Book Review: Maharani by Ruskin Bond

Once again I’m writing a review for a Ruskin Bond book. Something that I should not do. Because I’m a fan, I love whatever Ruskin writes. And this was no exception. Pre-ordered the day I got to know about the book. Read within 36 houts of receiving it. Still, here I am writing, so read if you are interested.

We’ve read about the Queens in Ruskin’s old books. But most of the time they were either creatures of mystery, never coming out of their unreachable Palaces (turned ruins, at times) or just part of third hand stories. But this time, the queen is not so mysterious, not part of some fable, and very much a real person with a real life and real faults.

Ruskin’s writing style is the same, but nature is a little less and story a little more. Other than Maharani, there are accounts of a few more people in his life, but not very long. One of them, of a friendship with a little boy, is lovely.

In the name of shortcoming, I didn’t find many, but I was a little confused with the timeline as it goes up and down a few times. That, however, will most probably make a good reason for me to read the book again. Yes, that’s how fans are.

A word of warning. The book is a little sexually explicit in some places, and is not exactly the thing that you would like to give to a early teen. On the other hand though, teens today are reading so much more, more explicit and much worse, so this one is not really a problem, but then that’s a different issue altogether.

Maharani is actually one of Ruskin’s most multi-faceted book. It’s not just a thriller, or drama, or his nature love, or humor. But a mix of them all. Yes, Maharani is a Cocktail, in Ruskin Bond’s glass, with his own flavors.

I enjoyed this. And if you’re a Bond fan, you will too.

See also: Book Review: Secrets by Ruskin Bond

Heroine: Music Review (Salim-Sulaiman)

If you had suddenly got some big hopes from Salim-Sulaiman like I did, this might be a disappointment for you.

Yes, Salim-Sulaiman seem to have got the best of their creativity in Halkat Jawani itself. Even though Heroine is not exactly something to discard and has a few good things, Salim-Sulaiman are finally looking like a spent force and probably not looking for a comeback.

With that negative note, let me start a review that I hope is not biased against them.

And so, let’s begin with Khwahishen, which is probably the best song of the album. A ‘new’ (all terms are relative) song from Salim-Sulaiman, sung by Shreya Ghoshal, it’s a nice compostion with some above good lyrics. Zindagi ko dheere dheere dasti hain khwahishen is something I’d go for. Nothing special for Shreya as such, but she anyway sings it well. Worth listening to, at least.

The next song, the last in the album (but not in the review) is Tujhpe Fida. A song that already sounds like a remixed pop number, but does sound nice. Benny Dayal is almost a default choice for the song, and Shaddha Pandit does fine here. Still, with all the arrangements in the song, cannot help feeling it lies a lot somewhere between Aadat se Majboor n Thug Le.

Halkat Jawani. Frankly, item songs in general don’t interest me much anymore. Don’t know if Mamta Munni Sharma (or excess of her voice, everywhere) is the cause, but the result is what it is. Still, Halkat Jawani was something that kinda gripped me. The composition is simple, catchy, and Sunidhi’s singing is just superb. I mean, I think to a large extent she’s the one responsible for making most of our heroines worth their ‘salt’, literally. Not saying much about the song, I liked the song and loved Sunidhi there. And yes Salim-Sulaiman, this was a nice one. Thanks for that.

Saaiyaan. Rahat Fateh Ali Khan. Yeh Hausla Kaise Ruke.

I don’t know how much, but the song is a lot of ye hausla and I could only hear Dor in the song for the first few times. Or more than a few times. So much that I wasn’t able to like the simple lyrics. Salim-Sulaiman seem to have taken re-creation a little too literally here. However, other than that, the song in itself is good. With most other songs of this type (which sound like a clone/copy), it should find its place after some time of being called a clone.

Main Heroine Hoon. You can probably guess what type of the song it would be. Something like other Madhur Bhandarkar title songs. But somehow it sounds a little more ordinary, at least in the beginning. The song should go up slowly with promotion which I suppose will be there. As for Aditi, her singing is really nice here. From the uber-softness of katra-katra, she’s reached the attitude of Main heroine hoon quite well.

So overall, even though not really make me believe in Salim-Sulaiman, is fairly okay. Halkat Jawani and Khwahishen are nice, and despite problems, so is Saaiyaan. The rest are kinda okay. Short, crisp, not too good, but well, manageable.

Barfi! Music Review (Pritam)

Anurag Basu and Pritam are a team. So much so for me that I generally tend to forget Kites as Anurag’s movie, going back dircetly to Metro, which the two worked on together, and literally rocked.

Here, they come once again, to give you an album, where not a single piece of a single song seems to be touching Metro. Yeah, it’s all, all new.

The album begins with Ala Ala Matwala Barfi. Mohit Chauhan makes some wonderful onomatopoeic noises here, but it’s the simple tune of Pritam that deserves equal credit. Ranbir this time seems to be doing even better than what he did in rockstar, though it’s not really good to compare as the two are very different movies.

Back to the song. I hope you have all heard the first, Mohit Chauhan version of the song. So more on the Swanand Kirkire version. This one didn’t sound THAT interesting to me after Mohit’s version, though Swanand’s solid voice gives a different touch to the song. Sounds more like an old composer singing his song.

Nickhil Paul George (or call him Nikhil if you so prefer) singing Main kya karoon has been my favorite since the day I heard it for the first time, mostly for the vocals, again other than the light, simple arrangements. The singer, who has sung with Ash King, does sound a lot like him, at least in style. Actually this was quite clear with these two songs that Barfi! is gonna be a much lighter album than Metro, or even an average album of nowadays, and so it is.

The third song, Papon and Sunidhi’s Kyon na hum tum is a simple one. Simple as in, with not too much of new elements. Just a simple song with some nice lyrics. The lyrics of the song are actually sweet, the way ‘roopak’ is used in that. Not sure if what exactly is roopak in English, but I can tell you ‘nazar ke kankadon se khamoshi ki khidkiyan yoon todenge’ is roopak twice. That’s the part I loved the most in this one, with Papon’s evergreen singing.

Arijit Singh is Pritam’s favorite singer nowadays. You can pick any of his past five albums to confirm that. And this time he gets a completely different assignment from his mentor. The song, phir le aaya dil, is more like a Ghazal in its treatment, with all the ‘thehraav’ and of course the tabla based arrangements. And Arijit sings it the lovely Urdu piece quite well.

Of course, Pritam doesn’t leave his beautiful song to Arijit alone this time, not in this Ghazal mode, and gets a perfect version done from none other than Rekha Bharadwaj. Need not say she is a killer yet again, right from the VERY first line. No surprises, it’s in her very forte. MUST listen.

One more experimental-beautiful-old-sounding piece is Aashiyan sung by Shreya and Nickhil. Shreya is a little different with her voice here, though Nickhil remains his regular voice only. The arrangement of the song is interesting, in all its old-western touch. So much so that I can see a girl in something like a polka-dotted frock, in almost black-n-white. Yeah, that’s what music can do to you. To me at least. Anyway, you can guess how much I am into the song, and it is worth it. Very sweet-cute types, nature touching lyrics.

The last song of the album (discounting all the repeat versions as I’ve talked about them all) is Saanwali si raat ho, once again sung by Arijit. This one is a very slow, very simple, and very minimally arranged number. The lyrics are wonderfully romantic in this one. Fall in love with them.

OK. So overall Barfi! is very much in tune with what you would have already heard from the album, almost continuing in the same mood (other than Phir le aaya dil), but still giving you enough to stick on to, for quite a long time. The good things about the album are: It’s simple arrangements, beautiful lyrics, quality compositions, and lastly, it’s lack of remixes. Actually remix is something you wouldn’t even think about in this album. It’s a Barfi that you’d like to savour for quite some time.

PS: At times, I felt like this was a Shantanu Moitra album, with all the slow-soulful-remixless music, and Swanand Kirkire’s lyrics. Special accolades for Pritam for doing something that I’d say out of his comfort zone.

Shirin Farhad ki Toh Nikal Padi: Music Review (Jeet Ganguli)

Shirin Farhad ki To Nikal Padi Music ReviewJeet Ganguli has been in Bollywood on and off. But since Jeet-Pritam’s separation, he’s not been in the top rated movies. After a long time, he gets to compose for Shirin Farhad ki To Nikal Padi, which, depsite its irregular star cast, should be a big one. And Jeet plays his part right here. Here is a review.

Ishq mein tere bina dil hi na lage. The opening song of the album is a regular romantic number, with a lovely melody, and KK and Shreya singing. The song sounds a lot like those of 1990s-2000s, and sounds good, something that we are not getting to see a lot these days. Good singers, good composition and a nice romantic track. And still a little rare today, that’s what the song is.

The second song, Khatti Meethi, again maintains the melody quotient, while adding some nicer vocals from Shreya as she goes on to sing again. The other feature of the song is Amitabh Bhattacharya’s lyrics with lot of English words, but still keeping them from making the song anything other than natural. You get to hear ‘mausamon mein feel hai’ instead of ‘mausamon mein ehsaas hai’, something a person is more likely to say today. This may be start of something new.

The sad part is that Urdu is leaving us, and English is coming in, but then that’s exactly what is happening in our daily lives and the good part is that the song does it without going overboard. I’d say, good work by Amitabh here.

The next song of the album, Kaafir Andhere, is a treat for music lovers. The song is a love ballad, sad, a little rocky, and sung perfectly by KK. The lyrics of the song are good, as one can expect from Amitabh. The only negative, the song seems to have a hangover of ‘Jaane kyun tanha ho gaye’ of Bhram. Other than that, it’s just lovely.

And yeah, this one kind of makes up for the loss of Urdu out there.

Shirin Farhad ki Toh Nikal Padi. I love this title song. For two reasons. One, this gives something different to the album, something that is prevalent in the market today, and Jeet does it nothing less than Pritam or say, Sohail. And two, I love the simple, very slightly philosophical, but feel-good lyrics. OK, maybe I said a bit too much for the lyrics, but the song is nice. And makes me feel I should watch the movie. Me.

Guitars. Kuku duku. Again a little hangover’ish from here n there, but the sounds are nice, and until Mohit Chauhan enters with the strange, monologue’ish, ’90s type lyrics, you expect a nice romantic number. The good part is even with the comic-romantic lyrics, you like the song, just that it’s not a blockbuster. But nice. Especially for the movie.

Ramba mein Samba by Usha Uthhup has got some nice music, or I should say interesting music, as there were many other songs that fit the words ‘nice’ better. But the fusion of Electronic, Dhol and Spanish background vocals is something that gives a good feel. I like.

Overall, SFKTNP is an album with a lot of melody, something we don’t get a lot nowadays, some good lyrics, with some regular, nice tracks, and a little experimentation and some light comedy thrown in. I don’t think I could have asked for lot more flavors here. Welcome back, Jeet.

Ek Tha Tiger Music Review (Sohail Sen, Sajid-Wajid)

Should I start with Mashallah? Well, I think there is enough said about the song, and then everyone seems to have heard it, so let’s just say the song is probably going to be the weaker part of the album. Or maybe I can say the weakest, if Salman Bhai’s fans allow me to. Not because he’s wrong anywhere, cuz Sajid-Wajid HAVE given some good songs for him. How can I ever forget the small preview of Tere Mast Mast Do Nain I heard at IIFA. That number within seconds told us what a hit it was going to be. But then, this time they seem to have got it wrong. Not too wrong, but not as right as it has been earlier.

And I wrote again so much about that song. OK, leave that one. Let’s see others.

Sohail Sen’s part of the album begins with a KK song and the duo seem to maintain the rapport shared in their last album, Mere Brother ki Dulhan. KK here again plays the fast track, and sings a full fledged commercial number for Salman, this time with Shreya Ghoshal Palak Muchchal. The song, though not extraordinary as such, has a nice melody and the ‘main laapata‘ part is catchy as well. So be ready to hear many fans singing this one, and in due time, some non-fans too.

The next song of the album, Banjaara, is sung by Sukhwinder Singh. And will definitely be pictured on Salman Khan. That actually tells you a lot about the song. Let me spell it out a little more clearly. The song is full of energy, so much so that without even watching it, one can see Salman Khan dancing to the tune with full energy. This one is a hit.

Teri Meri Meri Teri Prem Kahani hai Naadan Parindey. Saiyyara Main Saiyaara. OK leave the name. Let’s just say there is a sad song sung by Mohit Chauhan for Salman Khan. Can there be a thing deadlier than this as of today? OK I may again be overselling it, but I would at least say that Saiyaara is the best song of the album. The song has a superb melody, touching lyrics, the singers are superb, be it Mohit or Tarannum Malik, and so is the singing. The orchestration is simple and beautiful. One cannot doubt about the presence of Salman Khan in the song. Basically there isn’t a thing that would leave me in doubt about the song, it just is going to be one of the best this year. The only minor hitch is that the lyrics of the song make me feel that the movie ‘may’ have a sad ending. Hope that isn’t the case. I want the Tiger to remain there.

And yeah, the Tiger Theme is something you have already heard a lot since the very first teaser trailer, most of it. So that one already makes a fan nostalgic, which is a little strange, but quite positive for the movie. Other than the heard part too, the theme has quite some shades and should work perfectly in the background, and once you have seen the movie, on the CD too.

So clearly, this Tiger is going to rock. As per the rumors, Salman may not be too happy about Sohail doing the score for the movie, but the result has come out really well, and Sajid-Wajid’s song turns out the not-so-good piece of the album. As for Sohail’s part, I’d just say, Mashallah.

See Also:

 

This Cocktail comes with a Hangover of Love Aaj Kal

First things first. It’s quite a Cocktail.

And secondly, after a certain point, or maybe even before it, the movie has got a huge hangover, that of Love Aaj Kal.

Meera. Saif. Imtiaz. Delhi. Just so much.

But besides this, Cocktail is almost what you expected. Probably more than what you expected, because you probably didn’t expect anything more than some good songs and light comedy in the movie. However, the movie seems to have some story, though courtesy Imtiaz, who is the writer here too, we have already almost seen it.

Still, storywise, the movie goes fine. The screenplay is light in the first half, but doesn’t remain so tight in the second. The locations are nice, and the songs are not just beautiful, but quite fit in the movie. The cinematography is nice and in certain places the story is told simply with cinematography. At least in one place I remember seeing that.

Actors are good. Saif knows what he’s good at though goes overboard at times. Deepika seems like the role could have been written keeping her in mind. Diana is pretty, the cute girl of the movie. Dimple looks quite natural even with a little overacting thrown in for her role, but it’s Boman who speaks so less and still looks all natural and perfect in his small role, mostly with his expressions and his varied funny voices.

Basically, if you don’t mind a little LAK hangover, this Cocktail might be perfect for your weekend. Or whenever you want to have a little weekend.

Mashallah (Ek Tha Tiger): Music Review (Sajid-Wajid)

You might call me mad for this, but the first three-four seconds into the song felt a little like Sneha Khanwalkar singing Bhaiya Bhaiya from Jiya ho Bihar ke lala to me. From then on though, the song was a different thing, with all Turkish-Arabic style patterned arrangements on an okay composition by Sajid-Wajid.

To tell the truth, I had been expecting something better, something maybe of the level of Tere Mast Mast Do Nain, but then the news that Wajid himself would be singing the song had its own problems. However, the result was just an okay one. The composition is good in some places, mostly where Shreya is singing (like tu mila mili mujhe khudai), but does not retain the quality througout.

The second best part is my ringtone, i.e. the prelude of the song that appeared in the theatrical as well.

One more positive aspect in the mediocre song is Wajid’s singing. No, he hasn’t suddenly become KK or Sonu Nigam, but he sounds better than almost all his previous attempts, e.g. Dabangg title song where he was supposed to sing just ‘hud hud dabang dabang dabang dabang’ and he sang that too as daBHang daBHang instead.

I have my own doubts about singing as Mashallah what I thought to be Masha Allah or Masha’Allah, but I am sure that Dabang is Dabang only and is not rendered as DaBHang in any dialect.

Other than all that, just to state the obvious, Shreya Ghoshal is one of the best things to have happened to the song. She’s the one who is singing it beautifully, like always.

Cocktail Music Review (Pritam)

Heavy voices and Light rock, if mixed well, can be the key ingredients of a Bollywood hit today. And this time in Cocktail, Pritam seems to have kept this well in mind. No, not taking any credit away from him for this wonderful album, just trying to understand how it was made.

Tumhi ho Bandhu – what Pritam is.

With Neeraj Shridhar and a tune that catches you in literally seconds, not minutes, Pritam adds Kavita Seth’s voice to make a perfect cocktail of music in the very first song of the album. One that took the world by the storm, and is not going to go down too soon. It DOES make you tap your feet.

The good part about the song is that the more catchy part of the song – tumhi din chadhe..sakha tumhi – is not all that the song has. The soul of the song comes up with Kavita’s singing and Irshad’s words which seem to express a Meerabai like devotion even in the beach-madness-rock ambiance.

Daaru Desi – regular stuff from Pritam.

A song that would at one time happen to feature KK and can’t-guess-who comes up beautifully in Benny and Shalmali’s voices. After Ishaqzaade, Shalmali’s open voice singing works here too, though the song is not Pareshaan for sure. Good, worth a listen.

Mohan Kanan. Shilpa Rao. A little more Rock. And a good song. Na chhode yaariyan.

Actually people criticize me for being reminded of songs all the time while reviewing. And at times I feel that’s true. But I can’t help thinking of Kar Chalna shuru tu when I listen to Yaariyan. Not like the songs are same. It’s just the Amit Trivedi style processing of the song and the minor similarities in songs make me think of the former. However, Pritam takes a beautiful step in making Mohan sing this one. The depth in his voice is an expression in itself. Lovely that.

Second Hand Jawani. The compulsory single screen collection song.

The song with Meri behen-d jawani, second hand jawani type words. Catchy, Govinda-age music. Singers can be from India or Canada, you know what it is. Important for collection in single screen cinemas.

Tera naam japdi phiraan. Light rock, Heavy voices.

Javed Bashir here has been given a mammoth task. Of making an average song an awesome one. The track is good, and the experiment of using Javed’s voice and Sufi style singing with Nikhil’s full fledged English lyrics and some Barbie-doll style singing by Shefali turns out to be nice. However, this one could be added a unplugged kind version, with just Javed leading the song instead of the remix.

Luttna. Lovely singing. Killer lyrics.

Yep. Taking nothing out of the music, I’d say it’s the superb lyrics that make the song. Anupam Amod’s slow, shayari-ish singing is beautiful here, and the background rock track is just fine. But the overall mix gets heady, if you’re the one for it.

Welcome to India, Arif Lohar.

Heard the name and can’t place it? I bet it’s that one song of Coke Studio that you either didn’t hear much, or heard and just got stuck to. Jugni ji is here in India, in a new cover, but the packaging and the material, though changed, has not been altered too much, mostly keeping the soul of the song there. The lovers of Coke Studio might not like it too much, but Pritam has done some good work here, much of it by not working too much on the song. This one is something to listen to, a must-loop if you haven’t heard the original one. And yes, before I forget, good choice putting Harshdeep here, she is that one part of the song that’s probably better than that in original.

So that was the review that should have came ages ago. But better late than never. Hope you’re loving this Cocktail already.

Book Review: The Asocial Networking – Dhiraj Kumar

Why this Review?

Because the author asked me if I’d like to review a book, and I said yes, and received the book a few days later, AND the author kept asking me when I’d write the review.

Why this Book?

I hope the author knows. I think it’s because he had a thought in his mind on which he thought of writing a book and just went ahead. Not like I am against the book or something, but I’d prefer a white paper or something on the subject rather than a book.
Continue reading “Book Review: The Asocial Networking – Dhiraj Kumar”

Gangs of Wasseypur: Music Review (Sneha Khanwalkar, Piyush Mishra)

No, what’s there about this Anurag Kashyap guy, that every time he comes up with a movie, all these internet addicts, facebookers and twitterati people get up from graves and start writing praises everywhere they can. Why?

I myself am one of those net addicts, and even though I don’t exactly know the answer, it probably lies somewhere in the raw style he has, be it his films or their music. Yes, the man has used some nine composers in his nine directed movies, repeating just one of them, and coming out with different but wonderful music mostly.

This time, Anurag gets Dibakar Bannerjee’s regular composer, Sneha Khanwalkar to compose, as Dibakar goes for Vishal-Shekhar for his Shanghai, which comes in the same month.

And from here on, it’s not Anurag, but Sneha who is the point of interest. More because her music seems as raw as Anurag’s movies.

The first song of the album, Jiya ho Bihar ke lala, is the trend setter, theme setter for the movie. With those lovely beats and Manoj Tiwari, Sneha creates something really rare for the film industry, even though something of similar style should be very common on the streets of Bihar. The song, which is based on a para picked from a Nautanki in Gaya district, justifies the one month research Sneha seems to have done for the song, and Manoj Tiwari sounds like the most natural choice for the song. Full marks for this one.

Hunter, the second song of the album, is all experimental, with the music-melody normal, arrangements and voices used highly experimental, and lyrics quite double-meaning. If you get the lyrics, you’d enjoy the song a lot, else you might just like it for the experimental value.

Womaniya, however, is a simple song for the album. That said, don’t expect Shaan or Sonu Nigam to come up with a ‘dil churaya’ type song. This one is a very typical piece for all those hundred ceremonies (generally before and after weddings) where the elder ladies of the ‘mohalla’ take charge of the dholak and just sit down to share songs which are more jokes than songs. The best part of this one is that Sneha maintains the realness of the song completely with just a few added beats. And yes, if Varun Grover has written those lyrics all by himself, without help from a professional dadi-nani-aunty from the mohalla sangeets, he’s a sooper guy, to say the least.

..paataal mein ghus ja. Jisme ghusna hai ghus le, ghus meri jaan. Teri Keh ke Lunga. Okay, they are not the best words of the song, but they give you an idea of the song. The song, in iteslf, is a little dark, gives you a feel of the movie without even watching it, and you know it’d be running in the background in the xyz type of scenes. Sneha herself, is a little unusual for singer here, but with the words they sing and the way they sing them, the two are worth listening to.

Bhoos. Five minute and ten second song. And forty-five seconds of April fool. 🙂

Yes, the story is little like that only. The first 45 seconds into the song and one sings it’s a soul-stirring number from, say, Piyush Mishra, like that Sheher of Gulaal.. And then, Voila, there is a gentlemen-sangeet. A song that makes you feel like an idiot with its words, but I still love the words, because they are not really idiotic. Also the Nautanki-ish parts in the second half are lovely. One of my personal favorites on the album, probably because I’ve not really heard anything like that ever, despite its simplicity. Manish J Tipu (composer, Phas Gaye Re Obama) and Bhupesh Singh are the names on the cover.

Ik Bagal mein. I mean, there is nothing to say about the song other than it’s a TRADEMARK Piyush Mishra song. I suppose the song is written, composed, arranged, sung by Piyush Mishra only. The song is a masterpiece, and I can listen to it a hundred times. Especially towards the end the song is terrifyingly haunting and just superb, wonderful. The only complaint, it sounds so much like Duniya, despite some lovely sitar and overall difference in arrangements. Still, this one is what you must be looking for if you’re one into serious music.

Bhaiyya is a track which is again experimental, where a performance by Musahar of Sundarpur gets turned into something heavy, but the track is not so much of a success, majorly because you need to work too hard to get the words being sung.

Tain tain toon toon ti ti tee tee ta. Spoiler ahead. The spoiler is that the whole song has similar kind of lyrics, as if someone’s singing a self-made barahkhadi. You can seriously write your own lyrics for the music. Spoiler ends. And the music of the song is quite good.

Soona kar ke gharwa. I don’t know what I found in this simple dhol-manjeera song, but I just loved this one. There aren’t many words in the small song, and everything sounds real. I somehow feel like this is a simple recording from the Gaya Nautanki where Sneha found Jiya ho Bihar ke lala (I did hear jay ho Bihar ke lala in the background in this one). But no official word on this one.

Gareebi tod deti hai jo riste khaas hote hain, aur paraye apne hote hain, jab paise paas hote hain. And one more like that. But it’s the instrumental part after that that was the focus. Still, I didn’t get what really Sneha planned on providing here. Because if there was something played by the baal party, it’s more or less lost in the mixing. Not the favorite.

Womaniya, which comes as a remix-like version here (not called remix, the other version was ‘live’) is one of the highlights, and most probably will be a hit, or a superhit, depends on publicity. Do listen.

There is one song in this album that I don’t want to watch a video for. Manmauji, the song, is something I would have loved to listen on the radio in the afternoon sessions of my summer vacations with mom, without thinking if the song had a video at all. Seriously, my complaint is that the song is just two minutes and fifty-three seconds long. Sneha, wherever you are, if you’re listening, please, please, please create some more songs like that. Khula hai baajuband phata hai kaaj sambhal ke chalna hoga.

Loonga Loonga, a little too much of mixing-remixing. Skipping this one.

Humni ke chhodi ke nagariya e baba. This one from Deepak Kumar – Muzaffarpur is yet another very earthy number. In fact the song reminds me of some music that I have heard within my hometown, and in a very unimagined way, gives me a kind of peace. The only problem is that I don’t really get all the words in the song, hope that will be solved though.

So, the album is something to listen to, and the album is something all those who want to listen to ‘experimental’ music would love to have. Mind you, this album in itself is a complete season of Sound Trippin’ from Sneha. In fact the album tells me that music not always needs to be ‘composed’, you can ‘discover’ music and then produce it. Of course, that too needs a genius, but that would be a genius that would continuously learn, and it seems Sneha Khanwalkar is one such genius. More power to her.

And I hope you know by now why Anurag Kashyap is a guy talked about. No, producing a movie that features THIS music is not everyone’s kind of game. And then, that’s not all. The movie is yet to come. More power to him.

O ri Duniya.. #np

Ishaqzaade: Music Review (Amit Trivedi, Lyrics: Kausar Munir)

And with Ishaqzaade, Amit Trivedi surprises you again.

After listening to Suraj Jagan’s rocking Aafaton ke Parinde, I was expecting some rock from the title song, but Javed Ali’s simple rendition of the title song not only caught me off guard, I knew that the song was going to grow on me. And so it was. Growing on me slowly, every time I heard it. The reasons were plenty. One, the song was quite new for me, as in, it was a simple, nice composition, very much Indian at the heart and Javed Ali sings it very much that way, but it has sax and western drums, which give way to Indian style beats. That was just some analysis I could do, I hope you get the essence. The song suddenly shifting from Javed to Shreya at the end is interesting, though nothing really new, yet Shreya once again surprises with her singing, or rather the voice here. Just listen to the song. A few times.

Hua Chhokra Jawan re. An Amit Trivedi desi song, with a touch of brass band effect, mostly from the drums used. Sunidhi Chauhan is the best part of the song, as the lyrics get full justice done to them the way she sings them. Vishal Dadlani is definitely not bad, but he didn’t here need the depth that generally comes with his voice, and I’m not such a big fan of his masti-mood songs, like Dhaeon-Dhaeon, and this. Still, interesting stuff, to say the least. Worth a try definitely.
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Tezzz: Music Review (Sajid-Wajid)

Recently I was watching an interview of Sonu Nigam. Money was being discussed and Sonu was asked if there are music directors for whom he sings for free at times. And the answer was yes, but the first name he took was a bit of a surprise for me. It was none other than Sajid-Wajid. Not like I don’t have reasons to believe they are good composers or Sonu Nigam shouldn’t enjoy great relationship with them (he got his biggest pop hit, Deewana, from Sajid-Wajid), but it just wasn’t a big enough name somehow. I think that’s gonna change now.

Yep. Sajid-Wajid sound like a very ’90s composers at times, but their greatness exists in the fact that even when they sound like ’90s, they are so good with it that you end up loving them. The only problems they have had is that they have not really been very consistent, and of course, they haven’t had very big names to work with, with a regular exception of Salman Khan. The latter is changing, and I hope that the former changes too.

OK that was a long prologue for a small album with just four original tracks, though there are twelve versions on the disk. So here we go on Tezzz.

The album starts with the gem of a song called Tere bina tere bina dil naiyo lagda, sung by Rahat Fateh Ali Khan. A nice melody, and quite some Nadeem-Shravan’ish treatment is what the song has, but neither of the two is mediocre and some simple singing from Rahat is enough to make the song lovable. And that is what it is. Lovely.

Tezzz title song sung by Sunidhi is an average number, with a little Abbas-Mustan feel to it, which seems to be going with the movie. Sunidhi’s singing is good here, but the results are more or less just okay. Maybe the song will be liked a bit more with time and promotion.

Mohit Chauhan singing for Sajid-Wajid is something rare, if not a first. However, the duo give the master singer a song that fits his voice perfectly and the treatment is more or less the same as he generally gets from Pritam, with an added Chorus for him singing tere saaye mein, which makes the romantic song more devotional. A simple, light, romantic number, with the added chorus adding a little more to the song.

Laila, the next by Sunidhi is an average number again, and somehow after not liking it after listening to it a few times, didn’t feel like listening to it more. Passable.

For the next track, Shreya Ghoshal comes to sing Tere bina tere bina, which sounds perfectly good, but a little more ‘old’, a little more ’90s. Probably because Rahat’s adds a little twist to a song, you don’t feel it so much in the male version. However, worth a listen for sure. Do listen and decide for yourself if you like this one more.

Shaan’s version of Tezzz is not really great. Wondering if this could have been given to KK. Not sticking much on remixes, I shift towards the sad version of Tere Bina, which I presume could be better with a few more twists thrown in with that simplicity. The last thing I would like to say a little about is Tere Bina (Indian) version. Sudden thought: It’s still Rahat singing, so how’s it more Indian? Well, jokes apart, the version is a little more towards Aashiqui as beats come more from the Tabla here and that IS nice, but I think a little more Indianization of the version could make things more interesting.

Overall, Tezzz has got quite some nice music from Sajid-Wajid, even if it doesn’t go equally in all the songs. Other than that, the album has got a little too many versions. I think if you don’t want to go into much and want to get the sure shot numbers, go for Rahat’s version of Tere Bina and Mohit’s Main hoon shab. And if it’s a little more, you can try the Indian version and Shreya’s version as well.

Ek Deewana Tha: Music Review (A R Rahman)

we have an awesome start, an almost perfect Hosanna, a lovely Sharminda Hoon, a romantically touching zohra-jabeen, and a lot many average to above average to even good other tracks. I guess that good enough for now. Isn’t it?

Also, after taking a look at some more reviews, I think it would be better to mention that I have not heard Vinnaithaandi Varuvaya and hence the review is from the perspective of a person who has NOT heard the original album, and listening to all the tunes for the first time.

Full Review on New Happysing.

Ek Main aur Ekk Tu: Music Review (Amit Trivedi)

Ek main aur Ekk tu is a good album, with some variety thrown in by Amit Trivedi. It’s not his type 1, with Anurag Kashyap connection and lots of rock, but type 2, something like Aisha, where there is variety, and freshness. However, I can feel a touch of Anjaana Anjaani in the album, in some of the songs.

Read Full Review here.

Agneepath: Music P-review (Ajay-Atul)

Check Full Review HERE.

The music of Agneepath is supposed to released in 10 days still, but the promotional tracks are out, somehow the thirty second previews were enough to make me write a review, based on promo track, so you can call it a preview as well.

Kamsin kamariya saali ik thumke se lakh maare, note hazaaron ke khulle chhutta karane aayi. Well, Chikni Chameli, featured on Katrina Kaif, is not just interesting with lyrics, its music is attractive and more than everything, Shreya Ghoshal’s singing is surprising. Gonna wait for the song.

Ajay-Atul. Roop Kumar Rathod. A song that says ‘sehme hue sapne mere haule haule angdaiyaan le rahe, thehre hue lamhe mere nayi nayi gehraiyaan le rahe, zindagi ne pehni hai muskaan.’ Seriously, do you need to know more? Again, I am waiting for the album! 😐

Deva Shree Ganesh is one song that is a little regular, probably because of the subject as well. Reminds me of Don’s bappa moriya, and probably not as zealous, but can’t be sure about the latter in a 30 second preview again.

What again beats me is Sonu Nigam’s Abhi mujh mein kahin. Sonu’s singing is getting worth songs after some long break it seems. Recently he sang a nice song in Lanka and now this. Lovely.

Shah ka Rutba sung by Sukhwinder seemed to be Dabangg pattern from the name, but the song has a different flavor and goes more in Azeem o shaan shehenshah in terms of lyrics, and the music is a little qawwali’ish. Not too great from the promo, but definitely a like.

Gun Gun Guna ye gaana re sung by Sunidhi Chauhan and Udit Narayan seems to be a break from Sunidhi’s recent series of (mostly average) item numbers, as the song sounds like a light number. Also, Udit Narayan, who does not feature in the promo track should be something to cheer as he is not generally seen in albums nowadays and lately I have started missing his voice to some extent.

So all in all, Agneepath looks like something that can be bought on the day it gets launched. I don’t think anyone’s going to be disappointed. And yes, Ajay-Atul are definitely here to stay.

For Full Review, Check HERE.