Dam 999: Music Review (Ouseppachchan)

Mujhe chhod ke kyun gayi, dil tod ke kyun chali.. when Hariharan starts singing, it sounds like an okay start. Okay because for once you feel that the lyrics have just been set on the music. Or something like that. And then you wonder whether the song will survive, because it’s really slow. But somehow it grows on you, and by the time you finish listening to it, you can play it again. At least I could.

Shreya’s version of the song is more or less the same, except that Shreya’s voice sounds more serious, a little heavier, than her regular voice. Nice.

The next song is a discovery. Of a singer. K Niran is the name and the guy reminded me of KK from the very start even though the voice did not sound much like KK’s. The song, Baat ye kya, is a slow number with very light, background’ish touch of rock in the arrangements. Frankly, the song is lovely, and the singer sings really nice. Problem: Pronunciation, diction. Hope it’ll get better with time, hoping he sings more Hindi.
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Don 2: Music Review (Shankar Ehsaan Loy)

So Farhan Akhtar makes SRK do a Salman in Don 2.

Well, I am not talking about acting, but like almost every Salman film, this time SRK starts the soundtrack of Don 2 with a dialog, that merges into the second track, Zaraa Dil ko thaam lo, beautifully sung by Vishal Dadlani and Anusha Mani. I mean Shankar Ehsaan Loy this time get a voice that sounds like that of a Don instead of Shaan, who sounded all nice, not too fit for a Don I’d say. The melody is nice even though SEL keep the arrangements much as in the previous Don. Nice start.

The thing that most interested me, however, was Usha Uthup’s mysterious voice singing na koi raat hai, na koi din yahaan, to start hai ye maaya. Shankar Ehsaan Loy come up with a nice melody again, though the arrangements have been kept very espionage-y, reminding me of Karthik calling Karthik where this job was entitled to Midival Punditz. Totally like. Precisely, it’s ‘more than background.’

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Ghost: Music Review (Toshi-Sharib)

I don’t know how many today are interested in listening to an album with Shiney Ahuja as the main lead of its movie. But I certainly have interest in listening to a Toshi-Sharib album. And hence, a review.

Toshi and Akram Sabri’s Jalwanuma shows the good and the bad of the brothers. The song is just like almost all the other hits from the brothers, but still the song sounds as nice as any of them and sticks like anything. Basically, couldn’t help liking it, even with nothing new in it.

The next song, Sunidhi’s Aaja Khatam Sabr kar de, is a nice number again, and though the song doesn’t have anything too interesting or new, it’s a simple, nice number on a good melody.

Song number three Salame Salame gets Shaan singing with Sharib. And the song is the type that would need quite some publicity before it can be popular, which I presume is not gonna be there easily. Shaan almost gets into the color of Sharib-Toshi here. And yeah, I was wondering how come so many of Shaan’s song have that word ’tishnagi.’

The next singer happens to be Javed Ali, who in Dil ke Liye once again sounds a lot like Sonu Nigam, especially in the higher notes. In fact Javed’s singing here, though quite good, reminds me of Kumar Sanu and even hints of Udit Narayan. Still, the song doesn’t sound like coming from ’90s, but has effects of Toshi-Sharib quite clear. Still, worth listening to.

The last song of the album Kahan hai tu is sung by Sharib alone. The rock number with some sad lyrics has some nice sounds that make it worth a listen again.

Overall, Ghost is a VERY Sharib-Toshi album with almost nothing new but still almost everything very much listenable. Somehow Sharib-Toshi are still able to maintain interest in their songs even with their repetitive style. Big deal I guess.

Jo Hum Chahein: Music Review (Sachin Gupta)

Sachin Gupta, the man behind Ehsaan itna sa kar de and Prince, is here again, with his new album, Jo Hum Chahein. Here is a review of the album.

The album starts with Aaj bhi Party sung by Suraj Jagan, which impresses with its sound from the very beginning. Yet another party song, Aaj bhi party is based on a nice tune and the sound of the song has been well worked on. Suraj Jagan once again does well.

The second song of the album, Ishq hothon se to hota nahi bayaan is a nice surprise from KK and Shreya Ghoshal, that goes a little in the ‘Ehsaan’ way, without the high notes. I mean, the song is a really soulful number with lovely lyrics and soft music on a nice melody, but the background has some rock’ish effects here and there. Well fused. Do listen.

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Ladies v/s Ricky Bahl: Music Review (Salim-Sulaiman)

Salim-Sulaiman once again do well for the Yash Raj banner. Here is a review of Ladies v/s Ricky Bahl.

Aadat se majboor has some experimental sounds with the regular Salim-Sulaiman pop pattern. The tune is catchy and the song sounds quite nice. Easy on ears. Salim-Sulaiman-Benny-YRF is a success again.

The next, Jazbaa sung by Shilpa Rao, has some nice lyrics and Salim-Sulaiman give some simple sounding music for this one, though the choice of instruments doesn’t sound that simple if you listen with attention. Salim’s backing vocals might remind you of Fashion or any other of their songs as well. Still, the song is overall a nice one and the hardwork the composers have put in is clearly audible.

Vishal Dadlani and Shweta Pandit’s poppy Thug le has a bit too simple tune in some parts, and even though the song is made to be catchy, I didn’t feel the song would last long. The lyrics aren’t Amitabh’s best either. Okay.

Salim finally enters with a full-fledged song called Jigar da Tukda, sung with Shradhha Pandit. The Punjabi song with a lot of pop in it, Jigar da tukda is interesting and should be a hit considering the amount of publicity YRF would give it.

Fatal Attraction, the theme, which has Salim in it with an unknown female voice which sounded like Sunidhi Chauhan’s at some points, and which hit me like Marjaava at 1.58 mins, is okay. The remix of Aadat se Majboor sounded nice too, though didn’t like Jazbaa remix much.

Frankly, in Ladies v/s Ricky Bahl, Salim-Sulaiman seem to have tried to do something more than their regular even though staying in their favorite region. So there is something new, a little new sound, but still the signature of Salim-Sulaiman is there. I’d say nice, because the album is definitely good, but yeah, I am still waiting for the duo to be less techno and rely more on melody some time, like they did earlier, in Dor and Aaja Nachle. Hope they’ll come up with something ‘that’ nice too.

The Dirty Picture: Music Review (Vishal-Shekhar)

..and Vishal-Shekhar are almost back to being Vishal-Shekhar.

Ooh la la is, as it is supposed to sound, does sound like an average famous song of ’80s n earlier ’90s. Bappi Lahiri is a nice choice for the song and Shreya is not even questionable. The ‘gira ke apna pallu’ part is a total twenty-years-ago material. Awesomeness in its own way.

The first notes of Ishq Sufiana remind me of badmash dil, but from the very rendering of ‘rab ki kawali hai’ the song sounds like making of something big. The song is definitely nice, but as of now I am loving Sunidhi’s female version of the song more, a rare thing as I mostly prefer male versions of songs, just an observation. At the same time would like to tell that Kamal sings really well (expected after his performances in Saregamapa) for a new singer.
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Jo Dooba So Paar, It’s Love in Bihar: Music Review

Of course, the movie is supposed to be interesting and so is the music in case of Jo Dooba So Paar, It’s Love in Bihar, if you have seen the promo even once. Here is a review of the album, composed by Manish J Tipu.

The album starts with Tochi Raina and Pia Sukanya’s Shiv ka baaje damru. The song, which is supposed to be romantic, has been added some linguistic elements which can make you laugh too, like ‘chanda bhi kankhi se dekhe tujhe, kudrat ka khela hai tu full too.’ The music and arrangements are simple but powerful and suit the settings of the movie.

The next song, Raghubir Yadav’s Andey garam garam is a satire with the basic tune of Andey garam garam going on that of Vande Mataram. The lyrics of the song, which are probably the most important thing here, are quite interesting, and in places quite thought-provoking. In short, even though this one is not as straightforward from the first line as Mehngai Dayan was, I’d say the song is bang on.

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Ye Stupid Pyaar: Music Review (Vipin Patwa)

The album begins with Nikhil D’Souza’s Lamha Lamha, and though the song doesn’t seem to be one for a long life, Nikhil’s voice is nice and the music and lyrics are average, making the song an okay one.

Second song in a row begins in such a way that you are bound to think if the composer is some old follower of Pritam. Anyway, KK sings the simple tune of Tere naam se in his lovely voice, almost reminding me of hothon se chhoo lo tum, mera geet amar kar do. I mean, I wonder how many songs have risen in standard simply because of the voice and the way of singing of KK. Not an exceptionally good track, but you’d most probably like to listen to it.
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Miley na Miley Hum: Music Review (Sajid-Wajid)

I don’t know how you’re liking the video of Haan yahi pyaar hai showing Kangana Ranaut and Chirag Paswan, the song is easy on ears and Shaan seems to be doing good in some song after some time. Shreya is good as ever, or probably a little better, and that does add to the song. In short, I like.

The second song of the album, Wake Up now, is already on the TV too, and though the song faintly reminds me of some other song, and sounds like a wannabe Shankar-Ehsaan-Loy number, guess it is not too bad for a little party mood. Suzanne’s voice and the second-long entry of ghunghroo’s sound are some good points of the song.

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Tell Me O Kkhuda: Music Review (Pritam)

The album starts with Oh-I-think-I-have-seen-this-on-tv Someone somebody. Well, I mean to say that most of you would have seen it on the TV but probably just don’t remember. Well, again, it seems what you saw on the TV was the remix version and the original version seems to be nice, decent. Sunidhi seems doing well here and the lyrics fit with the slow tune. Actually, I like, though at six minutes the song gets a little too long.

The next entry is that of Anupam Amod and Aditi Banerjee’s Love you Dad, and almost tells you the real life story of Esha Deol and Dharmendra, even though the story in the movie would be something else. Anupam Amod sounds like some singer of ’90s but sounds nice, a nice one after Saudebaazi. As for Aditi, it’s not her song really as she doesn’t get too much to sing here. Emo stuff, not bad if you like that.

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Ae Dosheeza (Kshitij Tarey): Music Review (Gaurav Dagaonkar)

Kshitij Tarey has been the front runner singer in almost all the albums of Mithoon, a composer who has been loved by many of us. But I was surprised to see an unknown composer Gaurav Dagaonkar’s name on the album, and Mithoon wasn’t there even as a guest composer. Probably Kshitij wanted something different from his album, or whatever. In any case, here is a review of the seven track minus two remixes’ album.

The album starts with O meri jaane jaan. The song with a not-too-hard rock base sounds nice and would rate as good for a first timer, but when you talk of Kshitij Tarey, the song doesn’t live up to the name he has made for himself. An average one to start with.

The second song of the album happens to be the title song, and sounds better than the first for sure, probably because it’s more in the league of songs that Kshitij is known for. Even though the song is kinda pop, at a relatively slow pace, after listening to it for a few times, it sounds nice, though not too great. I mean, I still don’t have the Kshitij Tarey in the album that I expected.

And then, he arrives, with the popular Thumri – Yaad piya ki aaye. He just sounds wonderful, as great as anyone whom I have heard singing this. But then, with my near-zero knowledge of classical music, I am no one to rate him, or any of these great people here. It’d be like seeing the stars without a telescope and guessing their distances. It’s lovely, and that’s all I have to say. The one thing I would like to mention here, though, is that I quite loved the little jazzy background with all those drums here. Kudos to the composer for that.

The treat continues as Kshitij sings Saanware. But then, this one comes from Roop Kumar Rathod’s teri justajoo, and after listening to Roop Kumar Rathod, this slow-soft version of Kshitij may not be that tasteful to some. Still, a really nice number with some deep singing.

The last track of the album is Bulle nu Samjhavan aaiyan, another old track, sung by many others including Abida. Once again nice singing, but besides that there is nothing extra in the song.

To summarize, Kshitij doesn’t seem to find a composer who could do justice to his singing and hence goes with a middle way, singing old folk/classic songs and also adding a little fresh, new stuff. It’s not for you if you’re looking for something. But if you like listening to some good singing irrespective of the age of song, or are a Kshitij fan, definitely go ahead.

Jaana Pehchana: Music Review (Ravindra Jain)

When I heard the first song of Jaana Pehchana (sequel to 1978 movie Ankhiyon ke jharokhon se), Hairatzada hoon main, I was wondering whether I’d be able to unbiasedly review the song as it was sung by Sachin, someone I have loved, for not only his acting and direction, but also his knowledge of music as well as his singing, and his very occasional singing too. But then as I heard the song once and twice, Ravindra Jain’s music, which gives you a touch from original movie’s soundtrack, seemed to touch me, even though it has not changed much with the time. Nothing too great in the song but if you like Jain’s music, here is another simple and likable number for you.

Kavita Seth sings the next track, Ek Farishta mil gaya hai, in a relatively more raw voice, that compared to her own voice in many other songs. But interestingly, as you move into the song, you kind of like it more and more; of course, if you have an ear for the slow number. The arrangements, a bit too old for the times, and giving a more of late 80s-early 90s can be a drawback for the song, but liked it fine.

Jis mod pe jis haal mein is a small one and half minute track based on Ankhiyon ke jharokhon se title track, probably a sad version that was missing in the 1978 movie. Simple n nice.

The surprise of the album comes as Javed Ali’s Zindagi mein Kahin na Kahin. Sonu Nigam has sounded, willingly or unwillingly, like Mohd Rafi many times, and many a times I personally felt Javed Ali’s was a very similar voice as Sonu’s. But never did I think before this song that Javed could sound so much like Rafi. The seriousness of Javed’s voice gets the old-age composition of Ravindra Jain and gets me a completely nostalgic song, so much that I heard it a few times without thinking about anything other than Rafi, and of course, Javed. Do listen to the song if you miss the songs of those years in today’s age.

Sadhana Sargam’s Jaisi bhi hai ye zindagi is once again based on the title of Ankhiyon ke jharokhon se. Less than two minutes track’s length is another thing that helps manke it sound nice, as the length definitely doesn’t let things get boring.

The last song hai ranj ka samaan too, as I had somehow expected, happens to be based on Ankhiyon ke jhaorkhon se title track, this time at the original’s pace, though again barely one and half minutes.

Overall, the album doesn’t have much new, but a lot of small tracks, half of the number, which are based on one old title track. Still, ZIndagi mein kahin na kahin is something to listen to, and Kavita Seth’s EK Farishta isn’t bad. I wonder if Rajshri should have got a few more original tracks like them rather then depending so much on the single old stuff.

Rockstar (2011) Music Review (A R Rahman)

Rockstar starts with Mohit Chauhan singing Phir se ud chala. The song, that starts with a relatively light mood and gets a breezy effect from Mohit, like the words of the song, gets remixy by the end, actually a nice experiment that will catch on slowly. One very interesting part of the song, though, was the background vocals in the beginning and end.

Jo bhi main kehna chahoon, barbaad karen alfaaz mere. Frankly, I am a fan of this one line written by Irshad Kamil. And then A R Rahman in an experimental mood, composing like there is someone actually singing at a concert. And Mohit Chauhan singing that. I don’t think there was anything more required, but still, the song has a lovely video as an add-on. Seems I wrote a lot just praising the song, but guess it’s worth that. Do listen.

Katiya Karoon. Dangerous words. Rocking music. And superb vocals by Harshdeep. If she has managed to be not famous even after Rang De Basanti, this time Rahman is definitely gonna make her known. DO listen.

Kun Faaya Kun is once again Rahman at his regular divine stuff, sung by him with Javed Ali and Mohit. I sometimes wonder how Rahman is so easily able to create such wonderful songs in the same segment, one after the other, and all of them equally great. Yes, good is a small word here.

The next, Sheher mein, is a Very exceptional number, where one person tells how to sing, that is what to do, followed by lines, followed by Ranbir that is Mohit singing them again. While Karthick sings the song as a regular singer, Mohit takes every line in a stylish mood and you just enjoy the difference.

Hawa hawa, featuring Rahman’s Foreign language gang with Mohit Chauhan, has an Arabian touch in its music and arrangements, while Mohit again sings with some more experimentation. Wondering how much of experiment is going to be there with his voice in just one album. Not a quick catch, may be interesting with a video though, as the song has some interesting words with a conversational style.

Aur ho, the next song, that begins with Alma Ferovic’s voice, is the first true rock number of the album. Even though the background of the song is quite light in most of the song and has a very familiar Rahman touch, but Mohit’s voice gets incredibly high in some places, like an all new rockstar. Do listen for a nice glimpse of that old Rahman.

Rahman and Mohit’s O Naadan Parindey, which is already a lovely composition in itself, has got a LOT of experimentation done by Rahman in background and foreground, and unless you listen to the song a few times you’ll find a song a little difficult to follow. But whatever you do or do not, make sure you listen to Kaaga re kaaga re part sung by Mohit. Lovely, no, Very lovely one.

When I heard the 30 second preview of Kavita Krishnamurthy Subramaniam’s Tumko pa hi liya, I thought of it as a very regular song, and was wondering if Rahman should have given it to Madhushree to making it a little more interesting.

I was wrong.

Rahman makes a lovely slow number with a nice, light Indian-Western fusion with a lot of Tabla, while Kavita just sings the slow, long melody in the foreground. A song that will take some hours to get on, and a lot, lot more to get off.

Next to next after tum ko, comes tum ho, almost the same tune sung by Mohit Chauhan, with all different style and arrangements, so much so that it’s difficult to guess its the same song if you’re listening to both for the first time. Mohit sings the song much more beautifully, but not taking much away from Kavita’s version as what she sings is again equally different.

Tango for Taj, the three minute instrumental, is a common, but nice, and to some extent engaging track that one would actually like to dance on. While Dichtomy of Fame, based on Shehnai and guitars, is one instrumental piece in long time I really liked, even though I don’t think I have much of an ear for instrumental pieces.

The last track, The Meeting Place, is rendition of a single sentence by Ranbir, based on Rumi’s poem. All I have to say is that if they had not given this one, people probably would ask for it after watching the movie.

And if you are wondering where is Sadda Haq, it’s between Kavita’s Tum ko, and Mohit’s Tum ho, but had decided to avoid until the end. Have still to play it.

Orianthi. Superb guitars from the first second.

Besides that, I don’t know much about Sadda Haq aithe rakh. The song is completely anthem-ish. And it gives you a high like it should, even though the best part of the song is already listened by almost everyone, tens of times in my case. The song is expected to do well everywhere, including country, overseas, in Punjab and out of it (talking of the language), on youtube, and probably even on your website if you put it there. You can listen to it while exercising, or getting ready for an exam. If you’re going for some protest, it’s a must have, be it social, political, or emotional. In short, Sadda Haq aithe rakh is a song for many seasons. And you can probably buy the CD for this song alone.

Enough said.

My Friend Pinto: Music Review (Ajay-Atul et al.)

Dhinchak Zindagi didn’t sound so dhinchak to me even with its not bad melody, probably because of its arrangements, and Kunal sounds a bit too enthusiastic here, but then that probably goes with the song. Overall fine, but not too great.

The next, do kabootar gets some reduction in noise levels, and even though it’s Kunal again, the song and the singing are both better. Even though the song is nice, if you listen to the lyrics, they seem worthy of a little more serious tune. Not bad still. Like it.
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Mod: Music Review (Tapas Relia)

Shivam Pathak and Shreya Ghoshal’s ‘Tu hi tu‘ is nice in music, its orchestration, and singing as well. The slow, restricted number with relatively light music is easy on ears, while Shivam Pathak’s so-heard voice seems really nice in the song.

The next song, Ae meri jaaniya, happens to be a solo for Shivam, and he, kind of expectedly, sounds a lot like in the footsteps of Sonu Nigam, in his early days, though the husky touch give a different character to his voice. Nice singing by him on the slow number, but I guess there is scope for improvement for him, more in the level of confidence.
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