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.

Shalmali Kholgade. Main pareshan pareshan pareshan. If you haven’t heard the song on youtube yet, you’re in for a surprise. And if you have, well, the song would still not disappoint. Amit Trivedi here has added some small nuances in the song, that didn’t show their overalls in the trailer version. And Shalmali is definitely a discovery here, even though her voice is a lot like Madhushree’s, and the treatment given not very different. One of the best from the album. Definitely worth a listen.

Item Song next. Well, EVERY single movie nowadays has an item song these days. And some of them may have two, three, more, or can be a collection of item songs only. But THIS is how you make one. Something that tells you that even if they make all the songs as items songs only, the ones that are made well will work anyway, sounding as new as any.

OK, probably I said too much, so here is more detail on the song, instead of praise now. Clearing throat, Shreya’s slow, harkat-ful singing of two lines, where the lyrics go ‘Gulaal’ way, to explain it in a simple way. That’s the beginning. The background is a little Qawwali’ish, with some restricted beats, not coming out of claps necessarily, and overall reminding me of kajra re, to some extent, with its treatment. But with all this music and treatment, it’s the lyrics of the song and Shreya’s singing of them that interest one in the song. Do listen, I’m pretty sure after reading this much you’d be disappointed with the song that is called Jhalla Wallah.

Enough of drama, now back to being Amit Trivedi, the regular one, with all the irregular things. Enter Suraj Jagan, with Divya Kumar, dubstep at a relatively slower pace, a rocking mood and some hardcore lyrics. Also pour in some voice-beats (hut-hut-hut-hut, aali re-saali re style). And bingo, Amit Trivedi is here. If you’re an Amit Trivedi fan, probably Aafaton ke Parinde is what you will come to, again and again. Lovely. Or should I say, Rocking.

Remix time. Main Pareshaan. Starts well, Shalmali’s voice gets some nice treatment, but ‘main pareshan’ part is not striking enough. Dubstep effects seen again. More sounds than voices, being a remix of course, but somehow not bad, unless you start comparing with the original song.

But then there is a remix that is close to the original song, for Jhalla Wallah. Abhijit Waghani seems to have done quite some work here, as the song completely develops its own pace and character, which goes an almost completely different way from the original. Listen to this one.

Overall, Ishaqzaade is a nice, varied, and entertaining album that is not just good for what it is but also because if you’re an Amit Trivedi fan, it tells you what the guy can do besides being ‘regular Amit Trivedi’ which is necessary for him to exist and thrive. After Aisha and Ek main aur Ekk Tu, this is probably the third time that he has come with new stuff that isn’t regular him. Way to go, boy.

And yeah, not to forget the work done by Kausar Munir here. Some real desi lyrics in the times where people think desi means the curses from Delhi’s autodrivers. Keep that up, ma’am.

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.

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.

The album starts with Iltija, Rishabh Srivastava’s song from his debut album Iltija. The song on the Bhatt pattern is an okay composition and sung okay too, making an okay though a little unevenly spaced start.

The next song Aap ki Aahat, composed by Toshi-Sharib sounds like the beginning of Bhatt-camp-song again as the beginning seconds remind me of aye kaash, kash yoon hota, but then the young Sabri brothers get into a different mood as they compose a slower tune for Sonu Nigam to sing, with some interesting lyrics as well. Nice one, something that Sonu Nigam sounds nice singing.

Sheet Lahar, composed by Gaurav and sung by Shreya, is a slow, nice composition with simple lyrics. The slow pace of the song may not appeal to all and definitely not one for ‘quick listening’ but if you give it time, lyrics as well Shreya’s singing would appeal to you. Nice job by Gaurav Dagaonkar.

The next song is again by Gaurav Dagaonkar, and is my favorite from the movie. Yup, it’s KK singing, where the irritation claimed by the lyrics can almost be heard in his voice. Barham hain hum is something to listen to, definitely.

Qubool, the next, is a regular Toshi-Sharib song, sung by Toshi, but then the song has an added dose of good lyrics, that too in prayer to god, making the song nicer to listen. Liked.

Sheet Leher comes in a different version, this time sung by Tia Bajpai, and sounds okay.

The last one from the album, Sunidhi Chauhan’s Hai Rama Rama, composed by Toshi-Sharib, doesn’t seem to be any purpose more than being yet another item number in the movie.

Overall, however, the album is good, with Gaurav Dagaonkar giving some good numbers while Toshi-Sharib give more or less their average, which is good, to say the least. Do listen to the album especially for Sonu, Shreya, n KK’s songs.

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.

The Dam 999 theme, rendered by Suchith Suresan, Sivi Suresh, and Ousephachan (that’s the spelling he has used for the movie), starts with chanting of some Mantra, and then shifts from Sanskrit to English in one go. Nice, but I somehow find myself wondering how much it is for an average Indian listener.

Every Day, sung by Shakthisree and Ousephachan again goes in English, but this one is more regular, but with enough elements to keep one’s interest. Shakthi’s singing is nice, and more than that, nicely used. The arrangements are light but the overall number and usage of instruments is quite good. Do try.

Franco’s O My Queen is a slow number with a light clubbish feel to it. The USP of the song is Franco’s singing, though he reminds me of Usha Uthup. Probably more so because of Hai ye maaya. But anyway, if you don’t mind the language, listen to the song for Franco’s simple, but lovely singing.

Nivedya and Nirmalya sing the kid song of the album: I walk away. The song has some nice, simple music and the singing is deliberately amateur. Frankly the song is not very effective with its music and singing alone, but listen to the lyrics as well, and the song is not that bad. Though I don’t expect it to be in the movie, if the song makes some part of the background in the movie, it may be more meaningful.

The last song of the album, Dakkanaga, comes from Ousephachan himself with Suchith and Shakthi. Now while the ‘Dakkanaga doogu doogu’ part of the song is superbly lovely, though the rest of the song is not at least as good as that particular part. Still, Suchith’s vocals are interesting and Shakthi’s singing is nice too except that she reminds me of Dhoom in certain parts. Can listen to the for Dakkanaga doogu doogu alone, and my guess is that the slow speed of the song, that is relative to dakkanaga, may keep it run long, provided the song gets enough promotion.

Overall, Dam 999 is a little confused, though interesting album. The songs have quality, but then how many of them will click with the audience today is still a question. Still, I expect good response for at least Baat ye kya and Dakkanaga. And then Mujhe Chhod ke is definitely good too. So try these three, and if you are good with English numbers as well, go for O my Queen and Every day too.

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.

Peepni or Peepdi Bajaye Dil as it sounds like, sung by Jaspreet Singh and Mona Thakur, is one more nice party song from the album. Even though the song is kinda catchy and has a sound that should work, Kumaar’s lyrics are just okay here. Not bad, but the song would need some time to work and hence may work well with some good promotion.

Sasha Tirupati singing Ankh piji te dil roya for once reminded me of Tujhe Bhula Diya, and that’s not so wrong as the song goes almost in the mood, and of course, Kumaar does wonders with lyrics in such songs. Ah, the other name in the song is that of KK. So now you got some idea how Abhi Abhi should be. Well, the song on a really nice melody, with quite light music, is of the type that sounds nice when you listen to it for the first time, and then just grows on you slowly. Again something to listen to.

But after such a lovely song what made me smile was the end of the album. Neeraj Shridhar and Sunidhi Chauhan’s quick sounding ‘One More One More – Ankh da Ishara‘ made me think I was listening to the last song of some concert and the song’s intention was to make me dance with all the energy that was left in me. Maybe not one for a very long shelf life, but something to start dancing on from the first beat.

Overall, Jo Hum Chahein is a nice album with some songs that range from soft-soulful to stand-up-n-dance. Completely loved Ishq hothon se and even one more one more in its own way, but I guess abhi abhi would run a long race too, provided the new star cast of the movie collects enough support to run the race.

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.

Honeymoon ki raat, the next song, sung by Sunidhi again, is something that used to play with all those colored lights in the in the villain’s everything-is-here office-cum-entertainment house in those old movies, and almost as forgettable, though the USP of the song is that you can place it perfectly even today, and due to that I am bound to call it nice work.

The last original song, Twinkle Twinkle, is almost an extension of Ooh la la with some cheap (intentionally again) word play by the lyricist, Rajat Arora here. The song has been given some traces of Sholay’s Mehbooba, and Rana copies Pancham’s singing in the song.

The Dhol Mix of Ooh la la is a help for Deejays at wedding functions. Yeah, you may call it too cheap for a wedding, but so was Choli ke peechhe.

Overall, The Dirty Picture is quite dirty, but Vishal-Shekhar here are to be praised for pinpointing the dirtiness. I mean, you can place almost everything and decide what time they are talking about and what they want to express. Not an easy deal. And then, there is a ‘clean’ Ishq Sufiana too.

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.

Reeky’s aana phir se aana with all the bands and slightly Atif’ish singing sounds more like a debut album song that tries hard to impress, and does it to a little extent, but never enough.

Aaj Ishq da Mausam of Master Saleem featuring Ritu Pathak is a nice Punjabi composition with some added rap and of course, that wonderful singing of Saleem, adding up to a nice, likable, danceable Punjabi number.

Mehroom hoon main, sung by Shaan and Manjeera Ganguly, is a bit old in its making, even though it has got added lyrics in English. A significant part of the song goes with the English words or ‘mehroom hoon main’ itself, not leaving very much to the song anyway. In short, old stuff, not really recommended.

Vipin Patwa, the composer of the album, features himself in the title song along with the singer of the song, Shreya Ghoshal. Anyway, the tune of the song is catchy and lyrics aren’t far behind. While Vipin takes on the fast paced portions of the song, Shreya does some quality singing at her own pace, and the overall result is worth listening to. Worth a try for sure.

The last song of the album is Maskara with Arun Daga, Sasha and Sadhu, more or less based on ‘kajra mohabbat wala.’ I guess on such a wonderful song, there could be some better work done. Strictly okay, even though no strictness is there in the song.

Overall, Vipin Patwa seems to have got an average style of composition and arrangements with some ups and downs, but mostly wherever he has got some really good singers, they have pulled off the songs, and hence, almost half of the album has got songs which are worth a try at least. I’d say give it a try, you might find a few good tracks, maybe even for the longer run.

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.

Mera man jab se racha hai saanwariya, the song that mentions Rajasthani folk artists in credits, is a lovely experiment, and even though I am getting a feeling that I have heard the tune of the actual song (parts sung by Shweta Pandit) and at the same time unable to place it, it’s the Rajasthani artists who add a different flavor to the simple song and make it more than ordinary.

The next, Title song, Tell me, O Khuda, is a bit tough to bear with in the very beginning. The song with some arabic toches, some rock-level high bass, and some complex singing by Sunidhi, has some good melody, but Sunidhi seemed to be trying a little too hard, and so seemed the case with Pritam, and my feeling is that if the try-so-hard was not there, the song would not sound so much ’90s as it does. Still, not too bad.

Mile na tu, sung by Sunidhi and Anupam seems to be a quicky and though a little catchy, doesn’t seem to have a long shelf life.

The last, Shreya Ghoshal’s Nagma koi gungunane ka mausam aaya hai is one lovely track towards the end of the album. The soft, romantic track gives some freshness to the album in spite of its old-school treatment that makes it sound a little like a ’90s song. Nice one from Shreya.

Overall, there are not much hopes from Tell Me O Kkhuda and in such a scenario, the music of the movie was important, but it fails to be a life-saver for the movie, at least. With a few good thrown in here and there, TMOK looks like a half-hearted attempt from Mausam-y Pritam. Still, if you want to check songs, I’d recommend mera man jab se racha hai, Nagma koi, Love you dad and lastly someone somebody.

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.

Track three, Chand pal ke humsafar by Shankar and Shreya, starts a bit too low, but once it picks up the actual tune, the song starts growing, and Shankar almost adds a life to the song. One additional good part of the song are the positive lyrics.

With three nice, slow songs the album was getting a bit too nice, I mean, a bit boring you can say. So here comes none other Raghubir Yadav, to sing Aaj tu ho gayi jawaan, which one can count as a tribute to Kishore Kumar. The rawness of the song is its USP, though I must warn you that the song is no ‘mehngai dayan,’ if the title of the song didn’t already tell you that. Still, it’s completely worth listening to, as it’s completely different.

If one version of the song wasn’t enough, Tu hi tu is here in another, very unplugged version sung by almost Mohit Chauhan’ed Vijay Prakash. Yes, Vijay can do a Mohit Chauhan quite well and he has even sung some songs’ Tamil and other South Indian versions as well. Here he does something similar and quite well. No, not mimicking Mohit, but he sings quite well, in a voice that may sound like that of Mohit’s at times.

Btw, Aaj main jawaan ho gayi remix is no less. Interesting one. Do try.

Overall, Mod is an album that may not sound like must-buy, and may not be looking like promising the world, but the light album has quite some potential and if you’re one for light music, it may well fit in your collection, with some songs that may be listened to and liked at any time.