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.

The album starts with ‘Hero‘ which sounds like a song of ’90s, but Madhushree’s voice is perfect for the song and the song is lovable, even with the oldy music. Tale Spin’s rap is nothing too great, but doesn’t disturb the flow of song and in due times gets mixed into the song. Like.

The next song, Chal Kuchh Pal, the title song of the album, is again a slow number but the arrangements don’t sound old like they did in the first one. An okay one that would again sound better every time you listen to it.

The third song, Ishq ne aisa is a good one as the composition, though slow, is easy, simple and still lovely. The lyrics of the romantic number are good, though the words ‘ishq ne aisa shankh bajaya’ were a bit confusing to my ears. Still, the song featuring Sachin Tyagi, is nice. Do listen to this one if you’re one for slow, ghazal-ish-ly old sounding love songs.

The next song, Pal, starts with some lovely keys on Piano with percussion entering the song in style while Madhushree sings pal har pal, mere saath chal, jaana na mujhse tu aage nikal. Besides the lyrics, the song is a lovely mixture of simple arrangements of instruments.

Shabnami, though, was one song of the album where I thought the composition was okay but Madhushree sounded a bit uncomfrotable with the song, or maybe just not the right choice for the song. Okay.

The next song, Tum bhi ek Baar is a lovely one mostly based on Tabla, while the background has a jazzy touch. A beautiful combination of lyrics, singing, tabla and saxophone. Do listen to this one.

Aaj ki raat is a ghazal with a modern touch, and though the extra additions are not so good, the main ghazal is well composed and sung, well enough to be liked at least.

Jaane Kya Hua featuring composer Robby Badal is a lovely composition that sounds good right from the start where Madhushree sings almost an unplugged and then moves to some slowly falling beats. The slow number gives a good chance to the singer and she does her job quite wonderfully.

The last song is a Tamil version of Hero but the track is so interesting that I fell again for the song in the first twenty seconds itself when there was no language spoken one. I probably wouldn’t mind listening to the song in Tamil a few times as well, though I hardly understand a word there.

Overall, Madhushree’s Kuch Pal is something to look for if you like slow, slightly old sounding songs. While the compositions and arrangements are not old everywhere and have some new and interesting things as well, a touch and tendency towards the old music is there in the album, that probably suits Madhushree’s voice well. The album is definitely good and can prove one for your long term collection depending on your tastes.

Aao na is a good track and the voice as well as composition and the overall result is good.

The title track, Damaru (Acoustic), though is a bit too strange here as not only the words are too Sanskritized-Hindi, the jazzy saxophone is accompanied by street laugh of children. My guess, though, is that even with these things the song might have worked if the song had enough energy as the composition doesn’t sound bad. Even the electronika version has the same problems and didn’t appeal much to me.

Sanjhari De Bata is one song I completely loved. A completely different composition with different arrangements, one new voice and some beautiful lyrics, the song is something to listen to. But the last track, Walk Alone, which very guessably comes from Ekla chalo, doesn’t seem to be doing justice to the old number.

Overall, Damaru has a few good things but overall as an album it could be much better. Not highly recommended.

The first song, Ek ladki hai shabnami jaisi has so very common lyrics and even music and the voice of the debutant seems a bit touched up. But the arrangements are nice and the song sounds okay from the very first time, getting better with the time. Not too good, but nice. Worth a try.

The second song Teri Palkein is again a similar kind even though this one is a much more romantic one. But somehow the voice seems touched up again. While the lyrics are good and music and arrangements, especially the tabla, are interesting, the singer is not looking too noticeable till now.

Sau Raatein which has Shilpa Rao, has Shilpa Rao only for a few instants and Apoorv takes on the song alone. The good part is that the song gives the singer some scope to prove himself, and the bad part, is that the singer doesn’t prove himself that well. Frankly, the song doesn’t seem to be coming straight out of the heart, though Apoorv’s untouched voice sounds good.

Do Pal by Apoorv and Pandit Vinod Kumar Mishra is one of the good tracks of the album. While the music is good, Apoorv seems to have left behind some inhibitions that probably were there in the last song, and his voice comes out better. Kinda interesting.

After the good song, there is this bad one, Aye Khuda Aye Khuda, where you get a fast-paced sad song and the singer seems to be trying Atif-y style or something close to it. Whatever, the song is almost nothing besides the beats it has. For some reason, the next song Hey Diva Hey Diva has more touched up voice of Apoorv singing some English-Hindi-Urdu-Sanskrit-Science mixed words on the same music. Crappy.

In the last song, Bematlab thi zindagi, Apoorv comes up with Shilpa while the target looks like to create a ‘contemporary’ song, and while the composers have been successful to some extent, the attempt hasn’t completely succeeded, and the worst part is that the singer is doesn’t seem to be doing good enough. OK one again.

Overall, Ek Ladki Shabnami Jaisi, or rather Ek Ladki Shabnmi Jaisi is barely an average album, and while some of the songs are good, the attempt at showing off the singer, if any, has failed. Still, when the album ends, you still have a breezy title song with you, besides some bits and pieces.

There I started listening to Neelesh Misra and then never stopped for the next one and a half hours. I don’t know if I’ll be able to write an unbiased review of this thing I have completely fell for. So you may look at this as a praise. So, continue, shall I?

Yaadon ke idiot box mein, kya kya chalta hai. Shilpa Rao’s voice not only attracts you from the first time you listen to the song, it keeps getting better as the lyrics and music, all are good. A good start, but if you’re listening for the first time, probably Neelesh Misra’s commentary would still beat Shilpa’s lovely singing and those nostalgic lyrics.

Loneliness. The theme of second commentary, Tanha logon ke sheher mein. I’d not like to say more. Do listen to it.

The second song, Maazi starts with a radio-like sound, with Suraj Jagan’s voice, but the rock’ish attempts of Suraj seem to be only supporting Shilpa as she comes in. I’d say the song sounds like a fairly successful experiment. Wonder if the song should have been named More Piya.

Adrak ki chai use bhi pasand thi, mujhe bhi. Meri kavitayen use bhi pasand thi, mujhe bhi. Need I say more. Neelesh is impressive, continuously.

Yaadon ke Idiots box mein comes in for the second time and the good thing is that you have heard the tune once and you like it all the more. More like a pop-hit with a few words that do not fit the music but fit well in the context. A lovely song, though I wonder what generation it caters to as the lyrics mostly talk of the ’70s. Good nonetheless.

Poori film bhi nahi dekhne di usne. No, I can’t divulge more than that. Listen to the man, again. This time in the song as well, as the man, Neelesh Misra makes his debut (I hope) in singing, that too with a jazz number, Roobaru. Or as much jazz I liked to hear. Soft, romantic, easy on ears.

‘Gusse mein hum kitne badtameez ho jaate hain, nai..‘ and ‘Ullu!‘, the two things that give the story ahead.

Shayad, comes next, with Suraj and Shilpa. This one sounds quite like a Bollywood number, the ones that are created by Vishal-Shekhar nowadays, a bit sad, and with an element of rock in them, but definitely lovely. Or probably a bit better.

May ka mahina tha. Office ke saamne, ek building mein ek aurat achar ke liye neembu sukha rahi thi, maine phone uthaya, ek number dial kiya…

Suraj Jagan next sings a nostalgic, childhood memory of ‘Aangan.’ Watch out for the words here. Love them.

Aakhir shaadi ka fixed deposit. A touching narrative. Followed by a beautifully sung rock’ish, but more than that Naina Tore.

Shayad, the next piece, is a slightly romantic one, and the following Unka Khayal is something I must congratulate Neelesh Misra for. It’s definitely not easy to even decide to sing such a song for a beginner, but Neelesh pulls the much background-less thing off. Shilpa is of course good in this one. Lovely song, no, wait, ghazal it is, right? And made a jazzy one at that.

Takleef, followed by probably the only ‘fast’ song of the album Dil Raffu Raffu, chahti karwana re, followed by aapke jaisa hi hoon comes next. Among the three, probably Shilpa’s song is the weakest, cuz the two narrations are as good as the rest of them, the last one ending just like an ideal ‘kavitta,’ ending exactly where it started. Boss, chhote sheher ka Banda hoon main..

Recommended. Buy the CD. It deserves your 150 rupees.

PS: The CDs can also be bought from flipkart Here.

Well, after the small surprise on the cover, I was in for another surprise as I heard the first song, dil jhoom jhoom chale soneya, or simply Jhoom. The song is a Sufi style one, quite different from the songs Ali is known for. And while the song relies less on Western instruments and more on Tabla etc, Ali’s heavy voice (remember teri yaad aayi and jugnuon se bhar le aanchal) makes the song a bit heavy, but good nonetheless. One expects the song to be liked in time as one listens to it.

The second song ‘Tu jaanay na‘ is a lighter one, which Ali sings in that easy going style he has been most popular for. The way instruments in the background are not kept limited to background only, it reminds one of older songs of the industry. Easy on ears, and quite lovable.

The next, ‘Jab say dekha tujhko‘ clears from the very start that besides singing, Ali Zafar is here to show off his versatility, as he starts singing in that slightly intoxicated voice and goes on to sing high like Atif. In fact after listening to the song a few times I was wondering if I have heard anyone other than Sonu Nigam trying such versatile things in recent past. Maybe I have, but he is good for sure.

Jee dhoondhta hai phir wahi, fursat ke raat din. Well, Ali comes up with a new version of the popular Mausam song, but as the song started, somehow neither the settings nor his singing suited my ears. No big deal if I’m biased about this song, though. Still, the way he started the antaras, I liked them. So at the end, it’s just the way he sings the words of Mukhda that I don’t like. Besides, I think only the mukhda has the original words.

Koi Ummeed bar nahi aati, koi soorat nazar nahi aati. It seems that the King of pop, quite understandably, has a huge effect of the ’70s and before that on his tastes. While he seems to have a touch of Kishore Kumar here, his way of singing ghazals is lovely too. I’ve not heard this particular ghazal of Ghalib earlier but somehow I feel that Ali has done justice to the words of the ghazal. At the same time, the background is not too old to repel youngsters, and not too hip to reduce the effect of the words. Complete like.

In Jaan-e-man, while Ali still sings well, the song almost without a background music sounds kinda sleepy while Ali isn’t singing. Listen to this one only if you are into words and can bear with slow music.

The next song on the list is a well known Nahi ray Nahi, the song he has been so popular for at Coke Studio. For the uninitiated, the song is something like a slower version of certain parts of Sun ri sajaniya, with some better words and better singing too.

With the next song, Ali goes on to sing another song he did at Coke Studio, folk number yaar daadhi ishq aatish. While I still think I’d prefer the original version (the one by Juman Khan) anyday, this one is definitely not bad. And I guess that sums it up for the song.

The next, Daastan-e-ishq, another pick from Coke Studio, is well mixed but in many places the music seems to suppress the vocals, which makes the things not so good. Else, the song is definitely one to dance on here too.

The last song, Allah hu, is definitely something to listen to. The song starts usually, but as it moves ahead, a building up takes place and at some point the song and the listener almost reach a trance stage. A beautiful piece of jamming it is. And I think this trance that the jamming creates here is the main purpose of the song. Well done.

The last two tracks are remixes and the first among them is an R&B version of Jhoom, which was a Sufi song as the first track. Now while the R&B starts beautifully and the dil jhoom jhoom chale part goes just perfectly, some of the parts seem a bit too Sufi styled to make them R&B. Still, overall a likable arrangement and song.

The final song of the album Dastan-e-ishq (Dhol Version), sung by Aftab Khan with Ali, isn’t too great, but this one has open vocals that go hand-in-hand with the music. So this version has its own advantages.

Overall, Jhoom is a huge album which is difficult to rate in one sentence, so I’ll divide my verdict into two parts for ease. The first half of the album has some new, wonderful songs, and some good variety poured in by the singer. At the same time, the second half is not everyone’s cup of tea. While most songs in second half are well established, heard and respected over the years, not everyone may like them in their present style. Still, I expect that most people in the present generation would like them. And if you still have doubts, just go to Youtube and check a few of Ali Zafar’s Coke Studio videos. You’ll know whether it’s for you or not.

You can buy the album HERE.

The world, especially India, is moving towards rock now, and when Bollywood can rock, why can’t Lucky Ali? Well, I know this would be the last thing on his mind while making this song, but this was my first thought when I started to play ‘With you‘. A romantic, rockish piece with almost equal amounts of Hindi and English words. Good to listen to, though not the best of the album.

Yeh Zindagi (Everyone’s Watching You) starts with an English chorus and I wonder if the very first words were talking Geeta. Anyway, the song is more interesting than it’s good, though the lyrics and music make a worth listening song for sure.

KhudaHafiz (We Don’t have to say Goodbye) is again a good one, though the song sounds like a Bollywood sad number more than a Lucky Ali song. Still, the song is nothing less than good and should sound even better with every listening.

O Raahi (You’re never on your own) is again one wonderful pop’ish piece of poetry and music woven by Lucky Ali. The bakcground You’re never on your own is as good to listen to as Lucky’s singing but then it’s his poetry that makes the real difference. A must listen thing. By the way, Lucky Ali mentions his name in this song, a first I guess.

Rehne de is a small piece that starts very normally but as soon as Lucky Ali says Rehne de for the first time, I fall for the music and words at the same time. A song that urges others to let me remain as I am, Rehne de is a less than four minute song that moves you if you go deep into the song. The abrupt end of the song, though, is surprising for the first time.

Sea of Life (Duniya ke Samandar mein) is a song where Lucky is once again on the mission of finding himself. The song, somewhat a ballad, may remind you of Sur’s Jaane Kya Dhoondhta hai at the beginning, but the song is different and a good one.

Overall, Xsuie is a typical Lucky Ali thing with no song that can be counted as bad, or even not-good. All songs of the album are at least good, to wonderful. For now, I guess Dil Gaaye Jaa, O Raahi, Khudahafiz, Rehne De, and Sea of Life are the songs to be heard.

Lucky fans, get Lucky.

The album starts with a KK sung tere bin which sounds very much like some composition of Pritam. The way song starts abruptly doesn’t trouble you much but the album starting with such a typical song can for once make you skeptical, even though the song is good. As the song moves towards the end, more rock elements add up, but certainly not what I was expecting to hear. Okay.

The second song, Bandish, featuring Pete Lockett is more of a rock song that I was expecting. The music given by the band is wonderful as it has not just instruments but vocals also as part of it. The lyrics are inspiring and the music is good, fast, but not all hard rock. So even people with less taste in rock may like it.

Khuda Bakhsh/Tere bina featuring Krishna sounds like Bollywood material, but one of the better ones there. The song has completely Indian music with a percussion base. Something like what Rahat Fateh Ali Khan has been singing nowadays. Krishna has a signature style of singing such songs and he does full justice to the song. Good one.

The next in line is a remix of KK’s tere bin. A typical remix. Reminds me of Gangster, Woh Lamhe and Showbiz.

Meethi Baatein Teri is next and I can assure you Bandish is not really rock. They have quite varied genres and this song belongs to a totally different one. Meethi baatein teri is a soft, slow number, sounding somewhat like an Aryans’ song, especially with the voices. The song is good but the way they say aankhen or aankhon se sounds bad as they say it like ‘Khan,’ from the epiglottis, which is not the way. So just okay.

The next, ‘I believe in you‘ is one of the best songs of the album. A completely English, romantic piece sung in a voice that reminds me of Bryan Adams and a nice aalap in a female voice running in the background. Not really the rock I know, but quite towards it. Whatever it was, I just loved this one.

The next song Mahi features Krishna again and this one is completely Bollywood style and will certainly remind you of Jatin-Lalit days. I don’t exactly where I have heard such music, probably in Kabhi Khushi Kabhie Gham. Anyway, if you move ahead of that, you will find that Krishna sings the song wonderfully and with a few effects, the song sounds pretty good. A bit-too-slow but lovely piece of music and Krishna’s singing. I’d say listen to it once. And continue if you like it.

In the end comes a traditional one that I have heard number of times by number of people in the past few years. And somehow I love it everytime, by everyone. This time it’s Bandish who sing Dumadum mast kalandar. This one is a live piece, that is with added crowd effects. The crowd effects might not sound real but the band has left no stone unturned in making the song sound good and it pays off. Wonderful listen.

Overall, Bandish is a fine album with some songs okay, some good and some very good. The title and I believe in you are the best pieces while dumadum mast kalandar gives the same punch even now. Krishna is good in his both songs though his Mahi goes a bit too Bollywod way. KK somehow disappoints even with his good song as it’s way too typical. But the final verdict says the album is worth a try at the least.

The album starts with title Hum Yaadon ke Sang jee gaye which is a typical, known type of semi-rock with typical and okay lyrics. Not a great listen but not bad. The good thing about the album is that this is not the best song of the album. And btw, of course, the song sounds better at higher volume.

The second song of the album is Waada, which is a slower number, inspiringly better than the first. Inspiring one to listen to the album ahead. The song starts on slow notes, but as the lead goes on to the higher notes, it is clear that not just the style of singing but even the lyrics sound quite inspired by Atif, the song in question being Kuch is Tarah. Still, the song has a freshness. Recommended one.

The third song of the album is Main Chala, a song with the vocals kind of going on backfoot and some light beats and music coming to the fore. The light experiment makes the okay song a bit more interesting and likeable. The end goes more vocal as the song goes into total rock mode. Good one again.

Next song of the album is Tum Meri ho which starts on very slow, simply lovable notes and grows on to becoming a kinda grey song with passion; the song actually going beyond the ‘newcomer band’ feel, so much that I feel that the lead singer should have been a bit more refined. Likeable experience for sure. A short, good, recommended one. One of the best of the album.

Next comes Bolo toh, which sounds more like a ’90s Bollywood song than a Paki band, with a touch of rock, of course. Purely no-stalgic stuff. I mean, I say no to this one, move ahead.

The next song, Jhoothi Kahani, is a typical band stuff again, very early Atif way. The music of the song is good and singing is interesting while the lyrics are kinda well-written-nonsense. Still, the song, given some time, does sound good and can find space in one’s mind. Okay stuff. Liking the singing in this one.

Aag, the next song of the album sounds quite like Hide and Seek’s maula by Sooraj Jagan in places and hence I couldn’t find a lot new in the song, though the song sounds pretty good and cool.

The last original in the album is the one I loved the first time I heard it. Nothing too big, but Dil ab nahi maanta is a feel-good, kinda peppy number by the band. The lyrics are light inspirational kind and the song has only slight effect of rock. A good end to the album as far as non-remixes are concerned.

Coming to remixes, Hum Yaadon ke sang acoustic mix is pretty good. In fact, it’s probably better than the original song. The club mix starts well but goes all in beats soon. Waada also has a small club mix which doesn’t sound so good in slow parts of the song, but the other part goes pretty okay with mixing and the remix sounds overall okay.

Overall, the album is an okay one from the band, Raeth. Can’t say they have grown very much from their first album but they have at least maintained the standard, enough to listen to their next album when it comes, if not enough to wait for it. Regarding this one, it’s worth a listen and then decide for yourself.

Best picks: Waada, Tum meri ho, dil nahi maanta.

The album opens with Mehrmaa ve, composed by Shankar Mahadevan. The song is a slow, good song with an oldie touch. Akriti sings the song well even though it’s not the best song of the album and the girl fares better in some forthcoming songs.

Gazab, the second song of the album, is the first composition of Akriti Kakar in the album. The song is not great but certainly good for a first time composer of 23 years of age. The composition reminds me of Sona’s aaja ve, mostly in terms of its programming. An average song, that you will like if you listen to it a few times.

The next song, Chhoone do, is again composed by Akriti herself and written by Neelsh Misra. Now this is an impressive composition by the singer and arrangers/programmers Tubby and Parik keep the music light there. A well composed, well written, and overall impressive song.

Na re na na re was the best song of the album the first time I heard it, without much pondering. The words might remind you of Guru but the song has nothing to do with that na na re. The only thing that matches is that even this one is a wonderful song to listen to. Interestingly, even though composed by Shankar Mahadevan, the song feels like coming from A R Rahman’s school of music, the soft madness it is composed with. No disrespect intended to Shankar; he has certainly created some good stuff. Good work by Gulraj Singh on arrangement and programming.

Dil vi diwana tera is an old, traditional Punjabi song that Akriti tries to sing and does sing pretty well, except that she seems to be trying too hard in some places to get that authentic Punjabi touch. No questions about the song that sounds perfect in its place. Good work by Akriti but she still has a long way to go. (The song is credited as a tribute to Noorjehan ji on the album cover)

The next song, Taabeez, is again a composition by Akriti, this time with a slight touch of Arabic style. The composition needs some full throated singing and the singer seems to do it quite well for herself.

The last song of the album Chal kahin sang mere is a soft, techno song with some good beats. A good, likeable song.

Overall, ‘Akriti’ turns out to be something much above my negligible expectations and certainly worth a try. The album is not very great when compared to those launched by biggies but certainly above an average debut album. Also, the album establishes Akriti Kakar as more than just a singer as she manages to come up with some decent to good tunes of her own. Now I have some expectations from the girl.