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.

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.

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.

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, 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.

And here comes X-Factor, as producer Sanjay Leela Bhansali gets Nirmatee from the show to sing a song composed by Shamir Tandon and Kavita Seth, and written by Deepa Sheshadri. While the song seems like a last moment addition to the album, and may not be in the movie, the singer is definitely nice, another addition in the list of husky voices, and the song, Intezaar, is not bad. A bit heard-somewhere type, but nice.

Kunal’s next, Take it Easy, brings Gayatri as well, though she doesn’t really get much in the song. Anyway, the song with a lot of easy on ears guitar is easy on ears overall too, and the light lyrics keep it natural. Like it.

Hitesh Sonik composed Tu, sung by Sunidhi Chauhan, comes next. Sunidhi almost whispers the song, making her voice a little husky and tough to identify in the process. Must listen.

Yaadon ke album has got some really wonderful lyrics from Amitabh Bhattacharya, while KK gives life to the slightly rock’ish composition of Ajay-Atul.

Overall My Friend Pinto is a nice album and has some nice songs, especially the last two, namely tu and yaadon ke album mein. While Kunal’s Do kabootar and Take it easy are fine too.

The next, Neeraj Shridhar and Sunidhi’s Pardaa Nasheen, again is not too impressive, even though the melody of the song is nice.

The last song of the album, Shake it saiyyan, sung by Sunidhi Chauhan with Haji Springer is more like a remix album of the early 2000s, but sounds fine nonetheless. In fact the arrangements of the song are nice too, and overall it is one of the better songs of the album.

Interestingly, the two remixes there, for title song and shake it saiyyan, are both not bad as well.

Overall, Rascals is okay to listen on radio or in the movie IF you watch the movie, but I don’t think there is much worth buying in the album.

Khel Khel mein, again sung by Aadesh and Shaan with Harshit added, is a nice one, especially for background purpose. The song isn’t too fast paced, so it won’t be instantly liked, but in its own time it should work well with the good lyrics and the kind of melody it has. Worth a try.

When Sunidhi’s Din duba started, for some time I felt that with a little different arrangements (with a slight acoustic touch to it) and Sunidhi’s vocals, the song might be something quite new, but the quality did not last for the entire four and half minutes, going banal especially at the end of first antara. Still the song is not bad, if you listen to it for a few times.

The album also has three instrumentals for all three tracks, and while they’re not bad, I didn’t understand why they run for the entire length of the song.

Anyway, the album overall is of course not too great, but that wasn’t expected either. With a good Khel Khel mein, an okay din duba and a noisy ladd bapu, the album is just okay.