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Music Review: 'Ramaiya Vastavaiya'

master1 — Thu, 23 May 2013 09:18:50 GMT

The music album of director Prabhu Deva's 'Ramaiya Vastavaiya' has six tracks and composer duo Sachin-Jigar has given elements of love and fun their due importance. In short, romantic songs are the highlights of the album.

Atif Aslam and Shreya Ghoshal sing the first track "Jeene laga hoon" beautifully. After a long time humming is made to sound so good in a song. The rhythmic number has a pure romantic feel to it. Shreya's voice is a treat for her fans but the song lacks grandeur. The simple love song has good lyrics.

"Hip hop beat" is next, and as the name suggests, it is a dance number. Singers Mika Singh and Monali Thakur have sung it in a way that the music's beats are highlighted well. The loud track talks about teasing a girl. After a point it becomes a regular track with all the music and the dhol sounds. Towards the end, the music, however, becomes really fast and brings the climax, which is an interesting turn for listeners.

Atif and Shreya again team up for yet another romantic number "Bairiya". The song has a magical feel to it and the singers' soothing voices are mesmerising. It gradually changes pace as more instruments join in. Both singers take the song to another level, making it worth hearing.

Third in the line is "Peecha chutha" in Mohit Chauhan's crisp voice. The song is a rhythmic, happy track. Even though some may like the song, it may not have a long shelf life.

Atif and Shreya weave magic for the third time with another romantic number, "Rang lagyo". With good music, apt lyrics and rhythmic music, this one is the best so far. It has everything required in a love song and that makes it magical.

Item number "Jadoo ki jhappi" ends the album on a peppy note. The whistles, fast beats and fast music make it a perfect dance number. Neha Kakkar's voice gels very well with the composition and Mika later spices it up. Entertaining, but not an out of the box composition.

The music album of 'Ramaiya Vastavaiya' scores average, with the only high point being the romantic numbers. It may or may not strike the right chord with the listeners on a larger scale.

Fukrey

DTF Editor — Thu, 23 May 2013 05:50:02 GMT

Music: Ram Sampath

Lyrics: Mrigdeep Singh Lamba, Munna Dhiman & Vipul Vig

Label: T-Series

Expectations

The director last made a film called Teen Thay Bhai that did not have any recall-worthy track. This time, since the film is produced by Ritesh Sidhwani and Farhan Akhtar for Excel Entertainment, we expect a decent or better soundtrack despite the offbeat title. The music is by Ram Sampath, the jingle whiz, whose film soundtracks include Khakee, Family, Delhi Belly and Excel's Talaash too, so our hopes are raised more.

Music

However, the first thing that arrests one's attention is that Fukrey is an unique soundtrack for Excel Entertainment - unique because it is their first album in 12 years (and 11 films) that has lyrics by someone other than Javed Akhtar, father to Excel's co-producer Farhan Akhtar.

The lyrics are shouldered by Munna Dhiman, Mrighdeep Singh Lamba (the film's director) and Vipul Vig, the film's co- writer and are the highlights of the score, meaningful, light in tenor and bitingly satirical when needed. Clearly, this score is about situational numbers.

The songs celebrate the protagonists being fukrey (show-offs or big talkers) to lucky breaks in fortune and also use a paean to God for getting the characters to a better station in life. There is also the adaptation of a Punjabi folk song, 'Ambarsariya', that is the only romantic track on the thematic album. Ram Sampath's tunes are contemporary, apt for the setting of the film (in Delhi) and variegated.

Rock tenors complement Punjabi percussive beats and a wild abandon in the vocals in the title-track, 'Fuk Fuk Fukrey' (Amjad Bagadwa-Ram Sampath), which has the perfect street-side ambience. Vig's lyrics are saucy, like Ladki ghamandi jeb hai thandi / Maang udhaar ho jaa lachaar / Maal bane to phasega tota / Shirt pe thoda deo to maar!

The celebration song 'Beda Paar' begins with some techno gimmickry but settles down into a rhythmic fusion-like feel. Mika Singh gets into the spirit with an infectious rhythm and Tarannum Malik provides the softer, contrasting relief. The attention-getting line (Lamba) here is very identifiable for the have-nots: having achieved money, the guy says Ab to hum khaayenge beta dono time chicken.

The jingle-like rhythm of another celebratory number 'Lag Gayi Lottery' (Ram Sampath-Tarannum Malik) continues this blend of folk and Western with a filmi touch. The best part of the track is the smooth flow even as the song traverses different rhythmic grooves, so at no point do we get a hybrid, uneven feel.

The best track on the album, resembling the good old qawwalis we have been hearing from the '70s and '80s, is the Kailash Kher-Keerthi Sargathia ace 'Karle Jugaad Karle', with its rich melody. A deadly combination of Sufi melodies and satirical lyrics (opposite genres in music actually!), the song arrests immediate attention thanks to its exquisite melody and Kher's inspired singing. The cross-line (where the antara returns to the mukhada) is the highlight of this supple song that inarguably is one of Ram Sampath's finest compositions. The lyrics by Dhiman are razor-sharp in their satire (Ummeedon pe nahin teeki hai nahin teeki hai yeh duniya teeki hai jugaad pe) and cynicism (Sadak pe gira note uthaa le / Koi to kahaayegi hi tu khaa le / Aankhen na phaad jeb bhar lena / Saare karte hain tu bhi kar lena).

'Rabba' (Clinton Cerejo-Keerthi Sargathia-Ram Sampath), another rhythmic folk song, has clever lyrics (Dhiman again), beseeching the Almighty making a hole in the box that has all their dreams locked within it!

'Ambarsariya', the Punjabi folk song adapted here, is extremely melodious, but the orchestration with guitar riffs seems a tad incongruous for the song, even if the intention may be to impart a novel touch. Sona Mohapatra is technically a very good singer, but guess a little more open-throated rendition and livelier expression would have done a world of good to this haunting song.

Overall

Though its reception will depend on the box-office fate of the film, it is a soundtrack that is definitely worthy for the discerning listener. The trick will lie in making the songs appealing to the wider consumers including the youth with the right promotion.

Our Picks

'Karle jugaad karle,' 'Rabba', 'Ambarsariya'

Fukrey

DTF Editor — Wed, 22 May 2013 07:20:05 GMT

Music: Ram Sampath

Lyrics: Mrigdeep Singh Lamba, Munna Dhiman & Vipul Vig

Label: T-Series

Expectations

The director last made a film called Teen Thay Bhai that did not have any recall-worthy track. This time, since the film is produced by Ritesh Sidhwani and Farhan Akhtar for Excel Entertainment, we expect a decent or better soundtrack despite the offbeat title. The music is by Ram Sampath, the jingle whiz, whose film soundtracks include Khakee, Family, Delhi Belly and Excel's Talaash too, so our hopes are raised more.

Music

However, the first thing that arrests one's attention is that Fukrey is an unique soundtrack for Excel Entertainment - unique because it is their first album in 12 years (and 11 films) that has lyrics by someone other than Javed Akhtar, father to Excel's co-producer Farhan Akhtar.

The lyrics are shouldered by Munna Dhiman, Mrighdeep Singh Lamba (the film's director) and Vipul Vig, the film's co- writer and are the highlights of the score, meaningful, light in tenor and bitingly satirical when needed. Clearly, this score is about situational numbers.

The songs celebrate the protagonists being fukrey (show-offs or big talkers) to lucky breaks in fortune and also use a paean to God for getting the characters to a better station in life. There is also the adaptation of a Punjabi folk song, 'Ambarsariya', that is the only romantic track on the thematic album. Ram Sampath's tunes are contemporary, apt for the setting of the film (in Delhi) and variegated.

Rock tenors complement Punjabi percussive beats and a wild abandon in the vocals in the title-track, 'Fuk Fuk Fukrey' (Amjad Bagadwa-Ram Sampath), which has the perfect street-side ambience. Vig's lyrics are saucy, like Ladki ghamandi jeb hai thandi / Maang udhaar ho jaa lachaar / Maal bane to phasega tota / Shirt pe thoda deo to maar!

The celebration song 'Beda Paar' begins with some techno gimmickry but settles down into a rhythmic fusion-like feel. Mika Singh gets into the spirit with an infectious rhythm and Tarannum Malik provides the softer, contrasting relief. The attention-getting line (Lamba) here is very identifiable for the have-nots: having achieved money, the guy says Ab to hum khaayenge beta dono time chicken.

The jingle-like rhythm of another celebratory number 'Lag Gayi Lottery' (Ram Sampath-Tarannum Malik) continues this blend of folk and Western with a filmi touch. The best part of the track is the smooth flow even as the song traverses different rhythmic grooves, so at no point do we get a hybrid, uneven feel.

The best track on the album, resembling the good old qawwalis we have been hearing from the '70s and '80s, is the Kailash Kher-Keerthi Sargathia ace 'Karle Jugaad Karle', with its rich melody. A deadly combination of Sufi melodies and satirical lyrics (opposite genres in music actually!), the song arrests immediate attention thanks to its exquisite melody and Kher's inspired singing. The cross-line (where the antara returns to the mukhada) is the highlight of this supple song that inarguably is one of Ram Sampath's finest compositions. The lyrics by Dhiman are razor-sharp in their satire (Ummeedon bhi nahin teeki hai nahin teeki hai yeh duniya teeki hai jugaad pe) and cynicism (Sadak pe gira note uthaa le / Koi to kahaayegi hi tu khaa le / Aankhen na phaad jeb bhar lena / Saare karte hain tub hi kar lena).

'Rabba' (Clinton Cerejo-Keerthi Sargathia-Ram Sampath), another rhythmic folk song, has clever lyrics (Dhiman again), beseeching the Almighty making a hole in the box that has all their dreams locked within it!

'Ambarsariya', the Punjabi folk song adapted here, is extremely melodious, but the orchestration with guitar riffs seems a tad incongruous for the song, even if the intention may be to impart a novel touch. Sona Mohapatra is technically a very good singer, but guess a little more open-throated rendition and livelier expression would have done a world of good to this haunting song.

Overall

Though its reception will depend on the box-office fate of the film, it is a soundtrack that is definitely worthy for the discerning listener. The trick will lie in making the songs appealing to the wider consumers including the youth with the right promotion.

Our Picks

'Karle jugaad karle,' 'Rabba', 'Ambarsariya'

Hum Hai Raahi CAR Ke

DTF Editor — Wed, 22 May 2013 07:20:05 GMT

Music: Sangeet & Siddharth Haldipur

Lyrics: Sreekanth Agneeaswaran

Label: T-Series

EXPECTATIONS

A comedy about a twosome's misadventures on a Mumbai-Pune trip, the modest budget film with newcomers Dev Goel and Adah Sharma also stars Sanjay Dutt and Juhi Chawla in cameos. The music is by Sangeet and Siddharth Haldipur, who made a sledgehammer impact with their solo composition Aa zaraa kareeb se in Murder 2 but failed to strike chords with films like Bird Idol, Blood Money and Aatma.

So we have very modest expectations from the score, all the more because very few banners today insist on great music as the selling-point for a film with low face-value.

MUSIC

To be fair, the score does partly meet up with modest expectations. 'Ding Dang Ding Dang' is a creditable effort where the tempo and tenor of a bhangra-pop song is mixed with a melodious composition. Mika gets into the flow, sounding sharper and clear in his intonations instead of his normal way of letting one word roll into the next - full marks to the composers for achieving this.

The beats are very desi and authentic and have none of that hybridized and synthetic quality we get to see in so many such songs. The lyrics are completely in Punjabi - a downer for the pan-Indian listener that has become endemic in an era where songs are meant to be watched and danced to rather than understood - but at least the opening lines (Enu pataa hai onnu pataa hai sab nu pataa hai / Dil te kisida zor ni chalda rab nu pataa hai) are comprehensible.

'Nachlay Nachlay' (Shaan-Monali Thakur) is marred by too frequent repeats of the hook and the long mukhda. Remove the unnecessary repetition and the song will be less than three minutes instead of the almost five minute-long affair that it is. That said, one likes the smooth feel of a classic Hindi film duet and the simple youthful lyrics where the boy complains of the girl's over-busy schedule that leaves them with only the weekends to have a rocking time.

Lyricist Sreekanth's Tang na kar yoon mujhe / Jaane de chhod mujhe / Tension mein music bhi / Lagta hai shor mujhe is an aptly imaginative take on the stress of a working woman today! The composition is peppy and the orchestration has the usual loud feel of a pub number. Monali Thakur brings in the right intonation, matching steps with the more seasoned Shaan.

Clinton Cerejo gets the only solo, 'Pri & Me', where the lyrics seem to be strictly functional. Though the melody is somewhat catchy, clearly, the raucous arrangements and Clinton's Westernized accent that pull it down are considered assets for this heard-before kind of song.

The next track, 'Woh' (Sangeet with Anusha Mani) sounds even more familiar and could fit randomly into a dozen films. This overlong song fails to make an impression and has lyrics that must have been heard a zillion times!

The title-track is the last song on the soundtrack - we emphasize the word because it is sung by five voices but is only about two lines repeated: Dum laka laka doom doon / Hum hai raahi car ke. This one is meant to be noisy and rambunctious and probably features in the credit-titles of the movie.

OVERALL

This is a modest score with limited appeal, and its commercial future, if any, will rest on Mika's selling power as well as the right promotion for 'Ding Dang Ding Dang'.

OUR PICK(S)

Ding Dang Ding Dang, Nachlay Nachlay

Ramaiya Vastavaiya

DTF Editor — Wed, 22 May 2013 07:20:05 GMT

Music: Sachin-Jigar

Lyrics: Priya Panchaal

Label: Tips

EXPECTATIONS

This is a Prabhudheva film. The director, who has so far given two winners both at the box-office and in terms of music (Wanted and Rowdy Rathore) shifts gears from Sajid-Wajid to Sachin-Jigar for this movie. Tips, the Taurani brothers' music label that is also fond of great music under its production banner, is also launching Kumar Taurani's son Girish as the hero, and the film is also expected to be a re-launch for Shruti Haasan, Kamal Haasan's daughter. We therefore expect some youthful, fresh and danceable music in this album.

MUSIC

Like their preference in the '90s, this Tips score is dominated by duets, three of which are rendered by Atif (a Tips favourite) and Shreya Ghoshal. Sachin-Jigar, the duo that is also a hit with the label, endeavour to do just that. As always, they take their work seriously, keeping a balance between making music that is bang-on for the subject and yet experimenting a lot within the tracks, almost challenging the listener to accept the novelties, if he decides to get into the compositional and orchestral nuances of the score.

At face-level though, the duo gets into a mass/common man appeal mode that we last saw in the Tips film Tere Naal Love Ho Gaya, demonstrating that they know how to amalgamate contemporary with commercial - doing their own thing while appealing to the consumer, in the best tradition of innovative composers of the past.

The lead track of the album, Jeene lagaa hoon pehle se zyaada, underscores this talent best. The song has universal appeal across ages and demographics and yet does not sound even a whiff dated, though you could almost hear a legend like Mukesh singing it!

Which reminds me - Sachin-Jigar have always given us a different Atif Aslam to us (Tere Naal Love Ho Gaya, Jayantabhai Ki Luv Story), clearly indicating that they are not overawed by his brand and would prefer, like any true composers, to mould a singer according to their own vision while harnessing his strengths. This song is a classic illustration of this skill. The opening solo santoor hook is killing, and the rest of the song has this same hook as well as most of the interludes dominated by the mandolin.

The lyrics of Jeene laga hoon are simple and heard-before but of the kind that will always appeal to all, starting with the paradox-laden mukhda that is so reminiscent of Anand Bakshi - Jeene laga hoon pehle se zyada /Pehle se zyada tum pe marne laga hoon.

We once again see a fresh reinvention of Atif in the haunting Bairiya, whose soft mode is exceptional. Easily the best song on the score with its layered structure and superb lyrics (Palkon ki dibiyon mein rehte / Khwab hain uddne ko kehte / Haathon se chhoota, chhoota chala hai jeeya), Bairiya begins with the Arabic string instrument ood in the prelude by Shreya, who sings with a soft and seductive tenor.

The rabab, an Afghan instrument last used exceptionally by Laxmikant-Pyarelal in the 1992 Khuda Gawah, provides the charming bulwark for the song, which my instinct tells me will catch on soon like some deadly but slow virus!

Their third duet, Rang jo lagyo, begins like a placid ripple and picks up tempo like a wave. The orchestration is innovative and broad canvas with a semi-symphonic sound blended with desi percussion. We see a more typical Atif here. Shreya in all the three duets is what she always is nowadays - effortlessly underplayed yet very melodious.

The cleverest composition in the score is the playful Peecha chhute sung with gusto by Mohit Chauhan. A clarinet piece starts the track that has a lot of abandon. Once again, Mohit (as in Jeene de from Tere Naal Love Ho Gaya) is used with a welcome verve by the composers, rather than their pandering to his normal soulful mode. And we have to admit that a desire to fall in love with someone was rarely better expressed (after Mere khwabon mein jo aaye in Dilwale Dulhania Le Jayenge) than in this song where the hero wants his cranky heart stolen for the sake of his peace of mind! Priya Panchaal (now Mrs. Jigar) writes terrific lines like Yoon hi anjaane yeh kabhi manaaye roothe / Yoon hi bahane yeh kabhi banaaye jhoote / Chura le jaaye koi to haaye dil se peecha chhute!
Another fun song is the Punjabi pop Hip-Hop Pammi. The funky, irreverent lyrics (Arey aaye haaye tere nakhre oye Pammi-ji says the hero, while she replies, Arey jaa jaa, hat jaa, ghar jaa tujhko maaregi mummy-ji) are enjoyably rendered by Mika Singh and Monali Thakur, who seem to be making the most of the song and enjoying the chhed-chaad.

However, the "item" song Jadoo ki jhappi (in two parts) emerges the weakest track on the album. The sound is raucous and the folk rhythm (with an ensemble of instruments) seems to lack that oh-so-vital chemistry needed between words and tune. Mika in is automated mode, which is just not enough to lift the song, and Neha Kakkar cannot impart the magic that marks the vocals of the most successful "item" numbers. The song also has a flaw of sorts: though the hero pronounces 'special' as the tapori 'isspecyal' he utters the word 'style' perfectly instead of saying the obvious 'isshtyle'! The second part of this song is briefer but has slightly better lyrics.

OVERALL

Sachin-Jigar live up to expectations as a whole. The album works at a macro-level, helped by Atif Aslam's youth appeal as he features in three of the six tracks. Jeene laga hoon is sure-fire download dynamite, and Mohit Chauhan might chip in big-time with Peecha chhute too. For those fastidious about their melody and even others, Bairiya will work hugely if promoted well.

OUR PICK(S)

Jeena laga hoon, Peecha chhute, Bairiya

Hum Hai Raahi CAR Ke

DTF Editor — Mon, 20 May 2013 12:10:03 GMT

Music: SANGEET & SIDDHARTH HALDIPUR

Lyrics: SREEKANTH AGNEEASWARAN

Label: T-Series

EXPECTATIONS

A comedy about a twosome's misadventures on a Mumbai-Pune trip, the modest budget film with newcomers Dev Goel and Adah Sharma also stars Sanjay Dutt and Juhi Chawla in cameos. The music is by Sangeet and Siddharth Haldipur, who made a sledgehammer impact with their solo composition Aa zaraa kareeb se in Murder 2 but failed to strike chords with films like Bird Idol, Blood Money and Aatma.

So we have very modest expectations from the score, all the more because very few banners today insist on great music as the selling-point for a film with low face-value.

MUSIC

To be fair, the score does partly meet up with modest expectations. 'Ding Dang Ding Dang' is a creditable effort where the tempo and tenor of a bhangra-pop song is mixed with a melodious composition. Mika gets into the flow, sounding sharper and clear in his intonations instead of his normal way of letting one word roll into the next - full marks to the composers for achieving this.

The beats are very desi and authentic and have none of that hybridized and synthetic quality we get to see in so many such songs. The lyrics are completely in Punjabi - a downer for the pan-Indian listener that has become endemic in an era where songs are meant to be watched and danced to rather than understood - but at least the opening lines (Enu pataa hai onnu pataa hai sab nu pataa hai / Dil te kisida zor ni chalda rab nu pataa hai) are comprehensible.

'Nachlay Nachlay' (Shaan-Monali Thakur) is marred by too frequent repeats of the hook and the long mukhda. Remove the unnecessary repetition and the song will be less than three minutes instead of the almost five minute-long affair that it is. That said, one likes the smooth feel of a classic Hindi film duet and the simple youthful lyrics where the boy complains of the girl's over-busy schedule that leaves them with only the weekends to have a rocking time.

Lyricist Sreekanth's Tang na kar yoon mujhe / Jaane de chhod mujhe / Tension mein music bhi / Lagta hai shor mujhe is an aptly imaginative take on the stress of a working woman today! The composition is peppy and the orchestration has the usual loud feel of a pub number. Monali Thakur brings in the right intonation, matching steps with the more seasoned Shaan.

Clinton Cerejo gets the only solo, 'Pri & Me', where the lyrics seem to be strictly functional. Though the melody is somewhat catchy, clearly, the raucous arrangements and Clinton's Westernized accent that pull it down are considered assets for this heard-before kind of song.

The next track, 'Woh' (Sangeet with Anusha Mani) sounds even more familiar and could fit randomly into a dozen films. This overlong song fails to make an impression and has lyrics that must have been heard a zillion times!

The title-track is the last song on the soundtrack - we emphasize the word because it is sung by five voices but is only about two lines repeated: Dum laka laka doom doon / Hum hai raahi car ke. This one is meant to be noisy and rambunctious and probably features in the credit-titles of the movie.

OVERALL

This is a modest score with limited appeal, and its commercial future, if any, will rest on Mika's selling power as well as the right promotion for 'Ding Dang Ding Dang'.

OUR PICK(S)

Ding Dang Ding Dang, Nachlay Nachlay

Music Review: 'Fukrey'

master1 — Mon, 20 May 2013 10:41:58 GMT

The music album of director Mrighdeep Singh Lamba's 'Fukrey' has six tracks. Simple and sweet, the tracks are high on fun and entertainment quotient.

It has its setbacks, but does not disappoint.

In the film's title track, "Fuk fuk fukrey", debutant singer Amjad Bagadwa's voice sounds a little offbeat initially, but it gradually blends in well.

It reminds us a bit of "Bhaag DK Bose" because of the fast beat, but it's the "fuk fuk fuk" part that grows on you almost instantly, even if the song does not.

It is a young and vibrant number.

"Beda par", the next track, is interesting due to its effects. A catchy and groovy number, it has the superhit singer Mika Singh behind the mike. The echo given to his powerful voice is worth noticing. Tarannum's voice is also pleasing, but strangely, it doesn't blend too well in the song. It isn't a party or dance number but perhaps listeners can enjoy it with equal enthusiasm. The peppy rhythm in this number makes a lasting impact.

The third song on the list is "Lag gayi lottery". Sung by Ram Sampath and Tarannum Malik, it's safe to call it a happy song, given the clapping sounds in the background. However, the lyrics seem to go out of rhythm in between and the listener starts losing interest. The song sadly ends before you realise it.

The versatile Kailash Kher has crooned the album's next song "Jugaad kar le". His voice is captivating as always. The lyrics give the song a funky twist, and a surprise element in it is the use of the electronic guitar.

It is neither a fast number nor a slow one. It seems to be in a style of storytelling, but it doesn't tell any story. The lyrics are in Hinglish, a mix of Hindi and English. But this song too doesn't manage to hold you for long.

This one, in fact, is a fine example of a good song gone bad.

The penultimate track "Rabba" is beautifully sung by Clinton Cerejo. A fun track, it is a surprise number, which starts with simple, soothing music and just when you start to settle down with the peaceful melody, a lot of beats, music and peppiness are added. They lyrics are in sync with the music and definitely above average. The pauses and change in tune is very sensible.

The best has been reserved for the last. "Ambarsariya", sung by Sona Mohapatra, is a number suited for a 'gaon ki gori'. Not for once does the music overpower the singer's voice and it plays in complete harmony.

However, the guitar definitely pulls attention away from the singer, who has otherwise crooned the number impeccably.

Overall, the music album is plain and simple - sans mashups, encores and versions. Ram Sampath has done justice to the movie's theme by having young and peppy numbers. While the songs individually might not be able to leave a lasting impression, the album is good.

Ramaiya Vastavaiya

DTF Editor — Sat, 18 May 2013 04:40:07 GMT

Music: SACHIN-JIGAR

Lyrics: PRIYA PANCHAAL

Label: Tips

EXPECTATIONS

This is a Prabhudheva film. The director, who has so far given two winners both at the box-office and in terms of music (Wanted and Rowdy Rathore) shifts gears from Sajid-Wajid to Sachin-Jigar for this movie. Tips, the Taurani brothers' music label that is also fond of great music under its production banner, is also launching Kumar Taurani's son Girish as the hero, and the film is also expected to be a re-launch for Shruti Haasan, Kamal Haasan's daughter. We therefore expect some youthful, fresh and danceable music in this album.

MUSIC

Like their preference in the '90s, this Tips score is dominated by duets, three of which are rendered by Atif (a Tips favourite) and Shreya Ghoshal. Sachin-Jigar, the duo that is also a hit with the label, endeavour to do just that. As always, they take their work seriously, keeping a balance between making music that is bang-on for the subject and yet experimenting a lot within the tracks, almost challenging the listener to accept the novelties, if he decides to get into the compositional and orchestral nuances of the score.

At face-level though, the duo gets into a mass/common man appeal mode that we last saw in the Tips film Tere Naal Love Ho Gaya, demonstrating that they know how to amalgamate contemporary with commercial - doing their own thing while appealing to the consumer, in the best tradition of innovative composers of the past.

The lead track of the album, Jeene lagaa hoon pehle se zyaada, underscores this talent best. The song has universal appeal across ages and demographics and yet does not sound even a whiff dated, though you could almost hear a legend like Mukesh singing it!

Which reminds me - Sachin-Jigar have always given us a different Atif Aslam to us (Tere Naal Love Ho Gaya, Jayantabhai Ki Luv Story), clearly indicating that they are not overawed by his brand and would prefer, like any true composers, to mould a singer according to their own vision while harnessing his strengths. This song is a classic illustration of this skill. The opening solo santoor hook is killing, and the rest of the song has this same hook as well as most of the interludes dominated by the mandolin.

The lyrics of Jeene laga hoon are simple and heard-before but of the kind that will always appeal to all, starting with the paradox-laden mukhda that is so reminiscent of Anand Bakshi - Jeene laga hoon pehle se zyada /Pehle se zyada tum pe marne laga hoon.

We once again see a fresh reinvention of Atif in the haunting Bairiya, whose soft mode is exceptional. Easily the best song on the score with its layered structure and superb lyrics (Palkon ki dibiyon mein rehte / Khwab hain uddne ko kehte / Haathon se chhoota, chhoota chala hai jeeya), Bairiya begins with the Arabic string instrument ood in the prelude by Shreya, who sings with a soft and seductive tenor.

The rabab, an Afghan instrument last used exceptionally by Laxmikant-Pyarelal in the 1992 Khuda Gawah, provides the charming bulwark for the song, which my instinct tells me will catch on soon like some deadly but slow virus!

Their third duet, Rang jo lagyo, begins like a placid ripple and picks up tempo like a wave. The orchestration is innovative and broad canvas with a semi-symphonic sound blended with desi percussion. We see a more typical Atif here. Shreya in all the three duets is what she always is nowadays - effortlessly underplayed yet very melodious.

The cleverest composition in the score is the playful Peecha chhute sung with gusto by Mohit Chauhan. A clarinet piece starts the track that has a lot of abandon. Once again, Mohit (as in Jeene de from Tere Naal Love Ho Gaya) is used with a welcome verve by the composers, rather than their pandering to his normal soulful mode. And we have to admit that a desire to fall in love with someone was rarely better expressed (after Mere khwabon mein jo aaye in Dilwale Dulhania Le Jayenge) than in this song where the hero wants his cranky heart stolen for the sake of his peace of mind! Priya Panchaal (now Mrs. Jigar) writes terrific lines like Yoon hi anjaane yeh kabhi manaaye roothe / Yoon hi bahane yeh kabhi banaaye jhoote / Chura le jaaye koi to haaye dil se peecha chhute!
Another fun song is the Punjabi pop Hip-Hop Pammi. The funky, irreverent lyrics (Arey aaye haaye tere nakhre oye Pammi-ji says the hero, while she replies, Arey jaa jaa, hat jaa, ghar jaa tujhko maaregi mummy-ji) are enjoyably rendered by Mika Singh and Monali Thakur, who seem to be making the most of the song and enjoying the chhed-chaad.

However, the "item" song Jadoo ki jhappi (in two parts) emerges the weakest track on the album. The sound is raucous and the folk rhythm (with an ensemble of instruments) seems to lack that oh-so-vital chemistry needed between words and tune. Mika in is automated mode, which is just not enough to lift the song, and Neha Kakkar cannot impart the magic that marks the vocals of the most successful "item" numbers. The song also has a flaw of sorts: though the hero pronounces 'special' as the tapori 'isspecyal' he utters the word 'style' perfectly instead of saying the obvious 'isshtyle'! The second part of this song is briefer but has slightly better lyrics.

OVERALL

Sachin-Jigar live up to expectations as a whole. The album works at a macro-level, helped by Atif Aslam's youth appeal as he features in three of the six tracks. Jeene laga hoon is sure-fire download dynamite, and Mohit Chauhan might chip in big-time with Peecha chhute too. For those fastidious about their melody and even others, Bairiya will work hugely if promoted well.

OUR PICK(S)

Jeena laga hoon, Peecha chhute, Bairiya

Music Review: 'Yamla Pagla Deewana 2'

master1 — Mon, 13 May 2013 10:51:01 GMT

If the theme of director Sangeeth Sivan's forthcoming movie 'Yamla Pagla Deewana 2' has a strong Punjabi flavour, its soundtrack is high on the same too. Keeping in sync with the theme, composer duo Sharib-Toshi has embellished the five tracks with loud beats and entertaining music.

The album makes an impressive start with title number "Yamla pagla deewana". Rahul Seth's rap is good, but it could've been better. The song is a rare combination of good music and apt lyrics with element of fun. Singers Sanchita Bhattacharya, Sukhwinder Singh and Shankar Mahadevan have put in their best. With dominating Punjabi flavour, the composition is different, but average.

If 'High on Punjabi flavour' has to be defined, singer Mika Singh's "Changli hai changli hai" is an ideal example of that. Replete with fast beats and whistles, the Hinglish lyrics in the song are an attention grabber. A typical "road side Romeo" kind of a song, it's high on energy and beats.

Sonu Nigam's voice sounds very interesting when he goes behind the mike to sing typical Punjabi song "Suit tera lal rang da". Sunidhi joins him and she changes the tone and pace of the song in an impeccable manner.

The next track is a surprise number. With a tinge of western electro beats, "Main taan aida hi nachda" is interesting and refreshing. Singers Diljit Dosanjh and Sachinn Gupta seem to have fun while singing it, and it shows in the song. With a lot of catchy and groovy music, it is the high point of the album. Dharmendra joins the singers towards the end.

Last one is "Jatt yamla pagla ho gaya". Sung by Mika and Suzzane D'Mello, it is similar to the title track. Repetition of the same kind of beats and music elements, make it boring! Although it starts off differently, but gradually adapts the beats replete with Punjabi tadka.

Besides the above five tracks, the album also has "Saadi daru da pani (YPD version)", "Jatt yamla pagla ho gaya (Version)" and "YPD2 Mashup".

Too much of anything is bad and the same goes for 'Yamla Pagla Deewana 2' soundtrack that has an overdose of Punjabi music. Although entertaining, it gets monotonous after first two songs. One wishes the composers would have experimented a little more.

Having said that, it is an ideal album for those who love to dance on loud beats.

Music Review: 'Yeh Jawaani Hai Deewani'

master1 — Tue, 07 May 2013 09:46:57 GMT

Packed with fast energetic numbers, the soundtrack of director Ayan Mukerji's forthcoming movie 'Yeh Jawaani Hai Deewani' has nine tracks. High on energy and beats, it's an out and out fun and masti album. Though the inclination is towards vibrant and youthful compositions, it does have its share of emotional songs.

The album has an energetic start with "Badtameez Dil", sung by Benny Dayal and Shefali Alvaris. Get ready to groove to the number as its fast beats will definitely pull you to the dance floor. The young, peppy and crazy tune justifies the title of the movie. The peppy lyrics are in sync with the mood. Thoroughly enjoyable.

Nowadays, Holi songs are a rarity and "Balam Pichkari", sung by Vishal Dadlani and Shalmali Kholgade, is one those rare songs. The naughty number would make you dance. The lyrics are witty. Its starts on a high note and ends on a high note. A must hear.

The third track in the album is "Dilliwaali girlfriend". Sung by Arijit Singh and Sunidhi Chauhan. It may not be as perfect as the first two numbers, but the element of fun and naughtiness is intact in this one too. If the title has the word 'Dilli' in it, then Punjabi element has to be there. The rap, in the beginning of song, is impressive and lyrics are fun. However, after a point it loses its grip.

"Ghargra" is the next track, an interesting duet by Rekha Bhardwaj and Vishal Dadlani. It has a touch of local 'tamasha' and Rekha's voice sings the song in her typical way. With whistles and ghungroo sounds, the singers make it a fun number. The lyrics are worth paying attention to.

After all these dance tracks, the album takes a regional turn with "Ilahi". A simple song, sung by Arijit. It has chorus by children singing in background brings freshness to it.

There is another version of the song called "Ilahi reprised". It's faster than the original, otherwise the rest of the elements are similar to the original.

Rekha Bhardwaj and Tochi Raina come together for "Kabira". The music is liberating and Tochi sings beautifully. It's a kind of song that grows on you. Not a very long number, it keeps the essence of the song intact. Don't miss it.

Another version of the number is "Kabira Encore". Sung by Harshdeep Kaur and Arijit, it is way far better than previous one. Set in the backdrop of a wedding, it is blissfully rhythmic and beautiful. You would want to hear the song again and again for the way Arijit has sung it.

Last number is "Subhanallah". A usual romantic number, talking about beauty of a woman, it will woo diehard romantics. Sreeram takes the mike for the song, which may not appeal so much to others.

'Yeh Jawaani Hai Deewani' soundtrack is impressive, young and crazy. It does have its weak points, but otherwise has excellent songs. A must hear for all music enthusiasts.

Music Review: 'Aurangzeb'

master1 — Mon, 06 May 2013 10:31:38 GMT

album of director Atul Sabharwal's debut movie 'Aurangzeb', a crime thriller, has five tracks and its four musical versions. The compositions are interesting and centred around power, which is in sync with the theme.

The first track is "Barbadiyaan", a peppy number sung by Ram Sampath and Sashaa Agha. The lyrics have an undertone of darkness, but energetic composition makes it a party track. Infused with electro beats, it becomes more interesting when Ram goes behind the mike. The music is not extraordinary, but interesting.

The next track is "Jigra fakira", which is sung beautifully by Keerthi Sagathia. The song has a touch of folk and Sufi music. The music becomes overwhelming when the violin starts playing. The song may not appeal to everyone, but music lovers should definitely lend an ear to the song.

"Barbaadi" follows next. It has similar lyrics to the one sung by Sashaa and Ram, but the music and tone of the song are completely different. Singer K. Mohan's voice is so magical that you are hooked to it. Since the song has a grave appeal, it is best heard when alone.

Next is the title track 'Aurangzeb' and is sung by Marianne D'Cruz Aiman. It talks about Mughal emperor Aurangzeb and hence has all the required grandness. There is a choir, which supports the singer. In short, a powerful number!

Then there is "Aurangzeb rock"; rock version of previous number and Vipin Mishra has lent his voice for the song. It has sound of drums and guitars, all that a 'rock version' would need. Suddenly, it becomes smooth and silent. Vipin's voice has the required aggression and passion for the song. It is very well channelised composition.

The album also has four instrumental versions titled "Trial by fire", "Battleground Gurgaon", "The father's truth" and "Aurangzeb Orchestra".

'Aurangzeb' has interesting compositions and the music is well put together, but not an all round soundtrack as it won't appeal to the masses.

Hear it for its interesting songs.