Mausam (2011): Music Review (Pritam)

13 tracks. 6 original songs. 11 singers. With some singing more than one song and some songs getting different singers for different versions. In short, Pritam does his best to create a full mix and match combination, and the results seem pretty good. There we go with a review.

Rabba main to mar gaya oye. Shahid Mallya. A nice song with lovely, romantic lyrics and Shahid Mallya’s slightly husky voice goes quite well with the light music of the song with a little Punjabi touch. Good start.

The second song may remind you of thoda thoda pyaar with its video and initial arrangements, but once Mika gets into singing saj dhaj ke tashan mein rehna, you know it’s a typical Mika thing where you can lose yourself and dance like mad. I may be biased here, but I kinda loved Pankaj Kapur’s single line entry here.

Next comes Hans Raj Hans with ik tu hi tu hi, a sad song which not only boasts of some nice arrangements and lovely use of chorus (should I say a bit Rahman’ish), but also some beautiful lyrics from Irshad Kamil. Do listen to this one. I am wondering at how composers are turning to Hans raj Hans for serious stuff like this one or rather how it didn’t happen much earlier.

The next treat comes from Rashid Khan who sounds in his full color as he sings Poore se zara sa kam hain. I must applaud Pritam here for giving Rashid full command over the song as the latter sings without any background for the first minute and later also goes in a very Indian arrangement. Another good thing, you find no adulterated (politically correct: remixed) versions of the song. Do listen.

Karsan Sargathiya’s aag lage us aag ko has more than a touch of folk, especially with Dholi Taaro man Karsan’s singing. Okay this one.

Hard Kaur’s entry in the serious album sounds a bit sudden/strange/abrupt, but soon Tochi Raina takes over with an almost new avatar as he sings Mallo Malli naal yaar de, a lovely Punjabi dance number for the youth to dance on. Not a very mature song going by the standard of the album yet, but still quite interesting and listenable, or should I say danceable.

After the original songs start remixes, reprises and more. First one, Rabba, with Rahat here. Needless to say, the version is nice, but I was equally ok with Shahid Mallya’s version. In fact with nothing special for/by Rahat here, I’d prefer Shahid’s version.

After Singh is Kinng, Tiger style come in to remix for Mika’s Saj Dhaj ke, in a desi mix and a club mix, both of which don’t sound too great, but are good for dancing at parties.

Next comes a reprise version of ik tu hi tu, which is sung by Shahid Mallya this time, and the guy kind of impresses me, as he sounds as good as Hans Raj Hans did for the song. But what is a surprise here is the next version of the song, sung by Wadali Brothers. The Mehfil Mix sounds nice and quite different from the original. But then again, do not compare with Rangrez.

At the end there are two versions of Mallo Malli, which are sung by Lehember Hussainpuri with Hard Kaur and Tochi Raina alone respectively, which look a bit too much as so many repetitions were probably not required.

Overall Mausam is a really nice album from Pritam with at least four songs out of six in the ‘very good’ category. While almost the entire album seems to have a Punjabi touch, there is still variety in the songs, and not only in terms of singers used. So my verdict is: buy it, listen to it.

Lyrics from MAUSAM

Mere Brother ki Dulhan: Music Review (Sohail Sen)

Sohail Sen for the first time gets something worthwhile outside Ashutosh Gowariker’s camp, and he looks keen on making it big. Here is a review of his entry into YRF, Mere Brother ki Dulhan.

The album starts with the title song Mere Brother ki Dulhan, a fast paced, quickly addictive, likable number with some interesting lyrics from Irshad Kaamil sung by KK.

I was still in the first song when a chorus broke into some rocky words and Neha Bhasin into Dhunki Dhunki Dhunki laage. While the music is lovely, it’s Neha who surprises me with her lovely singing here. She’s been good in some Salim-Sulaiman songs earlier, in Fashion, as well as Pyaar Impossible, but this could be the song that would restate her entry into Hindi film industry.

The next song Chhoo Mantar is, I would say, a typical Sohail Sen piece, with his signature beats, and if I didn’t know it from the cover, I’d say is sung by him as well. Yes, it’s bad how I still don’t get Benny Dayal’s voice after so many of his songs that I completely love. Aditi Singh Sharma is as soft and husky with her voice here as she always is.

Isq Risk, the next song, sung by Rahat Fateh Ali Khan, gives a little small surprise in the beginning as you hear a radio (read AIR) style prologue to the song, telling whose music and words the song has. Sohail Sen’s melody is a bit ’90s in its treatment, but with Rahat singing, the song sounds pretty nice. Irshad Kamil’s words are lovely here.

Ali Zafar’s only entry in the soundtrack, Madhubala is simply enjoyable. I don’t think I want to use any other word for the song. It’s his signature ‘Masti’ that literally shows up here, nicely supported by Shweta Pandit.

Shahid Mallya, another name that is a bit new for me, is growing up quite fast nowadays. After Naina wali Whiskey in Sahi Dhandhe Galat Bande and with Mausam lined up for him, it’s the third place I have seen his name in this week, for Do Dhaari Talwar here. The song, with a little Punjabi flavor in it, mostly because of Shahid’s singing style and percussion based arrangements, is quite fast paced and enjoyable, though doesn’t look like very long lasting.

Overall, MBKD is a typical Yashraj album with songs that will be liked instantly by the public. Be it the title song or Dhunki, Isq risk or Madhubala, the composer is quite clear on what he wants the song to do and I feel that it would be a big plus for the movie. Go buy it if you like typical hit soundtracks of Bollywood.

PS: One interesting thing about the album is that even though Yashraj use a new composer here, many of the singers are the ones who have sung a lot for YRF, with their regular composers Salim-Sulaiman, especially Benny Dayal, Neha Bhasin and Shweta Pandit.

Sahi Dhandhe Galat Bande: Music Review (Siddharth-Suhas, Dhruv, Mahavir)

Sahi Dhandhe Galat Bande starts with Siddharth-Suhas composed Naina wali whiskey dul dul jave, sung by Shahid Malliya. The song, though nothing new in it, can be quite addictive if given a little time. A typical Punjabi dance number.

The next song, Desi Jat Posse, sung by Mahi with Suhas, is again a typical Punjabi number with some twists added to it. The song sounds fine, but the original version may be a little low for a dance number, but then that is taken care of by the remix.

Dhruv Dhalla’s Mast Kalandar with some funny Punjabi lyrics and easy addictive music again has potential to become popular.

Siddharth-Suhas’s next, Door na jaana sounds like a level above other songs of the album. The song, with a nice melody has some nice arrangements as well and Suhas chooses to sing this one himself. The only song with no Punjabi touch, in both lyrics and music, quite stands out here anyway.

Dhruv’s next, Baraf mein tension milake pee ja, is another tapori-style dance number with not much of Punjabi. Likeable.

The last song of Siddharth-Suhas, Thap denge sung by Master Saleem, is not really an impressive composition, but Saleem’s voice puts some life in the song nonetheless, making the song okay to listen to.

The last song of the album is a composition of Master Mahavir Chopra, who sings his composition Oh Lalaji himself, with lyrics from Late Lakshmichand. This one, with very real village-like music and arrangements, sounds like a Bhajan in Haryanvi style of Hindi. Please let me know if I am wrong here.

Overall, Sahi Dhandhe Galat Bande is not really something new, but works on old patterns, most of it Punjabi, with some experiments in some places, and gives an okay, listenable result.

Buy Sahi Dhandhe Galat Bande audio CD Here.