Piddly – Whaaaa? daaa?? faaaaaa?


Yes, this is the kind of post that I would never do because it is not cool to give out ‘first reaction’
Anyway, this is about shamitabh. This is about a song that has ilayaraja at the helm and words are penned by Swanand kirkire.
When I write ‘piddly’ from my keyboard, it auto-corrects the same to ‘puddle’ and that is exactly what the song is. The song has 1980s feel to it.
1980s when the music cassette was invaded by ‘featuring dialogues’ (because the music is so bad!)
I am ok with the autotune because, well why not! But lyrics are embarrassing to say the least. The ‘stanza’ is embarrassing. No wonder the audio was released after with video because we have to depend on the video Y’all!
Why should English words stay behind in the times when we have a million urdu words around which a song has to be made no matter what happens!
Perhaps some people should stay in 1980s.
It is exactly that kind of a song which the ‘inner circle of the elites’ will praise but would bitch about later and publicly dismiss ‘masses’ for not understanding the ‘finer nuances’.
Sorry didn’t work!

Also – Boo!

Check out the song and feel free to disagree with me

Bombay Talkies – Music review…Almost!


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!

Kai Po Che – Music review


I thought the music release of Rockstar was the most delayed but then Kai Po Che happened! Thankfully the music was released BEFORE the film released! As @MrNarci rightly pointed out, the delay in the music release could have been due to the fact that with just 3 songs, the buzz is difficult to be sustained. Whatever the reason, we would have liked some information on the music release date 🙂

Manjha – An extremely well used Esraj starts the songs that is about hope, hope and hope. The udaan-isque feel of the song is pleasant and not feels repetitive in anyway. Amit trivedi uses claps and Esraj in a way only he can. The brief portion wherein Esraj plays (around 2:05 onwards) can make you dance. Positivity! The words by Swanand kirkire are so simple yet so effective. You really don’t need to be layered all the time to sound good. This song just furthers the same point and how!

Meethi boliyan – starts with guitar and then the gentle ‘pa pa pa pa’ by Amit in background. Mili nair sings and swoons the song that essentially sounds like a shankar ehsaan loy composition when it begins. The exquisite use of continuum and the slow, almost dreamy use of drums is just too Amit trivedi-sque! A beautiful song.

Subharambh – Remember Shruti Pathak? Remember Divya Kumar? Yes, they both get company of shehnai and and and? bagpipes! An excellent gujrati folk song (with minimal shouts of ‘HEY JI REYYYYYYY’ and all that) that has mild innovations here and a good note there. Blink and you will miss the beauty of the song. The bagpipes startle you when they start! Only Amit Trivedi can give so much variance to a folk based song. Lyrics wise the song has a little ‘saathi haath badhana’ feel as well.

The director has confirmed that these are the only tracks we will get from the film. this speaks so much about the fact that the pace of the film wont be marred by too many songs.

Amit trivedi is already an institution who we have come to expect only innovation from and Kai Po Che does not let you down. It infact lifts you up and fills you up with so much hope and joy!

Amit Trivedi, thank you for the music. Please continue…we are listening!

Inkaar – Music review

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A very ‘electric’ start to the song (titled Darmiyan), might trick you into believing this is one of those ‘wannabe bollywood rock’ sort of song but then Swanand kirkire intervenes melodiously and makes you smile. The tune is playful, the tone romantically secretive and the music arrangement – excellent! At times (especially when Swanand goes towards high pitch with ‘bolo na’), he seems out of sync but then the excellent ‘yaar dost’ waley male backup vocals save the song. A hum worthy song by all means.

Inkaar theme starts almost with a clandestine tone, slow guitar sounds eerie and the group singing with a Primadona, Monali thakur humming very slowly completes the effect. The best part I feel is that this track doesn’t try too hard to sound like any other movie theme. It’s a strong theme track and I loved it because of this very reason.

Kuch bhi ho sakta hai Suraj Jagan has sung so many songs like this one that it’s not very surprising (I remembered the title song of ‘hijack’ with this one though, for the mood it conveys and not the tune) to see him venturing out with heavy guitars and a headbanging tempo with this song.

Maula tu maalik hai – Easily one of the worst songs I have ever heard Swanand kirkire sing. Amateurish hook for the song, no connect between the words, embarrassing in the antra. This is the typical case wherein lyrics are ‘told’ to the lyricist (shouldn’t it be the other way round?) and the poor chap has to come up with something around them so that the song is composed. 3 thumbs down!

Zindagi ka karobarK. Mohan, after long (or did it seem long?) takes the microphone and echoes into the fact as to how we are the cause of our own misery and destruction. Faint electric guitar and harmless arrangement ensures Mohan is constantly on our ears. Signature alaaps and a general chaos builds up rather quick and the song ends in less than 3 minutes!

Shantanu Moitra and swanand kirkire have thankfully not surrendered to the typical cliche of including weird lyrics and horrible music pieces just so that the album sells. The arrangement oozes class but is low on melody.

An average album for a film whose plus point is certainly not music. Nothing much.

My pick – Darmiyaan, Inkaar theme and Zindagi ka karobar

Barfi! Music review…almost


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!

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