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 the title song, sung by none other than Sukhwinder Singh. Sukhiji, who has Omkara and Dabangg to his credits, gets even more serious here and the song does not only have a catchy title rhythm, but a good antara as well, giving us a quality title song. Sukhwinder’s voice has been given some effects here, but interestingly, the rock-solid voice is sounding good with them as well. Nice start.

Badmash Dil. Oops, Saathiya. Well, whatever be the title of the song, Ajay-Atul come up with a superbly lovely romantic number sung by Shreya Ghoshal, supported by Ajay Gogavale himself, giving it a breeze that is nowadays found only in Mohit Chauhan’s songs. Do listen to it.

The last, yes, the third and the last original song of the album, has a relatively unthinkable combination of Richa Sharma and Kunal Ganjawala who sing Maula Maula together. The song has a Qawwali-ish mood though it’s not a full-fledged Qawwali, but what is best in the song is that the melody and the overall music of the song are good and while likable at the first listening, the song will still take time to completely grow on you.

Another good thing about the album is that out of three, two remixes also sound more-than-average, and the third isn’t bad either.

In short, Singham is an album to listen to. Do buy, do listen.

The next song, More Piya, sung by Ripul, one of the composer duo, with Momita, starts with fast, heard-them-a-hundred-times beats, which, after some time start turning into a disappointment, as there seems to be almost nothing in the song except those beats and some rendering of more piya, tore bina na laage jiya. And even when the Tabla comes into picture, the background sounds noisy. Could be much better.

Hare Jhande ke Shehzade, a Qawwali’ish number sung by Shahid Ali Khan in praise of peer Dastgeer, is a good one again, especially because it sounds not like a movie song but an authentic number. Liked it.

The album also has three instrumentals, out of which Love Theme is a nice little one even though the use of instruments is quite regular. The Beach Music, though, doesn’t sound very beachy, and the billy trance reminds me more of Crazy Frog than anything else.

Sukhwinder’s Dabba has some trying-to-do-a-Gulzar lyrics and while the lyricist Amole Gupte gets some on and off success, the overall effect of music, lyrics, and Sukhwinder’s singing is quite likeable. The innocence in Sukhi’s voice once again tells you how that man of hiiiiighhhhh notes can be humble with his voice too. Nice.

The next comes Nanhi si jaan, a light rock number sung by Shankar Mahadevan with a melody that sounds somewhat like that of the ’90s to me. Still, Shankar makes the song worthwhile to an extent. And then, after listening to the entire album, I expect that the song will find its place as the movie comes up. Hopefully.

The next song, Tere andar bhi kahin, is sung by Vishal Dadlani. The song is a light rock number again, but this one is quite different in its treatment and words take precedence over everything in this one. Somehow Vishal’s voice seems to be doing justice to the poetry in this one. Not too ‘musical,’ but it’s lovely and I expect the movie will make this one a favorite.

The next song, the only one in the album with a female voice, Jhoola Jhool by Hamsika Iyer is a short lullaby that sounds lovely if you’re patient enough. A small piece of good work by Hitesh.

The next small piece, Aditya rox, a version of tere andar bhi kahin, is not really very musical, but I liked it nonetheless. Though I don’t think I’ll be listening much to this one.

The last piece of the album is an instrumental which makes me feel once again that Amole Gupte is not yet out of Taare Zameen Par as ‘Thirsty‘ or Stanley Theme definitely more or less reminds you of Kholo Kholo darwaze more than anything. And then of course, going back to the first song may prove that Amole is at least trying to give people an idea that it’s something, in some way, close to or related to TZP.

Still, the overall impact of the album is good. The music is fresh and Amole’s lyrics definitely speak for his movie only. The good part is that even though you can relate the music to the children’s movie, you can enjoy it anyway, something I’d consider a huge achievement for a debutant album composer in Bollywood.

The album starts with the title song sung by Sukhwinder Singh, a not-so-typical-Pankaj-Awasthi composition that may remind one of Johnny Gaddar. Though the song is well sung by Sukhwinder, it’s more of a background thing and not really for free listening until you have seen the movie/video.

The next, Teri Parchhaiyaan is an Ali Azmat composition where he sings in a not so rock’ish way, even though the background is very well rocking. As the slow moving song comes towards the end, things get a bit more interesting and you hear Ali Azmat much closer to his typical high notes, though never really reaching them. A different, very likable composition.

Next comes Shab ko roz jaga deta hai, which is composed and sung by Pankaj Awasthi in his very typical style. The song has some hardcore poetry and Pankaj’s not-so-pleasing voice suits it a lot. In fact if you realize, it’s a ghazal, sung in a completely different way. Liked it. You may too if you’re interested in words more than music.

Heeriye, another Pankaj Awasthi composition, is a different thing coming from him; different for him though not for Bollywood. Labh Janjua sings this very Punjabi dance number that sounds quite likable. Another lovely but a bit different Punjabi dance track after Amit Trivedi’s gal mitthi mitthi, though I doubt if this one will be that successful.

The next song Tore Naina is again an Ali Azmat composition which he sings himself, and in his well known voice and style. While Ali’s drunk-ish voice makes things different, the song has a chorus going on which makes things sweet and simple. A beautiful fusion of the two voices with some great music in the background makes things just beautiful here. I think I cannot explain much here, just listen to the song. You’ll like it.

Pankaj’s next, Lehron ne kaha, is again a poetry based song with the music coming majorly from some Indian intruments while the Western touch is visible with bass and a little more things. A song where both music and lyrics alone are good enough to keep your interest, even though they go very well together.

The album comes to an end with Shreya Ghoshal’s Sheher ki Rani which is composed by Abhishek Ray, which is okay on music, a bit kinda broken though good on lyrics, and good on singing. Shreya sings the song really well but my guess is that the song will be liked only when you listen to it quite a few times and that is probably going to happen only with the video.

So overall Tera Kya Hoga Johny is an album with some different kind of music and is not very musical in the typical sense of the word, especially with Pankaj Awasthi’s songs. But if you like words more than music, you will probably love those songs. As a movie’s soundtrack, Tera Kya Hoga Johnny should be great as many songs look like tailor made for their background. Try it, there is good chance you’ll like it.

The album starts with a very Characteristic title song that very much identifies itself with the movie, as the movie is supposed to be on a person who steals money from biggies, something similar happens with the song, which copies music from here and there and just puts it here. Quite a bogus thing from Shirish Kunder, where the only thing worth knowing is that Sonu Nigam is all the voices in the song.

Now, Vishal-Shekhar come into the picture, or Sound, to be more precise. The first song is Sheila ki Jawani, sung by Sunidhi Chauhan and supported by Vishal Dadlani. Now the song is not a typical item number with all desi moves as the title may suggest, but it’s an item number with a fake-spohisticated touch, but sounds fine as the fakeness is deliberate. The good thing is that Vishal-Shekhar know what they are doing. Vishal sounds good in his few lines. Okay as of now, should be very likeable in the video.

Wallah re Wallah, which also features Saregemapa’s Kamal Khan among its many singers, is a highlight of the album. A qawwali with some okay lyrics and well-made music is worth listening to. In fact for keeping the qawwali sound good even with all those added beats should have been something not really easy for the composers. Good work there. Makes for a good listen and I guess would make a perfect thing with a jazzy video showing Salman Khan. The wallah wallah part can prove addictive while the rest of the song goes good on melody. Expect the song to be a rage if the video comes out good. Should be.

Badey Dilwala, the next, is a Dabangg Omkara thing with an added comic mood, trying to make things sound a bit different from the two songs and kind of succeeding. But then Sukhwinder Singh singing the song again makes you think about Dabangg and Omkara, can’t help it. Sukhwinder though sounds more like in a Dil-haara form. Some very interesting lyrics add to the interest and popularity quotients of the song.

The fifth n last song of the album, fourth by V-S, is Happy Ending, a song with some beautiful chorus and some lovely plus slightly comic lyrics. The best part of the lyrics is the honesty of them and Vishal-Shekhar somehow are really good at sounding honest, right from the time they created Tu Ashiqui Hai, not comparing the two songs at all, at the same time. The song starts with something that gives you a feel you’re going to get a ‘chaand taare tod laaun (Yes Boss)’ and then moves on to get you something more comic than what you probably, still not disappointing. Also, with Prajakta Shukre, Harshit Saxena, Abhijeet Sawant and Debojit singing the song, I somehow got an Indian Idol feel in the song, but I cannot say if that was just a figment of my own imagination. O yeah, I know Harshit was in VoI, but then majority counts.

Overall Tees Maar Khan is not a musical thing to be precise, but then the music is fine and very much in sync with the movie that Tees Maar Khan is expected to be. What you might miss in this one after Om Shanti Om is just a Ajab si ajab si adaayein. Jag Soona Soona Laage was not meant to be a part of Tees Maar Khan anyway I guess.

As of now, what I loved the most, a bit surprisingly for myself, is ‘Happy Ending.’

Let Down: Tees Maar Khan title. I think the title theme should have been given to V-S. They can prove pretty good at such things. Doesn’t the Golmaal theme say so?

Tarkeebein, sung by Benny Dayaal, even though not bad, and quite good on lyrics, sounds quite a Pocket mein Rocket. Now all I’d say is that you have just two pockets. So even if this rocket can be adjusted, there is no room for more. Please get us something new, Merchants.

It’s Shreya Ghoshal. Saying this because when Adha Ishq starts you for once are quite convinced it’s Sunidhi. But it’s not, at least by the album cover. Frankly, I loved the song, and except that it’s almost Shukran Allah in the background, I think the song is just wonderful. Well done composers and awesome job Shreya. But Salim sir, try changing the voice a bit or change the styles, like you did in the title song. Will be liked more.

Dum Dum Dum mast, sung by Benny and Himani Kapoor is something I liked again. Though the composition is not huge, the simplicity and the simple highs and lows given to the melody are quite likeable. Except for that characteristic beat, the arrangement quite fine and the way the lyrics have been given an upper hand, it’s just beautiful, a good thing.

Mitra. Though I am a fan of many songs of his, Amitabh Bhattacharya for the first time sounds like a full fledged singer and I’d like to give the credit to Salim-Sulaiman, for giving him the beautiful song. Part sufi style, part rock, part typical merchants, Mitra is something that you’d like to listen to. Amitabh Bhattacharya almost goes into Shafqat Amanat Ali Khan way of singing here. Like like.

Labh Janjua’s name in Band Baaja Baaraat is something that people would just expect. Baari Barsi is something like what you would expect from the name, but not all that. The song is not all Punjabi style but also has some desi comic mode as well as Salim’s groove part. The highlight of the song is Harshdeep’s non-Harshdeep rendering in desi-mood, but somehow I felt she was given a bit too much time, in a very similar tone. Still, I have to see how much the song is liked in future, which will quite depend on the video.

Whatsay about the 2 minute theme of Band Baaja Baarat? Okay. Actually good. Quite.

Ainvayi, the first song, appears in a Dilli Club mix too, quite regular. Not bad though.

And the last thing, Dum Dum (Sufi Mix) is sung by Sukhwinder and Himani. Well, now I know I was right when I thought I could spot some Sukhwinder like voice in the original version. Well, a usual remix, and nothing Sufi about it, and almost nothing good, except Sukhwinder’s voice.

Overall, Band Baaja Baaraat sounds like a usual album in the series that YRF and Salim-Sulaiman have been creating for past some time. The songs are not bad, but then you won’t remember about most of them after a few days. Still, not a bad thing for short term. The only bad thing about the album is that Salim-Sulaiman, coming after such a long break too, sounded quite repetitive.

Best ones: Mitra, Aadha Ishq, Dum Dum.

Update: OK. It’s pocket mein Rocket but m loving it. especially for the lyrics. so add Tarkeebein too. Probably over dum dum.

Somehow, when I read the title Jee na jalayiyo with Sukhwinder’s name, I was hoping that the song would be good. And as soon as Sukhwinder came in to the song, I got a feel that my prediction was going right. The song is quite Indianized in the feel and in its quite down to earth lyrics too, but somehow the drums in the song say something else. A bit confused if I will be liking this mix a lot, though the song doesn’t sound bad. Again, the lyrics of the song are quite good, better than aisa hota tha in first look.

When I heard the song Laal-Laal-Laal hua patta chinaar ka, I suddenly felt the song was too Gulzar-ish and decided to look for the lyricist. And there was my surprise, it was actually Gulzar, a fact I had totally missed. Anyway, the review continues, this song being a bit beat-based and a bit heard type, even though I can’t exactly place where I have heard such music. In fact with this song I could find similarity in the composing styles of Amit Mishra who composed for Atithi tum kab jaoge.

Either way, the song has some awesome lyrics by Gulzar, they remind me of Maachis. And though the music isn’t half as deep as Vishal’s, it has some effect of chappa chappa on the composing style. A good song overall. Especially in case you have an ear for good lyrics.

Sonu Nigam’s tumse kya kehna is a slow, really slow song and for the first few seconds I was thinking if the song was moving at all. But after some time, Sonu’s softness and the slow melody of the song sound quite likeable and the chorus is effective, but short. I can feel Gulzar’s lyrics again though visibly intentional talk of gold makes things a bit not-that-great. Not bad. Not too good either. Not at the start at least.

The only time a female voice is heard in the song is when Sunidhi Chauhan comes up to sing a female version of Jee na jalayiyo. As she sings the song in her style, it sounds quite different from Sukhwinder’s version though both sound equally good.

Overall, Dus Tola is nothing too great, but for those with a taste for good lyrics and slow music, it is worth a listen for sure. Especially I’d recommend Laal-laal, and if you like that, then maybe the entire album.

Munni Badnaam hui Darling tere liye is the item number of the album. The most interesting part of the song besides its addictive music is the singing done by Mamta Sharma and Aishwarya. This one is certainly going to rock small town/suburban areas.

Chori Kiya re jiya comes next which is a soft romantic number sung by Sonu Nigam and Shreya Ghoshal. The song has a simple but lovable tune and Sonu and Shreya are just perfect. One that may take its own time but will be liked by people and should run for long time.

Hud Hudd Dabang is another feather in the composers’ cap as they clearly create something on the lines of Omkara, but not copying anything from the album. Though the singer for the song is definitely Sukhwinder only. The surprising thing is that the lyrics of the song are pretty good. I’d say the lyricist, Jalees Sherwani has been pretty good with his words because if it were not so, people would probably not compare it to Omkara repeatedly.

Humka Peeni Hai is a pure UP-Bihar song with lyrics having an earthy touch from the local language. A song that would not be counted as an item song though it has all the traits of one except a lead female dancer. Shabab Sabri gives the song a touch of qawwali too. A good listen again.
Good job by Lalit Pandit in both the departments here.

At the end comes the theme that ran on the promo. The good part for the Salman fans here is that you have dialogs here too.

Overall, the album is a pretty good one with Tere mast mast do nain already running everywhere and Hudd hudd dabangg and Humka Peeni hai ready to take over. Sajid-Wajid, who created some high quality stuff for Veer, have this time not gone down on quality but have kept in mind the movie and the audience and created something that will be a hit. If you’re a Salman fan, there are just two words to be said: Dabangg Ho!

01 – Udd Udd Dabangg – Sukhwinder Singh, Wajid
02 – Tere Mast Do Nain – Rahat Fateh Ali Khan, Arshikha Loey
03 – Munni Badnaam Hui – Mamta Sharma, Aishwarya
04 – Chori Kiya Re Jiya – Sonu Nigam, Shreya Ghoshal
05 – Humka Peeni Hai – Wajid , Master Salim, Shabaab Shabri
06 – Tere Mast Do Nain (Part 2) – Rahat Fateh Ali Khan, Shreya Ghoshal
07 – Munni Badnaam Hui (Remix) – Mamta Sharma, Aishwarya
08 – Tere Mast Do Nain (Remix) – Rahat Fateh Ali Khan, Arshikha Loey
09 – Humka Peeni Hai – Wajid, Master Salim, Shabaab Shabri

The music for the album will be released in the first week of August. Most probably on 5th or 6th of the month.