back up vocals (the ‘hac! hac!’…marvellous!) arrest you when Kikli Kaler di starts. Naughty without being loud the song instantly profiles a casanova who has too many ‘balls in the air’. Pinky Maidasani Yo Yo Honey Singh & Amit trivedi give us a rib tickling kick a$$ track which is Punjabi in a very un-bollywood style! Liked liked super liked!

Mouth organ starts off Motorwada and before you think it has a very ‘country moojic’ sort of ‘pheel’, the lyrics will make you sit up and take notice. Dekh jaaat ke thaaat sort of music! Tochi and Amit Trivedi are clearly enjoying their life out (wearing lot of gold and black goggles and nodding to each other, clearly). Repeat rap by Amit Trivedi is so bloody pleasing to ears..Did I mention ‘naughty’ lyrics? Another super like to this album.

Luv shuv tey chicken khurana – Oh Punjab! Very Punjab-isque start to the song (Hear it out to know what I mean) Harshdeep starts the song with a lot of love and sweetness which is quite reminiscent of Punjab’s warmth. Then Shahid Mallaya joins in and (sounding very much like ‘choudhary’ from cokestudio Amit trivedi’s episode)and the sweetness gets multiplied by 1000! The song has, what we call a very rural (read pure) sense of naughtiness. ‘Nok-jhok’ in punjabi has never been better described musically in any hindi film. Super super liked!

Luni Hasi – Dual track Harshdeep kaur with Mandolin like sound, complimented with electric guitars and claps start this track. The mood of the album changes with this track. The instruments are all contemporary and the setting is very nightclub like. There are hindi lyrics in the antra which would relieve a lot of people who have issues with ‘Punjabi’ being used excessively in the album. Towards the end the song has a brief traditional interlude, with algoza and a very bold Harshdeep kaur alaap. Didn’t like the song very much.

Makkhan Malai – Probably the most ‘by the template’ punjabi song of the album. Excellent lyrics and peppy chorus heighten the mood of the song to some extent. Very cute. I feel it is one of those songs that would be fun to look at on the screen but won’t find place in your playlist for long. Oh yes and a hit in weddings! (Punjabi or otherwise!)

Farukha Baadi – Starts with a variation of the traditional Bari barsee and a lot of kyooooot punjabi girls giving out the warnings in swit punjabbbi to the guys! The guys are somewhat saved by Labh Janjua and Amit Trivedi who defend themselves melodiously. Again it’s the treatment of the song which is unusual. Special mention of the lyrics. Shellee is bang on! Mothers and sisters and jai jai…hear it, you will know what I mean. Not going head over heels about the song, still love it, and that amazing Algoza and ek taara use with good bass reflex! Magical!

Theme music – Again and unlike ‘Punjabi’ theme. Rabab is used exquisitely by Amit trivedi (with a beautiful ek tara in the background, continuously). This musical piece paints a ‘by the fields of prosperity and good people’ feel. Not loud. Very soothing. Superb!

Luni Hasi (Male Version) – Devender singh (Cokestudio tey Indian Idol wala Munda…haan wohi!) is in charge of giving us the male version of this song. This version sounds fresh and you can’t help but feel that Devender was nervous singing this song. Its cute actually. Would have liked a bit more ‘Masti’ in his voice. May be I am trying to fit the song with whatever ‘Bollywood’ has filled us in the name of all things Punjabi so far.

KikliKalerdi (Punjabi version) – Clearly dominated by Pinky Maidasani from the word go, this punjabi version gets us up close with Amit trivedi’s Punjabi Avatar. Insane Fun! Just hear the way Pinky lets go of the words like ‘Parwaaaah’ and ‘kyaaa’. Sala damn good! Rap is dissssaant (and not Yo yo honey singh ishtyle). The flute plays with a rapping Amit trivedi in between and that just adds to the flavor. By God ki kasam, this shall not leave the playlist for a long time. Kasam By God di! Who else heard the word ‘Womaniya’ being used in the song? Dassso chalo!

Special special mention for shelle, the lyricist. Punjab has never smelled so good in totality. Words like honey and usage like hot aloo parathas with lassi!

I am totally tired of praising this Amit trivedi I tell you. Aye ki gal hai? If the variations are anything to go by, Amit trivedi is going to fill in the void that was created with digital music orgasming over processed vocals since sometime. Give him Ishaqzaade, Ek Main aur Ekk tu, English Vinglish, Aiyya or Luv Shuv Tey Chicken Khurana…this man doesn’t stop!

An excellent and a must have album for those who like the ‘pind di khushboo’. Not loud doesn’t mean not melodious/foot tapping and Amit trivedi shows us just that with so much ease that it’s not even surprising now! There was a time when music directors used to have their wishlist of film makers they wanted to work with…Amit trivedi won’t need to make such a list because very soon (if not already) will be in the list of all film makers, deservingly so!

More power and some chikkkkan to this boy whizard!

4.00/5.00

Gangs of Wasseypur 2 – Music review

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1. Chicha ledar – The song starts with that familiar sound that all the people who lived near a cotton extracting/beating shop would easily identify. (Those huge sitar-like eqipuments) and then with appropriate ‘building up’ the song launches into a constant beat arrangement and in comes Durga!. Backed by extremely good lyrics the song grabs you and runs and runs! Special mention of the amazing use of words like ‘cheecha ledar, sarau, word play (whether i like the weather)’! The constant ‘joota joota joota’ gives the song a ‘remixed’ feel and then the ‘dub step’ comes in! Maha-amaJing! My grouse with the song is that it is JUST 4 minutes. Clearly a GAJJJJAB start to the album! (Varun insists that the usage of ‘sarau’ is a tribute to Lucknow, I must add).

Special mention of Durga (the 12 year singer), listen carefully how she says ‘dil’ in the song. Everytime! That’s called hugging the lyrics and not just singing it! Kudos!

2. Kaala reSneha khanwalkar. at. her. best. If the ‘keh ke loonga’ made us all hear Sneha launch into her ‘catty’ avatar. This one explores the playful undertones (with a very dark and haunting cello/bass arrangement). Saiyyan kartey ji coal-bazari. A song that’s helped a great deal by excellent lyrics. (Kaala bilkul surmey wala). All shades of black, explored. very. well. Perhaps some parallel will be drawn with the sound of A.R. Rahman.

3. Electric piyaRasika D Rani starts of (and must say the pronunciation of ‘elektric’ is very very ‘chic’!’) Then a very bhojpuri (Trinidad Tobago also?) music setting takes over (aided by ‘casio’like sound, harmonium, dholak and manjeeras). Dholak and Harmonium are quite prominent in addition to the vocals. A very naughty (in a very un-womaniya way) song. This is more like leg pulling of your ‘piya’. The words are pronounced in a flow and might not be able to get into the mind immediately. Repeat the song and you will find yourself smiling.

4.  Bahut Khoob – I am VERY interested to see the way this is going to be filmed. Very theatrical in the way it uses the voice of the kids (And at times Sneha in between). Hear it to make an opinion on the song. Mix and scratch and mix and scratch again and again!

5. Taar bijli – Harmonium with a lot of female backup singers (and some ‘chammach’ on dholak) leaves us with Padamshree Sharda sinha to weave magic. The setting is very playful. Lyrics full of gentle banter directed towards her in-laws by the bride. ‘Na idhar na udhar hi sihaare piya’…! excellent lyrics. The song is NOT another ‘womaniya’. While Womaniya was more ‘intimate, naughty and personal’, this one puts out the banter in open and poses some questions to the entire family about the bridegroom. The song is actually a satire on the worsening condition of Bihar in 80s and 90s. Perhaps the most conventional song of the pack. Sweet and melodious.

6. Aabroo – Starts with bulbul tarang and dholak. The setting is very ‘gali mohalla’ style. Piyush mishra gets into action (and you can picture him sitting on a ‘chowk’ surrounded by people) A little different from his normal style, Piyush mishra emotes ‘ekdam ghus key’. Bhupesh singh very smartly contests Piyush mishra (not teams up, contests). An election campaign song, It’s the ‘compteesan’ that has been got music as a background. Kudos to Piyush Mishra! Hilarious to the core. A genre that has resurfaced after a long time!

7.Perpendicular theme – Using a mix of brass band and other sounds, this less than a 2 minute track ends too soon (May be weird just for me, because I am used to the ‘themes’ being longer). A kid’s playful voice a shehnai (may be) and drums at times. Also, the brass band plays a tune in between. I have heard it somewhere and can’t put a finger to it. Who can remember it? I liked the song but disliked the fact it’s too short. The theme is paced so well that you would want to listen to it for a longer duration but then, it ends!

8. Moora – Guitar and mandolin together and you know the song will make you smile. Sneha khanwalkar gives a whispering start to the song. Chiefly using Mandolin and Guitar (just ‘by the side’ arrangement), the beauty of the song is that the vocals are also understated. Would have liked a little more ‘energy’ in the vocals. The lyrics anyway talk of hope so found this version a little dim. The interesting part of this version is a faint ‘male’ voice. It’s the voice of Robbie styles from trinidad) who played cuatro and mandolin in the song. Best part – he doesn’t know hindi.

9. TunyaBulbultarang’s excellent use with the members of ‘Baal party’ (and if you hear attentively I guess there is a bit of Sneha in the background too). This is just 1:22 minutes track and boy is it sticky or what? As I continue to complain about the duration of this track I can’t help but feel this will make a great ringtone too!

10. Bahut Khoob (8 Bit dubstep) – Excellent use of the 8 bit dubstep arrangement has made this piece (which is still less than 3 minutes!) breezy and intriguing at the same time. From 1:50 minutes, Sneha uses Super mario music (With altered tempo) and then constructs a bit of her own tune around it. This is sheer brilliance! (90s kids! rejoice!). Although in the lyrics post , it was mentioned that the words are random, I am quite sure that the kids are referring to the movements of a train. Varun points out that the song refers to the movement of ‘Ganga, the river’. Hear hear and then let’s discuss?

11. Electric piya (Fused) – Not remixed, Fused! Pretty straight forward ‘fused’ version. Harmonium remains and is aided by uniform beats and at times echo. Didn’t like this version much. May be you will. Try it out.

12. Moora (Morning) – Compared to the previous version of ‘Moora’, this one starts with more instruments and the mandolin makes way for  ‘The ‘Humni ke chori ke nagariya’ (From Gangs of Wasseypur part 1, soundtrack) boy Deepak gets behind the microphone again to give us a more soulful rendition of this song. Lyrics, excellent. Energy (and music arrangement) – Up to the mark! No guitar. Some echo. Some trans like sound. Kabir-sque lyrics. Ends very very techno istyle! My pick of the album, this.

13. KKL – Sneha! Sneha! echoes ‘KKL’ which is nothing but Keh ke loonga. This version will tickle all the ‘techno junkies’ at the right places. If we remember right, the ‘loonga loonga keh ke’ (From part 1 isn’t used in Gangs of wasseypur part 1, the film). This track features the all male chorus from the song and then mixes up with tiny bits of Sneha’s voice. Sneha has used the bits from the part 1 song superbly! This is what you can easily call as a ‘ball busting ass kicking’ music arrangement. (Try getting the ‘चीख’ of sneha out of your head when she goes ‘Teri keh ke longaaaaaaa’). What I shudder thinking about is – our reality TV shows will kill this song by ‘performing’ on this.

A lot of talk has happened pointing directly towards how some of the tracks in Gangs of wasseypur sound like ‘Sound trippin’. If we are to back in time by say 2 years (when Gangs of wasseypur’s music was being made), MTV had no idea of Sound trippin. Could it not be a possibility that Sound trippin came AFTER viacomm heard the music and sounded off their Music channel to make a show around these ‘unique’ songs and sounds that Sneha accumulated? Think about it.

With the Music of Gangs of Wasseypur 1,  sitting pretty already and other credentials in her bag (rather backpack!), Sneha Khanwalkar delivers a different sound with this album. While the Gangs of Wasseypur 1 album was tilted heavily towards the folk sound, this one is more contemporary. The selection of singers and lyrics continue to play a smart role in the overall feel of the album. Piyush mishra appears for just one song and hits a homerun. Varun Grover should probably start preparing for a speech already because kala rey will cause a lot of cheecha ledar and might make a moora of a lot of lyricists this year. All we shall do is just celebrate the arrival of a deeply rooted (to the story line and narration) lyricist and yes the words bahut khoob would be incidental.

Our pick – Entire album. With so much prem pritam pyare and bro-jid-sque music around, if any film album is worth your full time, it is this.

Bhoos ke dher mein – Lyrics and meaning – #GangsOfWasseypur

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Right! Time for the another song lyrics and and it’s meaning from the album Gangs of Wasseypur…This one, as a little birdie tells me, is a personal favorite of the pen magician (Varun Grover) who has to be credited for the song and for all the posts in this blog on Gangs of Wasseypur

The song is deep. Hard hitting. Hear it. Meaning in italics

 

Na Milihey

 

Bhoos ke dher mein raai ka daana,

Rang biranga bail sayaana,

Like looking for a pin in a haystack,

Like spotting a smart, colorful buffalo,

Bhoos ke dher mein raai ka daana,

Rang biranga bail sayaana,

Like looking for a pin in a haystack,

Like spotting a smart, colorful buffalo,

Dooje pahar mein toot-ta taara,

Paani pe tirta pakka paara…

Like seeing a falling star mid-afternoon,

Like having mercury float on water…

Naa….

Naa milihey…

Naa milihey…naa…

You won’t find it…

Won’t find it…

Won’t find…

Na soch,

Na khoj,

Ud jayi-ho, jag hai toap…

Don’t even think, Or try…

The world will burst like a cannon…

 

 

Hai kohra rakh sab haath taan,

Imaan na dayi-ho hili-hey…

It’s vague ahead, so stick your hands out…

Just don’t let your faith wither…

Naa milihey…

Naa milihey…naa…

Naa milihey…

Naa milihey…naa…

You won’t find it…

You won’t find it…

Batiyaati haathon ki lakeera,

Mahal duwaarey, khada fakeera…

Like fate talking without ambiguity,

Like an ascetic waiting at a palace gate…

Ghaath laga le,

Raat jaga le,

Suruj ka sab ghoda bhaga le, baba..

Dhar le chaahe bhoot ki dhoti,

Paa le ashwathhama ka moti,

Paani mein…

Paani mein, maati mein,

Loha mein, kaathi mein,

Jiya ke jod mein, aankhan ki paati mein…

Aakaas khuley mein, mann ki gaanthi mein…

By hook or by crook,

Or by capturing the horses of Sun,

Or by latching on to the ghost’s fabric,

Or by acquiring the mythical pearl of eternity,

Or in water or mud,

Or in iron or mood,

Or in the joint of hearts or crack of eyes,

Or in the vast skies or closed minds…

 

Naa…

Not a chance!

Batiyaati haathon ki lakeera,

Mahal duwaarey, khada fakeera…

Like fate talking without ambiguity,

Like an ascetic waiting at a palace gate…

Bhari dupahari naachey mayura,

Yam se chatur, gaanv ka moora….

Like a peacock dancing in blazing sun,

Like a village idiot more wicked than the Devil…

Na milihey…

You won’t find it.

Hai kohra rakh sab haath taan,

Imaan na dayi-ho hili-hey…

It’s vague ahead, so stick your hands out…

Just don’t let your faith wither…

Naa milihey…

Naa milihey…naa…

Naa milihey…

Naa milihey…naa…

You won’t find it.

You won’t find it.


ik Bagal mein chand hoga – Lyrics – Gangs of WasseyPur

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Self explanatory :)

इक बगल में चाँद होगा, इक बगल में रोटियां, 
इक बगल में नींद होगी, इक बगल में लोरियां, 
हम चाँद पे रोटी की चादर डालकर सो जायेंगे, 
और नींद से कह देंगे लोरी कल सुनाने आयेंगे. 

इक बगल में खनखनाती सीपियाँ हो जाएँगी, 
इक बगल में कुछ रुलाती सिसकियाँ हो जाएँगी, 
हम सीपियों में भरके सारे तारे छूके आयेंगे, 
और सिसकियों को गुदगुदी कर कर के यूँ बहलाएँगे. 

अब न तेरी सिसकियों पे कोई रोने आएगा, 
गम न कर जो आएगा वो फिर कभी न जायेगा, 
याद रख पर कोई अनहोनी नहीं तू लाएगी, 
लाएगी तो फिर कहानी और कुछ हो जाएगी. 

होनी और अनहोनी की परवाह किसे है मेरी जान, 
हद से ज्यादा ये ही होगा कि यहीं मर जायेंगे, 
हम मौत को सपना बता कर उठ खड़े होंगे यहीं, 
और होनी को ठेंगा दिखाकर खिलखिलाते जायेंगे, 
और होनी को ठेंगा दिखाकर खिलखिलाते जायेंगे.

Womaniya – Lyrics

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Thanks to Varun Grover, here are the lyrics of the song ‘Womaniya’ (from the music of the  film – Gangs Of Wasseypur).

These are the original lyrics that were submitted but some words may have been altered during the final output.

O Womaniya

Prelude:

तारै जो बबूना….तरती बबुनिया…

बबूना के हत्थे न चरति बबुनिया…

Mukhda:

ओ वुमनिया…

मांगे जो बबुना, प्रेम निसनिया…

बोले जो ठोड़ी, कटीहो कनिया….

बदले रुपय्या के देना चवनीया…

सईयाँ जी झपटे तो होना हिरनिया…

हो…..

Antaras:

रह रह के मांगे चोली बटनीया..

जी में लुकाये लोट-लटनिया…

चाहे मुहझौंसा जब हाथ सिकनिया,

कंधा में देना, दाँत भुकनिया

हो…

बोलेगा बबुना, चल जैहो पटना,

पटना बहाने, वो चाहेगा सटना…

दैहो ना पहुना को टिकट कटनिया…

पटना ना जाना चाहे जाना सिवनिया…

हो….

बबुना को उठी हो जो घोर भभक्का…

हाथ पकड़ ले तो मारी हो धक्का…

मन में निरहुआ के छुआ-छुअनिया….

 ललना की लीला नाहीं पड़ना ललनिया…

Gangs of Wasseypur – Music review (Ok…Almost!)

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ये पोस्ट सबसे पहले यहाँ छपी है – The complete track listing and credits and an option to buy can be found here 

1. Jiya ho bihar – The song starts with faint ‘thaaps’ as if a traditional song but soon is joined by electric guitars and then the techno arrangement leads us to the very desi Manoj Tiwari. The song makes no bones, thanks to excellent Manoj Tiwari and some real catchy lyrics (Tani Taan kheech ke taansen kehlawo rey bhaiyya, for example). The backup vocals are excellent. Somewhere in the background you will hear shehnai as well. Yes. The marriage of techno sound with Manoj tiwari is just brilliant. There is a constant ‘bhaiyya bhaiyya’ in the background!

There is always that song from which you associate a movie, This one will be the image of Gangs of Wasseypur).

 2. I am a hunter(पापी लोग का नाम है – वेदेश सोकू, मुन्ना ओर रजनीश) The song starts with a ‘Heyllllo’(and TRUST ME!, you will repeat the ‘heylllo’ to hear if it is actually said the way it is said) and then something that we all have done while growing up! (Listen and tell me if you can find it, not telling it here). Special mention must be made for Sneha. This is a fun song and trust me, the song has 2 funny moments per second. Be it the laughter in the background, be it the interplay between vocals along with the constant Caribbean beats the song has ‘fun’ written all over it. Yes, it’s a tad naughty. Still, the words like ‘bhokali’ will ensure that this is played by guys (Andgirls, may be!) in bonfires. Yes. Up till now Patti rap was THE song that got guys (and sometimes girls together)in a gathering . Now, that place belongs, rightfully to ‘I am a hunter’.

Best.Bakchod.Song.Ever.

3. Tain Tain – A good harmonium along with at least 10 other sounds suddenly start this song. Then it all settles down. The beat continues and so does a siren! And then Sneha khanwalkar goes ‘tey tey tey’. Before you figure out what’s happening, the brass band arrests your attention! Ok, too much happening at the same time! This has to be a background sound. This track is justa mix of a lot of sounds (whistles, vocal ‘ta ta ta chu chu ley ley lu li’ and so much more!). Remember the track ‘dol dol’ from ‘Yuva’? This track, in principal is the same, BUT is very DESI.  The  ‘constant casio synthesizer beats wali bhookh’ in me.

4. Womaniya (Performed by – Khushboo Raj, Rekha jha ओर उनकी सहेलिया) Singers start this song in a way that will remind the people who have grown up in north India, those ‘sangeet’ settings that happen during marriages wherein the ‘ladies’ (pronounced as – lay-dis) sing and poke fun at the new bride or may be her ‘in laws’ or may be her ‘bridegroom’. The words are pure ‘North’ and are laced with lot of fun (and naughty-ness). People who will have tough time trying to find the meaning of the songs will get the ‘fun quotient’ when the backup vocal singers will go ‘o o o ho ho ho’ Very naughty! The music setting is very ‘drawing room’ like and even when backup singers giggle you get the feel that they are sharing a joke! Singing is just incidental to the setting. Kudos Sneha! Kudos for reading this very rare Very very rare genre. The words of this song in particular have a flavor of north. Big time. Varun Grover, take a bow! Also the singer will remind you of that one character in such family settings who is the ‘leader’ and repeats certain words in order to poke fun at the bride, डबल अर्थ wala fun. (case in context – Patna and satna. ‘Satna’ means when someone sits uncomfortably close to someone else)

5. Kehke loonga – Night. That’s what the ‘itchy’ start of this song reminds you of. Sneha gets behind the microphone and gets on with it. Accompanied by Amit Trivedi, the ‘graveyard’ feeling of the song gets scarier when the intentions are reflected in words. No matter where you are, I will dig you up and ‘teri keh ke loonga’. It has a very ‘Ghar mein ghus ke maroonga’ feel. Still, it’s not loud. The song just stares at you with the coldness of a dead body. We need Sneha khanwalkar to sing more. Much more. Much much more. She is THAT good in the song. Composed by Piyush mishra and arranged by Sneha. Amit Trivedi is his usual brilliant self! Theresonating sound of howling might not be liked by all. Dark. Scary. This sums up the song.

6. Bhoos ke dher meinManish J. Tipu and Bhupesh start the song and will actually lead you into believing that it’s a sad song. Suddenly, an ‘all male’ group of backup singers (accompanied by harmonium and brass band), get into your ears shouting ‘Na milihey’ (you shall not get). This song has a message. More like the songs that you associate with the wanderers who give out message about life in their songs. The difference? There are way too many singers (and at times a barking dog in the background if I heard right!). Situational song. Has a very ‘chadhta suraj dheerey dheerey dhalta hai dhal jayega’ (A qawwali-sque song by Aziz Naza, very popular up North). Won’t be a chartbuster. May be that’s exactly what is needed. Let’s see.

7. Ek Bagal mein – Flute and Sitar talk between themselves and put you at ease immediately and then the strong bass creates a perfect platform for Piyush Mishra (PM) to start what is probably the most powerful song (in terms of effect that it will leave on you) of this film. The excellent use of electric flute deserves a repeat mention. It is THAT good. There is no doubt that this song is penned by PM himself and composed by him as well. The song has a little ‘jis raat sheher mein khoon ki baarish aayi thee’ feel in between. I suspect this song will find a place in the second part of the film as well. Minimalistic ‘arranged’ music. Authentic is the word. 2 thumbs up!

8. Bhaiyya – This track performed by the musahars of sundapur is another avtaar of a folk song but is music heavy. My guess, this is a background song again. It ends too soon. Didn’t touch me. May be you will like it.

9. Suna Gadh – performed by Sujeet (From Gaya ओर उनके दोस्त भाई लोग). The song uses a slow tabla and ‘manjeera’. Very folk. But too short. सब लोगों को नही समझ आएगा. It has a sound of a ‘folk singer’ closing his eyes as he connects with self and the powers that be via his singing.

10. Lehera – Yes, some shayari. Some ‘UP-Bihar’ style shayari about how people are selfish. The stop and go and stop and run! music arrangement completely reminds a ‘northie’ like me of the roadside ‘nautanki’ music. To you, it might remind of ‘pintya gela’ (from shaitaan) in essence, because the instruments used are completely different but the linear tune is somewhat ‘pintya gela’ like.

11. Mann Mauji Probably one of the best romantic songs this year. iktaara, algoza and so many other beautiful sounds along with the singer usari banerjee is a touch of pure genius. Even the singing style has a touch of vintage in it! ‘Khula hai bajuband phata hai kaaj sambhal ke chalna hoga’. Composed and penned by Piyush mishra ji, arranged excellently by Sneha, this song has a sweet vintage feel. Hear it. The ‘secondary vocal’ (at times algoza, at times violin) that constantly accompanies the singer is so so so vintage. Brings back the days of कुएँ के किनारे गाना और नाचना.

12. Humni ki chhoree ke – (Sung by Deepak Kumar – मुजफ्फरपुर वाले) – With just the harmonium and very पक्का ओर रिसा हुआ गला the singer gives us a flavor of a very very touching song. It’s a folk bhojpuri song and many a singers have sung it already. We could come across pawan singh and few others (Check them out on youtube) but this version, with minimalistic music arrangement has everything that will make you very sad. lump in throat stuff. Even if you don’t understand the meaning of it. Magic of good music isn’t it?

Highly recommended!

13. Womaniya (remix) – Starts exactly like the ‘live’ version but the bass and trance effects soon take over. Something that I haven’t heard ever. Something Desi…real wala desi mixed with ‘mehengai dayan’ like remix (from peepli live). The naughty feel of the song is retained. At times I felt some excessive instruments were used but I won’t be surprised if this is played in pubs and people go ‘OMG OMG’! There is a brief romantic exchange of words between shehnai and electric guitar…Just too damn good! मुहझौंसा and what not! This remix grew on me!

The pronunciation of ‘womaniya’ as ऊमनिया is just too adorable (in both the versions) and too UP-Bihar like.

14. Keh ke loonga (remix) – The roadside shayari about life (Along with constant beats and ‘loonga loonga’ in the background) starts the song. A faint ‘siren’ (The one that you associate with IPL when a bowler bowls a No-ball and free hit is about to be executed. This is a short version and thankfully so, because the music arrangement and the overall sound of this song is in contrast to the theme of the album. Passable.

Overall a fantastic album! The music stays true to the overalls of the film. Even though 2 remixes are included (to make the album appeal to the ‘non small town’ पब्लिक) फिर भी, This will go down as a फसाद मचाने वाला album by Sneha Khanwalkar and Piyush Mishra. Comparisons will be made with the OST of Omkara, Dev D, Gulaal and so on but this album will stand it’s ground. Quite easily.

The backdrop is more or less same (in terms of geography) so the sound influences could overlap. Still, inclusion of some pure folk songs of the region is a superb idea and makes the album more relatable. The effort in terms of penning the right lyrics (Piyush mishra, Varun Grover and Vikas (for hunter – english lyrics), arranging and composing music (Piyush mishra and Sneha khanwalkar), singers and the sheer research about it all is praiseworthy.

Rough around edges, raw and melodious in equal measure, here is an unputdownable power album that deserves a listen.

In the days of ch**** Studio (इंडिया) and all those wannabe ‘EXPERIMENTAL page 3 types’, here is an album that gives u a sound and taste of what the sound of those places is like. Those places are called ‘Chowk’ in small towns. (an open market area in a city at the junction of two roads)

Chowk Studio. Anyone?

वूफ़र फाडी दिया भैय्या!

My Picks – Entire album.

माने की पूरा एल्बमवा सुनियेगा एक बार. चीन जायेंगे आप की हम का कह रहे हैं

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