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Rangoon – Music review

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You can listen to my music review of Rangoon here  – http://www.bbc.com/hindi/media-38772961 

You can find out the glorious artist line up that is responsible for the music of Rangoon here – https://almostareview.wordpress.com/2017/01/21/rangoon-music-credits-with-a-bit-of-trivia/

There is a soul satisfying thump in Bloody Hell owing largely to the raunchy lyrics. I mean ‘Ishq kiya angrezi mein’ has got to ‘ring bells’ at all the right places, all puns intended. One doesn’t need to think long and hard as to what is being conveyed here. The whiplash and brass section compliment the grunt-ish singing of Sunidhi Chauhan like ropes compliment the ends of a bed. A song perfect for parties where mature adults are having fun — kids not allowed.

I wasn’t too taken in by Vishal’s choice of Arijit in Haider to sing the evergreen Faiz, because any half-good singer can get through these classics with a little help from a master like Vishal. It is for the same reason singers like Ali Sethi are looked down upon by those who argue ‘let him sing something original and we will talk’. Add to that, I always felt khul kabhi was Vishal’s song and not arijit’s and would have sounded better in Vishal’s voice. Cut to – Ye Ishq Hai. The self destructive, post-death experience of being ‘one’ with your beloved is what Vishal has achieved musically. And Gulzar drawing in Tabrez and Rumi completes whatever was left, to strike the fatal blow that leaves you smiling as you know you are about to cross over this life to meet your loved one on the other side. Oh and Arijit Singh is splendid, throughout.

There is a version of this song by Rekha Bhardwaj as well, and that sounds like a ‘Dervish collective’ twirling with Harmonium riffs and claps for company. This version gets a better bass-line at places than Arijit’s version.

Ha ha ha ha ha hahahaha Mere Miya Gaye England has a  tribute to ‘Mere piya gaye Rangoon’ that delights you if you have heard the song I refer to here. With tongue-in-cheek lyrics that oscillate between Eiffel Tower to Bus Stand, and aided with extremely good back up vocalists, Rekha Bhardwaj hits this one out of the park with the ease and twist that reminds you of ‘Ranaji’ from Gulaal.

Tippa stretches an old favourite (tap tap topi topi) to cinematic lengths where it is just not a kid song anymore. This however, doesn’t stop Sukhwinder, Rekha Bhardwaj, Sunidhi Chauhan and O.S. Arun from forming a vocal circle of mischief. Sukhwinder sounds intense, Rekha sounds happy-drunk, Sunidhi is bubbly and O.S. Arun sounds like that decent boy who is busy worrying about whether the elders will catch onto this masti that the kids are having. Sounding largely like a narrative piece, the track focuses on sounding grand, and as a result I couldn’t bring myself to hum it as much as I would have liked. This track is produced by Hitesh Sonik and Clinton Cerejo, and was recorded in 2006.

Ek Dooni Do is a breezy dance number that sounds cryptic to me, or may be I am over-thinking about the setting it invokes. The Spanish vibe isn’t overbearing and leaves ample space for Gulzar to use ‘Pahade’. Is it a good song? Yes. Will I listen to this on repeat? No.

Alvida – is probably the simplest song of the album, and the most devastating. This is exactly what a master wordsmith like Gulzar can do. There is Gulzar when he works with others (AR Rahman included), and then there is Gulzar when he works with Vishal. The Vishal-Gulzar collaboration is the best musical possibility of the times we live in and we must thank these two for drowning us in songs like this. What a treat Arijit is to the ears — my favourite song from the album, after Ye Ishq Hai.

Call it the effect of an overwhelming string section and an excellent ensemble of singers (Vishal, K.K., Kunal Ganjawala and Sukhwinder) who are equally intense in Julia. You feel a bit drained towards the end of the song, and it leaves you with the feeling that it could have been a tad shorter. My favourite moment is every time Vishal Bhardwaj says ‘Julia’; hear it and you will know what I mean. Also, Gulzar sahab draws the family tree of Julia by announcing that she is zalzale ki saali, in whose voice? Vishal Bhardwaj. Splendid! This track is also produced by Hitesh Sonik and Clinton Cerejo, and was recorded in 2006.

A flirty accordion, nadira-sque Rekha Bhardwaj and a vivacious tune greets you in Chori Chori and once again, in addition to a tight music arrangement, what stands out are the excellent lyrics. The use of ‘momfali’ instead of ‘moongfali’ is a touch of brilliance that only Gulzar can achieve — super song!

In what is easily the most criminal injustice of the year so far, we get a cinematic Rangoon theme that is just one and a half minutes long! It is as filmy and deep as one would imagine with VB at play. Strings used right. How I wish it were longer.

Be still and Shimmy Shake are both penned by Lekha Washington. Where Dominique lends depth to anticipation and waiting in Be Still, Vivienne Pocha ticks all the right boxes in Shimmy Shake, which ends with such a flash. Both the songs are in English, because in the time the film is set in, one used to hear a LOT of English songs like these: simple attention to detail that didn’t need an expensive Velvet case to understand.

The thing with Vishal Bhardwaj is — his music is permanent. It doesn’t sound like most Hindi film albums sound today, that can at best be equated with anonymous graffiti we see in toilets and forget about. When his music album is out, suddenly Vishal becomes very present in the room. Same is the case with Rangoon. It sounds grand and cinematic bearing the VB-Gulzar signature, which is equal to governor’s signature on a currency note in the Hindi-film music world. Rangoon doesn’t celebrate the cheerful tastelessness like other albums of today. On the contrary, it is a measured offering of perfectly mixed/rolled stuff. There are 12 songs, pick your poison and then thank God that it exists.

Phir Bhi…Sudeep (1995)

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I got into Ghazals fairly soon thanks to the ‘born old’ head and a low tolerance towards most songs in the 1990s. At that time (and forever) Ghazals meant/will mean Jagjit Singh to me. Trying out a ghazal from anyone who is not Jagjit singh used to be a self declared ‘Gunaah’ for me.

In 1995, I was in Class X and in came a ghazal album titled ‘Phir bhi’ and as with Magnasounds philosophy of promoting the new album, my favorite shop, (Shiv electronics, Indira nagar lucknow) had a huge poster of the album right outside the shop. To this day I dont know what was it that made me buy the cassette for a princely sum of INR 40 in those days (Papa’s money)?

May be it was just begining of the first ghazal, titled Ye dil jaata hai. The way the electric flute makes an appearance and leads us to the wonderful voice of Sudeep. A ghazal composed with a lot of love. Excellent use of guitar, non intrusive backup singers and good amount of violin. The pace is non-ghazal like whereas the words are just too ghazal like. An entire ghazal wherein the lover is waiting in anticipation of what gives in first..heart or courage.

May be it was the second ghazal Fakira na aaye . Guitar start the ghazal at a leisurely pace. A ghazal with a lot of thehraav. Singing remains top class. The pronounciation of words, the excellent music arrangement and a simple tune, the focus is purely on singing and nothing else. The ghazal has a sinking feel to it and if you feel the same, it just means that you like the ghazal.

May be it was this ghazal titled Kahein kya hum pe jo sadme guzartey hain, guzartey hain. The pace is slightly ‘geet’ like but the overall feel remains closely hugged to the sensibilities of ghazal. Excellent use of Sitar and tabla, coupled with really powerful lyrics, this ghazal is pure delight.

May be it was this old classic that has been sung by so many people that it made me curious to see how has Sudeep, a debutant treated this ghazal. Wo jo hum mein tum mein qaraar tha, tumhein yaad ho ke na yaad ho. Very subtle guitars, good backup vocal support and piano make up this ghazal so beautiful that you are inclined to think it’s not a debutant’s work. Delicately sung, hopelessly in love reminders of old days…(don’t miss the excellent violin play just before the second antraa). This will bring back a lot of memories, in a good way.

May be it was the excellent bass play with Sarod and slight drum play before this ghazal Kabhi saaya kabhi dhoop. A ghazal that Sudeep starts with a soulful hum. Powerful lyrics again. For a debutant to choose a ghazal like this and that too in 1995 is just splendid! The tune treatment is slow and marked with constant guitar throughout.

May be it was the excellent sarangi play that starts this wonderful ghazal, Bheegi hui aankhon ka ye manzar na milega, ghar chorh ke na jao, kahin ghar na milega. A very ‘By the tabla’ ghazal. There is a good amount of Santoor as well that multiplies the ‘pleasing to the ears’ factor of this ghazal. This used to be the favorite ghazal from this album of a lot of people I knew back then. It still is, I think.

Or may be it was this surreal ghazal Koi aarzoo nahi hai, koi mudda nahi hai, tera gham rahey salaamat mere dil mein kya nahi hai. There is Sarangi, Sarod and the velvet voice of Sudeep that keeps this ghazal constantly in the mind once you hear it. Tune wise, I believe this is the most innovative attempt in the album. The lyrics, the atmosphere, the guitar…I could go on and on about how madly I am in love with this ghazal since the time I heard it for the first time.

Sudeep has done some excellent work since the time this album came out. In fact, his album Irshad was reviewed on this blog in December 2011. Sudeep continues to work in his little ways for keeping ghazals alive when most of the ‘used to be legends’ are busy changing the frames of their goggles and basking in the glory of their work. If you want to get in touch with Sudeep, you can write to me. (before you think it’s a promotional post, let me tell you, he doesn’t even know of this blog)

To submit this review from the same room in my Lucknow home in which I used to hear it (inspite of the various music releases that included albums like Bombay, DDLJ, Rangeela, Barsaat and many more), is a high for me.

The album has stayed with me for 18 years and it continues to sound wonderful. To me, that means a lot and if you trust my word, do try the album out. It is available on iTunes for less than 100 Rupees.

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Ek thi daayan – Tracklist (not officially confirmed)

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Do you know that Lootera music in the teaser has striking resemblance to a Hollywood film? O.K. having ticked the fainthearted self-declared ‘rebels’, now on to serious business.

Googled and Googled about Ek thi daayan songs and the internet threw some song titles as the tracklist, hence sharing it. Am quite sure this might not be true but then I am as bored as a ‘heartbroken’ music composer whose ‘music inspiration’ has been caught, (Another classic joke! uff i am on fire!) here is a blog post, just like that

Ok, here is what internet tells us on Ek thi daayan songs

Tote Ud Gaye
Kaali Kaali
Lautungi Main
Sapna Re Sapna
Sehmi Sehmi Si  Official tracklist doesn’t include this song (Corrected on March 30, 2013)
Ek Thi Dayan
Yaaram

I have no idea on when is the music releasing and I accept no claims of any kind of authenticity of this post.

Ok, Bye.

Barfi! Music review…almost

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Ala Barfi! – Right from the first moment when you hear the whistle, you know this song is all about fun! A narrative of the alleged ‘sad’ life of Barfi, the song takes a lighter take on the situation rather than brooding over it (Sanjay Leela bhansali, take note). There are 2 versions of this song. One is sung by Mohit chauhan and one by Swanand kirkirey. The version by Mohit chauhan is peppier and stays true to the mood that the song aims to create. Swanand kirkire on the other hand, gives a naughtier touch to the song (so much so that ‘Munna mute hee aansu bahaye’ part doesn’t leave any impact in his version as much as it does it Mohit’s). Both versions are good in their own right. I liked the Mohit chauhan version better because its easy on ears. At times, with Swanand Kirkire version the voice is too heavy for the song that is to be sung lightly. In Mohit’s version, in each ‘Antra’, you can listen to a brief ‘tom n jerry prank style music piece’ even as Mohit is singing. Kudos to Swanand Kirkire for penning superb lyrics though.

Main kya karu – the song starts very quickly and in a very kya karu (from ‘wake up sid’ ) mood. The song doesn’t have an elaborate music setting before which the singer starts. Nikhil Paul george starts the song with less than 6 seconds of music into the track. The ‘guitar resignation of a note’ at every ‘uff’ in the song is cleverly placed. The ‘antras’ have a ‘hopeless in love’ mood to them which is immensely relatable and melodiously performed. The song again is very easy on ears and has a lazy feel to it due to the absence of ‘orchestra overload’ sort of music setting. Liked. Super liked.

KyonPapon, (I mean THE Papon!) starts the song with a very 1970s beat accompanying him. You almost miss a romantic accordion from the setting. The sweet violin arrangement makes it up very well though. Excellently penned by Neelesh Misra, the song makes just enough space for Sunidhi chauhan to take over one antra and leave us mesmerized. Excellent display of two master artists at work. The only grouse I have is that I left wanted to hear Sunidhi chauhan for one more Antra. Thoroughly enjoyable and hummable. Papon, sing more for us, will you? Please! The 25 second odd simple twinkling music arrangement towards the end of the song puts us back to sleep and the song ends.

Phir le aaya dil (Reprise) – Sung by Arijit singh along with Contemporary music setting (yes, with faint table throughout the song) and ghazal like lyrics. This is what best sums up the song. The use of Piano in between and the general mood of this song is just too good. There is another version of this song as well and we will go there in a minute but this song has more layers because it’s not an out and ghazal. The vocals of Arijit are apt for the song (And reminded me of Shail hada. Where’s he by the way?). The song is just very nicely done. Pritam, is that you? Really? Pleasantly surprised! For me, the best song of the album.

Phir le aaya dil – Sung by Rekha bharadwaj, this composition is an out and out ghazal, very linear in it’s approach. Not many layers. Not sure if this will feature in the film. We have heard Rekha bharadwaj sing many a ghazals like this so it doesn’t come as any surprise that she hugs the lyrics, hi5’s the music setting and sings with aplomb.

Aashiyan – Excellent accordion play starts this song and shreya ghosal greets us smiling. Nikhil Paul george makes another appearance and compliments Shreya ghosal superbly. This is a happy song. There is flute and voilin play in between and it does to us just what good music to the ears! Puts you at ease, instantly. The adorable ‘almost’ yodeling is placed perfectly in the song and you cant help but smile everytime it comes up. Excellent arrangement, this.

Aashiyan (Solo) –Nikhil Paul george goes on and about in this solo version. The duet version sounds fresh with Shreya Ghosal and if you have heard that version already, you will miss her voice in this because the energy is a little low. The tempo, music arrangement (save for voilins) is pretty much the same. The only difference that I could make out was the spacing between the opening lines of Mukhda. The lines are spaced using violins so that the listener doesn’t feel that the male voice is singing the female part as well. Not a song that would make you buy this album on a stand alone basis but compliments the album very well.

Sawali si raat – Beautiful Piano starts the song and guitars drift away in the background. Arijit singh whisper-starts the song. The song talks about ‘sleep’ but the singer sounds clearly out of place in this song. Not comfortable with the subdued singing, Arijit perhaps wasn’t the right choice of the song. The tune nevertheless is quite hummable (Youtube ‘versions’ of this ahoy!). The only blip on the otherwise excellent album and for this, I can’t penalize Mr. Pritam.

Phir le aaya dil (Shafqat amanat ali khan) – A very ‘raabta’ like start (initial notes remind you of the siyah raatein version of raabta), piano and a gentle music arrangement, thankfully aided by Sarangi this time start this song and Shafqat amanat ali khan gets on with it. The moment you hear this song you feel it is the ‘cleanest’ arranged and presented song of all the versions. Best part – you cannot (And should not) compare the 3 versions of this song. Arijit Singh’s version is blessed with more ‘feel’. Rekha Bharadwaj and Shafqat’s version is more directed towards singing it right. I cannot get over the excellent use of our very own ‘Sarangi’ in this version though. Not nitpicking but please do pay chotu attention the way Shafqat amanat ali khan pronounces ‘Baaki’. This is the version that will make you cry a bit, yep.

Special mention – Shafqat amanat ali khan has to be appreciated for not choosing similar songs and falling into the ‘Rahat fateh ali khan’ sahab wala ‘typecast’ groove.
This song completes the album, even more.

It’s already been said, blogged and screamed a lot that Pritam has outdone himself with this album and I will just reiterate it shamelessly! You can visualize the film when you hear the songs. If the teaser of Barfi looked like a picture perfect frame, the music adds beautiful colors to it. Thrilled beyond words, Pritam has given us one of the best music albums of this year!

Take a bow, Pritam…I owe you a 5 star chocolate, for this tasty Barfi!

Music review – Irshaad – Rekha Bharadwaj and Sudeep Banerjee

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Long back, when MagnaSound records was a music company famous for giving out plastic cases for the audio cassettes and that ‘extra sweet’ recording, came an artist with his debut Album ‘Phir Bhi’. His name is Sudeep banerjee. If you haven’t heard that album, trust me you are missing a lot. After nearly 10 years It was a pleasant surprise to see Sudeep coming out with an album. This time collaborating with Rekha Bharadwaj. Sudeep has done some work in between as well but as I continued to follow ‘alternate sound’ of Indie-music, I miserably failed at keeping pace with him. Here is an album that is worth it’s weight in GOLD. Read on…

1. Wafa Karne se – The ghazal starts on a good bass note with the ‘ever-so-soulful’ Sarangi for company and in comes Sudeep with his easy voice and clear pronunciation of every word. A ghazal depicting sheer helplessness of a partner whose love interest just doesn’t respond to love. Wohi charchay Wohi Kissey Mili rusvayian humko, Unhi kisson se wo mashhoor ho jaye to kya kijiye. The slight yet constant Guitar all throughout the Ghazal with a prominent Sarangi defines this beautiful Ghazal.

2. Aaj Phir dekha kiye  – Starts off like an unconventional ghazal with blues taking over and in comes Rekha bharadwaj accompanied by an ably set Tabla. The singer smiles at the mirror which looks at her with curiosity. With Rekha Bharadwaj, a sense of typical ghazal setting descends on the senses and this ghazal just furthers the same feeling. Mere dil ne to hamesha hee pukara tumko, ek dafaa tum bhee pukaro to Mohabbat se mujhe…Simple and a very effective ghazal. You cannot miss the mesmerizing Sitar throughout the ghazal. Thumbs up for the ghazal!

3. Subhe Roshan ko – Mild guitar…lot of bass and then Sudeep begin the proceedings in this ghazal. By now it is quite clear that the poetry of this album is quite strong, still I will state the obvious that the poetry in this ghazal is what the ghazals should be made of. Mujhko mat baandh wafadari ki zanjeeron mein, Misley baadal hu Bhatak jaaney ka ilzaam na de. Off late, I don’t recollect a single ghazal album that has made such powerful statement with the first 3 ghazals. Intricate music arrangement, semi-contemporary but retaining the charm of good old days. Rare!

4. Ashna Dil ko – Rekha Bharadwaj comes back to sing a ghazal which has a lot of ‘ghungroo’ in background and a typical ‘Meerasi’ setting. Yet again, the tune of the ghazal will make you feel you have heard it before. Try to find out where have you heard this sort of music and chances are you will lose yourself midway to sway with the beautiful melody of this ghazal. The poetry is quite simple in this ghazal and you can actually guess the second line of the antraa quite easily if you have been a ghazal-holic for long.

5. Ban gaye dil ke fasane – Yet another contemporary start to a ghazal with electric flute in prominence. Sudeep sings this one. Koun thaa mere alaava uska, Usney dhoondhey thay thikaney kya kya. The music setting of this ghazal is relatively lighter than the rest and Sudeep sings confidently without missing melody or the essence of words. Perfectly executed!

6. Kheench liya tujhe – Guitar and Sarangi. Yes! I cannot have enough of Sarangi! Rekha Bharadwaj quickly adapts to the ‘song like’ setting and ‘Ghazal like’ poetry track. How I wish I could find one area to pull down this ghazal but I fail miserably. This track is the one where a lot of variations have been tried instrument wise and it could have all gone awry. Thanks to Rekha Bharadwaj, it doesn’t.

7. Mazaa Na aaye – A mellow start to this track which brings back the ‘cemented’ views on how a conventional ghazal should sound like (Loads of Sarangi again…Yey!!). Nothing spectacular tune wise still the rock solid poetry and effortless singing by Sudeep holds this one tight.

8. Mere Mehboob – Ameeta Parsuram, who has penned all the ghazals,  gets behind the microphone for this EPIC Nazm! Yes, Nazm. Accompanied with a faint Piano, this Nazm has the potential to move you to tears if you hear it just once. Yes. The flow of recitation with heartache in built…Mashallah!!  It will be a pity if this Nazm goes unnoticed. A *sigh* is what this Nazm will leave you with.

9. Mere Mehboob – I was thrilled to see that there is a ghazal version of this nazm above purely on the prospect of tearing this version down and praising the Track number 8 above BUT I was wrong. Sudeep has probably outdone himself with this ghazal. A sense of doom descends tune-wise. A sense of eternal sadness smiles at you when you hear this. Ironical? Well, Love is like that.

Although ‘pain’ finds a lot of tracks in this album, still I am all smiles as I write this over excited write up.

We can never have the supremacy of Jagjit Singh, Mehndi Hassan and other legends. Still it fills the heart with pride to see singer being true to the genre and slowly constructing their own niche.

The Music scene is filled with noise, and in some cases, good old ghazals haven’t been spared as well, Yet we have people like Sudeep who are continuing their journey undeterred. Much respect.

Hoping that such talent and dedication overflows our music scene…forever

5.00/5.00

Hum dekhengey – Faiz – Translation

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Yet another attempt to cage  the lyrics of a composition I live by…This is by Faiz. Please suggest changes if any. Blog from which I have copied these lyrics mentioned below. A must check out blog if you like ghazals.

Hum dekhenge

Lazim hai ke hum bhi dekhenge
Wo din ke jis ka wada hai
Jo lauh-e-azl mein likha hai

Jab zulm-o-sitam ke koh-e-garan
Rooi ki tarah ur jaenge
Hum mehkoomon ke paaon tale
Ye dharti dhar dhar dharkegi
Aur ahl-e-hakam ke sar oopar
Jab bijli kar kar karkegi

Jab arz-e-Khuda ke kaabe se
Sab but uthwae jaenge
Hum ahl-e-safa mardood-e-harm
Masnad pe bethae jaenge
Sab taaj uchale jaenge
Sab takht girae jaenge

Bas naam rahega Allah ka
Jo ghayab bhi hai hazir bhi
Jo manzar bhi hai nazir bhi
Utthega an-al-haq ka nara
Jo mai bhi hoon tum bhi ho
Aur raaj karegi Khalq-e-Khuda
Jo mai bhi hoon aur tum bhi ho

Hum dekhenge, Lazim hai ke hum bhee dekhengey

 

Translation

We shall Witness
It is certain that we too, shall witness
the day that has been promised
of which has been written on the slate of eternity

When the enormous mountains of tyranny
blow away like cotton.
Under our feet- the feet of the oppressed-
when the earth will pulsate deafeningly
and on the heads of our rulers
when lightning will strike.

From the abode of God
When icons of falsehood will be taken out,
When we- the faithful- who have been barred out of sacred places
will be seated on high cushions
When the crowns will be tossed,
When the thrones will be brought down.

Only The name will survive
Who cannot be seen but is also present
Who is the spectacle and the beholder, both
I am the Truth- the cry will rise,
Which is I, as well as you
And then God’s creation will rule
Which is I, as well as you

We shall Witness
It is certain that we too, shall witness

Translation courtesy – http://ghazala.wordpress.com/2008/01/08/hum-dekhenge/

Saheb Biwi Aur Gangster – Music review (and a loud Brrrrrrruuuaaaaah!)

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1. Right from the word go, You know what you will be getting from jugni, a quick pace superb dance number. Thanks to hindi film music, we always imagine a punjabi song to be ‘dance and balley balley’  and while some songs try very hard to be ‘different’ but this one is what i will call a ‘genre definining’ punjabi! Do give an ear to the wonderful lyrics…they are not just brrruah! They are telling you about a character! Instant favorite…unlikely to fade for a long time and certainly a ‘Deeejay’ hit oye!

Lot of so called ‘stars’ will lust after this song wishing it was pasteurised on them.The Inlay credits lyrics to Sandeep Nath & Babbu Mann and it’s very very easy to find out who has penned this one, it is the singer…Babbu mann!

2. Chu chu – Ok the title of the song gives you some ideas? They are all wrong. Sung by Parthiv Gohil(Recently featured in Coke studio India version and has sung for saawariya as well among other songs), this one is a soft ‘by the guitar’ song accompanied with soft chorus. A very Sonu-Nigam-ish song but Parthiv Gohil does a very good job in melting with the music like someone hopelessly in love…Must mention that the ‘Yes!’ in between the song is a bit different and might not be appreciated by everyone. It gives you a feel of ‘digressing’ from the mood but then, it could be situational, so let’s leave the jury out on this one till the film hits theatres.

3. Main ek bhanwara Shail ‘Sawariya’ hada comes back and hums along a medious song with a lot of classic instruments like mouth organ, voilin (And an almost continuous electric flute in the background). The pronunciation of each word is stressed and you will easily notice it in this song. I am itching to put this here that this song in the middle has a ‘theatrical’ sound to it which is welcome. All and all a good song. Not a dramatically melodious effort though. Might grow on the listeners.

4. Raat mujhe – An echoing Shreya Ghosal complains of the night teasing her with a song setting which is beautifully classical and melodiously a work of fusion. A very stop and go guitar gives company to Shreya. Easily a song very good on ears. Has a very ‘tumhein yaad kartey kartey’ (from the film – amrapali) feel to it. Very much recommended. Guess it is raga kalavati….not sure (damn! i should read and learn music)

5. Sahib bata hatilaAnkit and vipin get behind the microphone to deliver easily one of the best songs of this year so far in terms of playing with innovative sounds. The song is a narrative (won’t bbe surprised if it is featured during the opening credits). I have a thing for this kind of innovation so I will be totally biased towards this song but you should not believe me,  check it out for yourself. 2 Thumbs up!

6. Arif  lohar – Ankhian – Oh wait! did I interchange the title of the song and the artist name? Ah well! This song has the ‘jogi’ from pakistan Arif lohar who tells us a thing or two about a ‘mistake’ called as love. This is no ‘Jugni ji’, its a song with a painful undertone. Just so happy to hear such a song after ages in a hindi film. Pure punjabi might be a put off for few but your soul is likely to identify with the haunting tune of the song. In love with this song. TOTALLY.

7. I love to love you – Jazz is it? well I won’t know since I have no music sense anyway. Her highness Rekha Bharadwaj comes and rocks you like ONLY SHE CAN. The first two lines will catch you off guard not only by the words used but the way Rekha Bharadwaj speaks! The way Rekha says ‘arey bolo’ (and the chorus follows) will remind you of crowd regulating ‘JOR SE BOLO’ used to be said which was eventually followed by – JAI MATA Di..!!  A north Indian thumka with Jazz!! Bhains ki Poonch this is Oh-so-beautiful! An all time PHAVORITE ho gaya hai bas ji!

8. Chu chu (Accoustic) – A more fast paced version (of course decorated with accoustics!) has Parthiv Gohil going hysterical at times and repeating the irritating ‘Yes!’ in between the antraas. Didn’t touch me much but am sure it will have it’s audience. It’s not painfully long and fades peacefully.

Concluding thoughts – An awesome album worth a buy. 6 out of 8 songs stand out demand your attention which is a bloody awesome score! This album has done one thing…made me more impatient about seeing this movie. If the movie delivers half of what the music promises, it will be a riot and a good one at that!

*Goes back to play Jugni*

Requests

1. Grammatical mistakes aplenty..Pliss excuse because I was getting blown away by this album as I was typing this write up

2. Do not check the ‘tags’ I have put in for this blog post 🙂

and lastly….Brrrrrrrrrrrrrruaaaaaaaaaaaaaaaaaaaaah!

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