The album starts with Baby Doll, and is a folk-y desi number that gives off an item number kind of vibe. The Hinglish, off-beat and humorous lyrics are the track’s main attraction and veterans Udit Narayan and Sukhwinder Singh do not leave any nuance unexpressed. Musically, the enthusiastic blend of desi and contemporary is impressive. It has a familiar and catchy tune and therefore one can easily start humming it after listening to it once. With a fun and engaging picturization, Baby Doll, may find more takers but on its own it is not unlike other mass desi numbers preceding it.

Behn Ki Takki is techno club number that is fun all over despite being another Punjabi track amongst the millions already out there. It suffers from a serious Student of the Year hangover in that it sounds like a blend of Vele, Kukkad and Disco Deewane, but manages to be entertaining regardless, possibly because it’s a combination of three good numbers. Vishal Dadlani brilliantly delivers the track and is somewhat unrecognizable, given his authentic Punjabi rendition. Lyrically, like Vele and Kukkad, the track sports a clever blend of Punjabi and English lyrics that is impressive from the word go. Behn Ki Takki is on the fast track to become a crowd favourite.

Shekhar Ravjiani’s Mann Bawra is easily Gippi’s crowning glory. If you have loved Ravjini’s renditions in the past such as Khudaya from Shanghai, it would hardly take a nanosecond to fall in love with Mann Bawra. The music, words and vocals have a heartfelt honesty about them and its musically and lyrically brilliant.

The sweet and melodious Dil Kaagzi is an instant work of art. Neeti Mohan renders the track beautifully. It has a waltz-like quality and is very easy on the ears. Lyrics are equally well penned. It is definitely one of the better tracks of the album.

The last track, We Are Like This Only, simply put is the Papu-Can’t-Dance-Saala to Gippi’s Jaane-Tu-Ya-Jaane-Na. It’s reasonably loud and silly whilst being cute and unapologetic. Vishal Dadlani and Hard Kaur make a fun pair and embody this party track perfectly while complimenting each other well. Lyrically, it has the hallmarks of a teen party anthem, that is, witty prose rife with a devil may care attitude. The pockets of pseudo-rap, if you will, are initially off putting but Dadlani and Kaur render it convincingly and therefore does not stop one from enjoying the track. That being said, while We Are Like This Only is a decent listen, it is fairly unremarkable in that it has little to nothing new to offer.

In summary, given its promos, posters and such, one expected Gippi to feature fun, loud and crazy numbers like Baby Doll, Behn Di Takki and We Are Like This Only and predictably it does not disappoint but it does not overly impress either. However, the unexpected subtle beauty of Mann Bawra and Dil Kaagzi pushes the album beyond the realm of mediocrity. Either way, like all Vishal-Shekhar creations, it is a soundtrack worth listening to.

Gippi Music Review is a post from: BollySpice

The post Gippi Music Review appeared first on BollySpice.

5. Mamta Sharma

Mamta Sharma burst into our music players and blasted our speakers with ‘Munni Badnaam’ in 2010 and has not stopped to take a breath. 2012 saw her jump back into the arena with ‘Anarkali Disco Chali’ (Houseful 2),’Aa Re Pritam Pyare’ (Rowdy Rathore) and the recently unleashed ‘Fevicol Se’. Granted, these tracks were not world-dominating like Munni but they left no stone unturned when it came to entertaining the masses.

4. Nandini Srikhar

Nandini is bringing classic back to our Indian songs and how. Last year we could not get enough of ‘Bhare Nania’ (Ra-One). In 2012 our hearts went out to ‘Dua’ (Shanghai), her emotionally charged outcry to the heavens and we danced to the rocking mujra, literally, ‘Dil Mera Muft Ka’ (Agent Vinod). Even then, we hankered for more and are eagerly looking forward to hearing more of her in 2013.

3. Shalmali Kholgade

Arguably a newbie, Shalmali Kholgade took little to no time in making her way into our hearts via our ears. Her vocals are sweet and innocent one minute and seduction dipped in honey the next. Needless to say, we were not at all pareshaan to hear her on repeat crooning Amit Trivedi’s folk/rock fusion ‘Pareshaan’ (Ishaqzaade) or the sultry ‘Aga Bai’ (Aiyaa). ‘Daaru Desi’ (Cocktail) was just another feather in her already accomplished cap. We are definitely hungry for more songs from her in 2013.

2. Sunidhi Chauhan

Ms. Chauhan is one of Bollywood’s most versatile singers. She can slip into the shoes of a sultry seductress just as easily as vocalising a subtle melancholic number.  Once again her versatility was reflected in snazzy ‘Jab Se Mere Dil Ko Uff’ (Teri Meri Kahani), the celebratory ‘Gun Guna Re’ (Agneepath), the endearing ‘Mar Jaiyaan’ (Vicky Donor), the emotionally potent ‘Yariyaan’ (Cocktail) and the flirty ‘Chokra Jawan’ (Ishaqzaade). However, it was the flawlessly rendered ‘Halkat Jawani’ (Heroine) that was heavily applauded for, confirming her as the true item girl.

1. Shreya Ghosal

While it is arguable that Ms. Ghoshal is the go-to-gal when it comes to lending vocals to our heroines any day, 2012 has seen (or rather heard) this nightingale behind not only one but a number of key chartbusters. The year started of with the cheeky ‘Chikni Chameli’ that was quick to take the nation by storm. Usually relegated to singing melodious romantic solos/duets, Ms. Ghoshal was an unlikely choice for an item number, but you wouldn’t guess that by how she enthralled the masses with her transformation. Then came, ‘Raabta’ (Agent Vinod), ‘Thodi Si Haasi’ (Barfi) and ‘Jhalla Vallah’ (Ishaqzaade). The exotic ‘Mashallah’(Ek Tha Tiger) also reigned supreme while sweetly simple ‘Mahek Bhi’ (Aiyyaa) was heart warming. She concluded the year with the catchy youth anthems ‘Radha’ (Student of the Year) and ‘Saans’ (Jab Tak Hai Jaan), a breathtaking duet with Mohit Chauhan that sealed her fate as one of India’s best singers.

Special mentions:

Aditi Singh Sharma. Last year we feared Ms. Sharma may get typecast and be forever relegated to singing peppy youth anthem but she surprised us all with the power-packed ‘Main Heroine Hoon’. She shed her school girl vocals and delivered a rocking ballad that encompassed the gritty and glittering life of a heroine to perfection.

REFLECTIONS 2012: Top 5 Female Singers 2012 is a post from: BollySpice

The post REFLECTIONS 2012: Top 5 Female Singers 2012 appeared first on BollySpice.

5. Ayushman Khurana

One film and one song old, yet Ayushman cannot be more of a rockstar. Sure the man can act and hold a film on his shoulders, but who knew he could sing as well. Paani Da Rang, a sweet and simple Punjabi track took the audiences by storm with only one complaint, we were left hankering for more. Here’s hoping 2013 changes that.

4. Amit Trivedi & Vishal Dadlani

Both Mr. Trivedi and Mr. Dadlani are jacks-of-all-trades in that they successfully score chartbusting albums and have the pipes to match. Mr. Trevedi’s genius refusal to stick to the norm gives us inconceivable fusions but it’s his earthy vocals that surprise you more. Be it ‘Wakda’ (Aiyaa), ‘Dhak Dhuk’ (English Vinglish), English Vinglish (title song) or ‘Kikli Kalerdi’ (Luv Shuv Te Chicken Khurana), he continues to impress in more ways than one. Similarly, Vishal Dadlani is a force to reckon with when paired with partner in rhythm Shekhar Ravjini, but he can definitely break some hearts on his own. This year we fell in love with his renditions of ‘Mar Jaiyaan’ (Vicky Donor) and ‘Jee Le Zaara’ (Talaash) and happily danced the nights away with ‘Vele’ and ‘Ratta Ma’ (Student of the Year).

3. Mohit Chauhan

After a rocking year with Rockstar, Mr Chauhan was found just a shot out of the limelight in 2012. Even then he delivered some unforgettable tracks in Barfi (title track), ‘Saans’ (Jab Tak Hai Jaan), ‘Shukrana’ (Jannat 2), ‘Dil Yeh Bekaraar Kyun Hai’ (Players) and ‘Saiyaara’ (Ek Tha Tiger). We sincerely hope he reprises his reign over music in 2013.

2. Rahet Fateh Ali Khan

A year in music is more or less incomplete but for a few choice numbers from Mr. Khan. His velvety vocals are Christmas and Diwali rolled into one and then some. This year he serenaded us with ‘Tera Deedar Hua’ (Jannat 2), ‘Saiyaan’ (Heroine),  ‘Allah Jaane’ (Tere Meri Kahani), ‘Bichdan’ (Son of Sardaar), ‘Yeh Jo Halki Halki Khumariyan’ (Son of Sardaar) and ‘Siske Siske’ (Ishq in Paris). As if that was not enough, he gifted us ‘Dagabaaz Re’ (Dabangg 2) as the year concluded. Here’s to more from the maestro in 2013.

1. Arijit Singh

Arijit Singh can be crudely classified as a newcomer, but his immaculate renditions of ‘Jhoom’ (Players), ‘Raabta’ (Agent Vinod), ‘Phir Laya Dil’ (Barfi) and ‘Dua’ (Shanghai) are equivalent if not above that of a skilled of a veteran.  The aforementioned tracks could not be more different from each other. Arijit has a classical zeal to his vocals apparent in ‘Phir Le Aaya Dil’ and ‘Dua’ with charm wrapped up in a rockstar quality as witnessed in ‘Jhoom’ and ‘Raabta’. To say he is a promising debutant is a gross understatement as he has fulfilled his promise to the audiences before we initiated it. We eagerly await more from Arijit in 2013.

Special Mentions

Benny Dayal: We had an entertaining year thanks for Benny with the ‘Disco Song’ (Student of the Year), Ek Main Aurr Ek Tu (Title Track), ‘Daaru Desi’ (Cocktail) and ‘Tujhpe Fida’ (Heroine). However, we wonder when we will see the return of the Benny that took our breaths away with ‘Meri Dost Hai’ (Yuvraaj) and ‘Kaise Mujhe Tum Mil Gayee’ (Ghajini) because these cute party tracks are getting old.

Javed Ali: It is a real shame that Mr. Ali is not utilised as much as he deserves. This year he beautifully introduced the Ishaqzaade to us with the film’s title track followed by a short yet strong rendition of ‘Jab Tak Hai Jaan’ toward the end of year. Needless to say we are begging for more.

Shekhar Ravjiani and Salim Merchant also gave commendable performances this year by breaking away from their roles as music directors. Ravjiani delivered a power packed rendition of ‘Khudaya’ (Shanghai) while giving some invaluable supporting vocals for several numbers in Student of the Year and Shanghai. The other half of the brothers Merchant, Salim stirred the gen-y hormones with swoon-worthy ‘Ishqwala Love’ (Student of the Year) and singles anthem ‘Kunwara’ (Jodi Breakers).

REFLECTIONS 2012: Top 5 Male Singers 2012 is a post from: BollySpice

The post REFLECTIONS 2012: Top 5 Male Singers 2012 appeared first on BollySpice.

The musical-lyrical duo of Shantanu Moitra and Swanand Kirkire (3 Idiots, Parineeta and Munna Bhai series) are at the helm of Inkaar. The soundtrack compromises of five tracks and features the musical talents of Suraj Jaggan (‘Sadka Kiya’ – I Hate Luv Storys and ‘Afatoon Ke Parindey’ – Ishaqzaade), Swanadand Kirkire amongst others.

The album commences with Darmiyaan, a pseudo-sufi sung by Swanand Kirikire. Its beginning suggests a sufi/rock fusion and therefore once anticipates a promising start to the album but ‘Darmiyaan’ falters. Lyrically, the track is sound but vocally and musically it favours the unremarkable. Kirikire’s performance, arguably intended to be raw just appear bland at the end of the day.

Maula Tu Malik Hai redeems the lack-lustre start. A rock/sufi fusion with a jazz-y tinge, ‘Maula Tu Malik Hai’ features a catchy chorus line. Kirkire’s vocals are stronger this time round despite his laissez-faire tone which he employed in ‘Darmiyaan’. Once again, lyrically it is above apt.

K Mohan’s Zindagi Karobaar Hai perfectly contemplates life’s proclivities to imitate trade and commerce. Mohan’s vocals suit this rock-esque number. The only complaint is that it is quite short for such a well-composed track.

Kuch Bhi Ho Sakta has Suraj Jaggan doing what he does best – rock. Lyrically, the song distances itself from the conundrum of similes and metaphors and simply brainstorms indicia of the phrase, anything can happen. Whether it relates to life and the world in general or the corporate world, the film’s playfield, is unclear. In any case, great track, short and fast with an infinitely energetic performance by Jaggan.

The soundtrack closes with a thematic piece featuring Monali Thakur. It is hauntingly beautiful with an air melancholy that borders on the sinister. Violins give it its melodious charm while the slowly increasing electronic guitars gives it a dramatic flare. In short, one of best instrumental pieces of the year, second only to the thematic piece in Luv Shuv Te Chicken Khurana.

Once again, a subject-heavy film such as Inkaar proves that it can be musically appealing as well. Arguably, more so than your average masala fare, as it claims to drink heavily from his foundations, its chosen subject matter, rather than pulling together a myriad of mindless run-of-the-mill phrases against the backdrop of loud music. All tracks with the exception of ‘Darmiyaan’ are worth any music-enthusiast’s while. Inkaar maybe not climb the charts but it is still a sound album, well composed and equally well written.

Inkaar Music Review is a post from: BollySpice

The post Inkaar Music Review appeared first on BollySpice.

First is, Kikli Kalerdi is a witty take on a traditional Punjabi game ala ring-a-ring-a-roses played by young girls. Here, the game’s format is used to illustrate the notorious escapades of cheating Ranjah who is in way over his head. It is written with a lot of wit, touch-in-cheek humor and clever innuendo. All these qualities are cleverly rendered by Trivedi, Ho Ho Honey Singh and Preeti Maidasani. Musically, the flute loop and the dhols/drums’ back beat create an infectiously catchy number. The Hindi version, especially Ho Ho Honey Singh portion, is relatively better than the Punjabi version. Other than that, both versions are equally good.

Motorwada is a follow on from ‘Kikli Kalerdi’. While the lyrics are as wonderfully outrageous at Kiikli Kalerdi, the music falls a bit short. That is, it is not as addictive as the former. Tochi Raina and Amit more than make up for it with an enthusiastic rendition. Raina, arguably outshines Amit as he tends to nail the Haryana nuances.

Luv Shuv Tey Chicken Khurana is a beautiful Punjabi duet by Harshdeep Kaur and Shahid Mallya. The lyrical back and forth is witty and sweet while the minimal traditional Punjabi music is easy on the ears.

Makkhan Malai, is yet another loud number but unlike ‘Motorwada’ and ‘Kikli Kalerdi’, it comes off as relatively noisy. Further the lyrics are sub par in comparison.

Luni Hasi appears as a duel track by Dalvender Singh and Harshdeep Kaur respectively. It is a soft romantic Punjabi/Hindi track despite Amit employing an energetic mix of techno/electronica throughout the track. Both tracks are equally good, however, arguments about the orchestration of one being superior to the other will not be uncommon.

Faruka Baadi gets off to a promising start, in that the ladies’ (credited as chorus) portion is quite attention grabbing with ‘FO’ and ‘teri maa behn ki’ amongst other references. Labh Janjua then takes over the track and from here on the track takes on the form of a rather mediocre Punjabi dance number, the likes of which audiences have heard a 100 times before.

Luv Shuv Tey Chicken Khurana Theme can easily give its predecessors a run for their money, considering how unbelievably beautiful it is devoid of vocals. Tapas Roy’s rabab reigns supreme and elevates this track from a mere filler instrumental.

In summary, Luv Shuv Tey Chicken Khurana is delightfully quirky in a way only Amit Trivedi can manage. However, one cannot ignore Shelle, the sleeper star of this soundtrack. His witty lyrics showcase an optimal grasp of Hindi, English and Punjabi as well as his comic genius. His articulate innuendo is particularly entertaining. Encapsulate it in a zany Trivedi creation with a good assortment of singers and you get at true hatke musical experience. That being said, the strong Punjabi lyrics may be off putting to those who do not understand the language. On recap, ‘Kilki Kalerdi’ is an obvious winner with his peppy tune and cheeky lyrics. Both versions of ‘Luni Hasi’ are close seconds with the title track and the theme piece bringing up the rear. The remaining tracks are mostly unremarkable even though listenable. In any event, Luv Shuv Tey Chicken Khurana is yet another impressive Trivedi creation for the records.

Luv Shuv Tey Chicken Khurana Music Review is a post from: BollySpice

The post Luv Shuv Tey Chicken Khurana Music Review appeared first on BollySpice.

Jab Tak Hai Jaan

The much talked about Challa Challa opens the album. A spirited contemporary sufi of sorts, ‘Challa’ has been the subject of praise and criticism alike. Rabbi Shergill’s (‘Bulla Ki Jaana’) soulful vocals and Gulzar’s lyrics against the backdrop of Rahman’s well-arranged strings, make an undeniably formidable combination. The choice of having Rabbi sing for Shah Rukh Khan on other hand is questionable at best. Any other composer would have opted for current sufi favourites, Rahat Fateh Ali Khan or Kailash Kher, even Sukwinder Singh, but that is not reason enough to dismiss what for all intensive purposes is a great track.

Saans manages to achieve what ‘Challa’ arguably could not, instigating the feeling that one is listening to a track from a Yash Chopra romance saga. Rahman commands a variety of instruments and blends them into a melodious and haunting romantic duet. The track’s grand opening with various instruments from the violin family is particularly breathtaking while the light dhols give it a dramatic flair. Mohit Chauhan (‘Saada Haq’ – Rockstar) and Shreya Ghosal (‘Chikni Chameli’and many more) are at helm of this duet. However, one cannot help but miss the likes of Udit Narayan or Sonu Nigam and Alka Yagnik, Lata Mageskhar or Asha Bhosle rendering this track. Regardless, Mohit and Shreya complement each other and exude the fierce passion the lyrics command. The repetition of the word ‘saans’ in the chorus argubaly falls short of the degree of articulation one expects from Gulzar but the reminder of the track more than makes up for this. The aforementioned dhols take charge in Saans (Reprise) to infuse an aura of melancholy around Shreya’s excellently morose vocals.

The tempo increases with the trendy Ishq Shava by Raghav Mathur and Shilpa Rao (‘Jazba’ – Ladies v/s Ricky Bahl). Instead of resorting to mindless techno for this dance/club number, Rahman has employed an array of exotic sounds that resemble middle-eastern and Latin-American music, which in turn extenuates Gulzar equally exotic lyrics. However, it is Raghav Mathur’s flirtatiously brilliant rendition that makes this number worth your while.

Heer by Harshdeep Kaur (‘Katiya Karoon’ – Rockstar) is a lyrical and vocal delight. The minimal music highlights Kaur’s stellar vocals which in turn encapsulate the hope and lament in Gulzar’s lyrics perfectly. Gulzar’s references to tragedy of Sahiba-Mirza undoubtedly increase the intrigue surrounding the film’s plot.

Jiya Re by Neeti Mohan (of the band Aasma) gets off to the promising start but falters soon after. The track’s backbeat, while peppy and catchy, is relatively typical and mediocre, which is a real shame as Gulzar’s enthusiastic lyrics and Neeti’s energetic vocals make a good pair.

The title track emerges surprisingly late in the album. Jab Tak Hai Jaan at first instance appears horribly disjointed and confused, but once listened to in its entirety, its beauty become apparent. The song has heavy traditional undertones and a qawali interlude as well. Javed Ali (‘Guzarish’ – Ghajini) begins the track, hands it over to Shakthisree Gopalan and then they both come together at the end of the track. On their own, Gopalan and Javed seem like an odd pair but they sound great when they come together. As a afterthought, the track has more qualities of a background score than a full on musical number.

The album draws to a close with Ishq Dance, and Jab Tak Hai Jaan – The Poem. ‘Ishq Dance’, an instrumental, is reminiscent of ‘Raga Dance’ from Taal, but is nowhere near as remarkable. Shah Rukh Khan recites Aditya Chopra’s beautiful poem Jab Tak Hai Jaan, against the backdrop of Rahman’s music. Though well penned it may sound cheesy to some and perfectly acceptable to others. What cannot be disregarded is the musical quality of the track, presumably a prelude the film’s background score.

In conclusion, Jab Tak Hai Jaan leaves you with mixed feelings. It is neither as impressive as Rahman’s previous outings (Raavan, Rockstar and Jodha Akbar) nor lives up to the precedent set by previous Yash Chopra romances. The absence of an obvious timeless classic like ‘Tujhe Dekha To’ or ‘Tere Liye’ is slightly depressing. Nonetheless, it is still an outstandingly well-made album with some great tracks to its name. ‘Challa’, ‘Saans’ and ‘Heer’ obviously come out on top while ‘Ishq Shava’ is just too much fun to ignore. The rest are still Rahman compositions and are impressive all the same. Basically, shed all preconceived notions, high or otherwise, and you will definitely enjoy it.

Jab Tak Hai Jaan Music Review is a post from: BollySpice

The post Jab Tak Hai Jaan Music Review appeared first on BollySpice.

Ajab Gazabb Love

Sajid-Wajid have been roped in compose for this 4-track album (remixes excluded) while Priya Panchal, Kausar Manir and Sukhjit Thandi have penned the lyrics. Vocal talents featured in the album are that of Mika Singh and Mohit Chauhan amongst others.

Boom Boom (Lip Lock) kick starts the album, a peppy and catchy dance track rendered by the incorrigible Mika Singh. It is moderate to fast paced with trendy techno beats and some English gibberish thrown in for good measure. Mika’s energetic rendition of Priya’s tongue-in-cheek lyrics rife with innuendo is pretty impressive. If you like ‘Subah Hone De’ (Desi Boyz) and ‘Vacancy’ (Golmaal Returns), you will love this track. If the track was not fast enough for you, the remix amps up the tempo and mixes in some complimentary beats as well.  While not overly impressive, it is still listenable.

Next is Tu, a melodious romantic track sung to perfection by none other than Mohit Chauhan. Sajid-Wajid employ a variety of instruments yet still manage to give you a vocally potent number. Munir’s well penned lyrics only the make the track more charming.

The romance continues with Sun Soniye, a duet rendered beautifully by Mohammed Irfan and Antara Mitra who embody Munir’s flirtatious lyrical back-and-forth well. Sajid-Wajid once again employ a clever blend of instruments, of which the piano and strings reign supreme. The remixed version is relatively decent if you are after a fast paced version of the track but it no longer retains the playful attitude of the original.

The album draws to a close with Nachde Punjabi by Dalvinder Singh.  It is a typical Bhangra number with the tried and tested fusion of Punjabi instruments and urban beats. In other words, it sounds exactly like the 100 other Punjabi dance tracks.

In summary, Ajab Gazabb Love proves to be a decent entertainer regardless of being a mere four-track album. The party-goers would lap by Boom Boom, romantics and soul fans will love Tu and/or Sun Soniye and if Bhangra’s your jam then Nachde Punjabi does not disappoint too much. In short, do not be quick to dismiss this one.

Ajab Gazabb Love Music Review is a post from: BollySpice

The post Ajab Gazabb Love Music Review appeared first on BollySpice.

Chakravyuh

Arguably music does not play a huge part in Jha’s movies, however ‘Mora Piya’ from Raajneeti gained a strong fan following while its ‘Bheegi Si’ and Aarakshan’s ‘Acchi Lagti Ho’ were also well liked by music enthusiasts.

Chakravyuh has Salim-Sulaiman (Fashion, Band Baaja Baaraat) composing three tracks, the reminder being composed by Vijay Sharma, Sandesh Sandaliya (Chameli), Shantanu Moitra (3 Idiots) and Aadesh Shrivastav (‘Mora Piya’ – Raajneeti).  Lyrics have been penned by Irshad Kamil, Turaz, Ashish Sahu and Pancchi Jolanvi. It features the vocal talents of Salim Merchant (‘Ainvayi’ – Band Baaja Baaraat), Aadesh Shrivastav (‘Mora Piya’ – Raajneeti), Kailash Kher (‘Yun Hi Chala Chal’ – Swades), Sukwinder Singh (Dabangg – Title Track), Shaan (Don – The Chase Begins – Title Track), Benny Dayal (Ek Main Aur Ekk Tu – Title Track), Rashid Ali Khan (‘Aaoge Jab Tum’ – Jab We Met) and Sunidhi Chauhan (‘Halkat Jawani’ – Heroine) amongst others.

Vijay Sharma’s Mehangai gets the ball rolling. It is a folksong of sorts penned by Turaz alleging that corporations and governments are fulfilling their goals of profit maximisation at the expense of the hard working common man [and woman].  Aside from Kailash Kher’s flawless rendition and the publicity the lyrics got from its legal issues, the track has little to no appeal. Sure, it is in line with the Chakravyuh’s underlying theme but it carries very little entertainment value on its own. Siddharth Suhas attempts to save the number by remixing it, but the track fails miserably.

Cheen Ke Lenge is a call to arms or mission statement of the Naxalites. Sukwinder Singh is in his element in this number and embodies the running themes of the song. Once again, it is a well-written (Ashish Sahu) and equally well-composed number that emphasises Prakash Jha’s political commentary on the Naxalites but is devoid of any mass appeal.

Kunda Khol is an item number sung by the Sunidhi Chauhan, picturised on Sameera Reddy.  It has a nice moderate pace, desi appeal and is devoid of a political agenda. It definitely has more mass appeal than the previous numbers and also proves to be relatively entertaining. Sandesh Sandaliya composes a decent track, however, in light of the likes of ‘Halkat Jawani’ and ‘Munni Badnam’ it falls short.

Aiyo Piyaji is next and seconds into the number confirms that it is the album’s best song. Shantanu Moitra cleverly intertwines the classical with the contemporary. Lyrics by Irshad Kamil are sweet and simple with a nice folk-y tinge to it and Rashid Ali Khan renders it with utmost perfection.  If you liked ‘Aaoge Jab Tum’ from Jab We Met, you will love this number.

Then comes Tambai Sa Rang which, to put it crudely, is a musical expression of a bunch of guys ogling a girl, hopefully one who is consenting to the ogling. The number could have easily been out of Salim-Sulaiman’s wheelhouse but they have pulled it off fantastically. Musically, it is dark, almost primitive and while Kamil’s lyrics are creepy and sleazy it keeps with the theme of the track. Salim and Shadab embody Kamil’s lyrics and render a convincing albeit arguably unpleasant number.

Aadesh Shrivastav’s Paro is a derivative of Tambai Sa Rang. It is easily more pleasant than Tambai and is rather comedic. Musically, it is fun and light, unlike its darkly comic predecessor. Shaan, Aadesh and Sunidhi do a decent job of rendering the number. It is reminiscent of ‘Ek Chance’ from Aarakshan, though Pancchi Jalonvi’s lyrics are not as witty.

The album closes with an instrumental thematic piece, brilliantly composed by Salim-Sulaiman. It commences with a wonderful rendition by Benny Dayal and then proceeds to encompass the various emotions one can expect to witness in the film. It is soft and sombre one moment, sinister and haunting the next, brilliant entirely.

In summary, the best thing about Chakravyuh is that it is a testament to Salim-Sulaiman breaking the last of any stereotypes applied to them. They have come very far from composing peoples-choice numbers for the likes of Yash Raj Films and have created tailor-made tracks for Chakravyuh to optimally reflect the feel of the film. Regrettably, the tracks have little to no mass appeal and therefore will go unnoticed.  Similarly, Aadesh Shrivastav’s ‘Paro’ is relatively unremarkable while Sandaliya’s ‘Kunda Khol’ may scrape some hits due it being an item number.  ’Mehangai’ may attract listeners because of its run in with the law and the Censor Board but it is an uneventful track otherwise. Shantanu Moitra’s ‘Aiyo Piyaji’ is the undisputed winner with its sober minimalist disposition and nice blend of classical and urban music. It is easily the album’s only selling point.

Chakravyuh Music Review is a post from: BollySpice

The post Chakravyuh Music Review appeared first on BollySpice.

Sri has to be given props for opting to re-enter the arena sans glamour, drama and theatrics. Promos showcase a very grass root level film with universal appeal, that of a non-English speaking Indian housewife making the most
of her relocation from India to USA. Amit Trivedi and Swanad Kirkire have been tasked with music and lyrics respectively. The soundtrack comprises of 6 tracks, devoid of needless remixes, and features the vocal talents of Shilpa Rao, Sunidhi Chauhan, Clinton Cerejo as well as Amit and Swanand themselves.

The soundtrack kicks of with Badla Nazara, title track sung by Shilpa and Amit. It has your morning coffee’s vibrant zing, is infectiously catchy and oddly peppy. Trivedi’s strings interludes put more of a spring in the track’s step. It is essentially a lyrical chronology of the title characters typical day and her musings about this exciting new change in her lifestyle. Kirkire’s lyrics are the track’s lifeline, as he aesthetically weaves in English and Hindi to create a song that encapsulates the premise of the film. Shilpa and Amit are a formidable combo if you go by Ek La (Aamir) and Ahatein (Ek Main Aur Ek Tu) and Badla Nazara is no exception. Musically, it is essentially a contemporary number, but like all Trivedi compositions, it is hard to coerce a genre or category upon it. Badla Nazara also has a male version sung by Amit himself. It is hard not be partial to latter version. Amit just has this charming, seemingly conversational way of rendering a song that so addictive. If you fell hopelessly in love with Aisha’s title track, look no further than Amit’s version of Badla Nazara.

Next is Dhak Dhuk, a sweet desi folk song of sorts sung by Amit about the anxiety and excitement experienced by a newlywed bride, in particular one that is about it leave everything behind to follow in the footsteps of her husband to a new country. You would think that such a number would be better in the hands of female vocalist, but Amit’s beautiful rendition would change your mind in a fraction of a second. He aptly captures the emotions in Kirkire’s well penned lyrics, and gives an effortless performance. Musically, the sedate mixture of flutes and strings go beautifully with Amit’s soft vocals.

Manhattan is easily the album’s most unremarkable track, but having said that, it is still entirely listenable. Clinton and Bianca Gomes are at the helm of the track, documenting the wonders of Manhattan, New York. Music is an off-shot of what we heard in Ek Main Aur Ek Tu’s title track, techno interlaced with what sounds like synch-generated flute. Lyrics simply glorify the obvious glamorous elements about the city, the fast life, the skyscrapers, designer brands and stores. In short, the track is mostly situational in nature, one that will work well on screen.

Gustakh Dil emphasises why Shilpa and Amit make a great pair. Shilpa’s vocals brilliantly encompass Kirkire’s lyrics, the crux of the track. Musically, Trivedi excels in infusing a little rock to this relatively sedate track. If you liked Ahatein (Ek Main Aur Ek Tu) and Leherein (Aisha) you will love Gustakh Dil.

Navrai Mahji, upon researching, is apparently a derivative of a Marathi folk song sung during weddings. It is a cute celebratory number sung by Sunidhi Chauhan, Swanand and his mother Neelambari Kirkire, with a nice cameo from Natalie D’Luccio. Amit gives the track a contemporary treatment while maintaining its folksy arrangements and the result is a sweet and lively number that is instantly likable.

In summary, English Vinglish will undoubtedly be compared with Trivedi’s Ishqzaade and Ek Main Aur Ek Tu. It is neither as edgy as Ishqzaade nor as unremarkable as Ek Main Aur Ek Tu. Regardless, it is a wholesome soundtrack from start to finish and paints a favourable representation of what to expect on the silver screen. Badla Nazara is undoubtedly set to be the crowd favourite but Dhak Dhuk is the diamond in the rough. Gustakh Dil and Navrai Majhi are close seconds while Manhattan fails to make an impact. In any event, English Vinglish is definitely one of the must have soundtracks of 2012.

English Vinglish Music Review is a post from: BollySpice

The post English Vinglish Music Review appeared first on BollySpice.

The new-ish Jeet Ganguly (Shirin Farhad Ki Toh Nikal Padi) has composed the songs with a guest composition by Rashid Khan. Lyrics have been penned by Kumaar, Rashid Ali and Sanjay Masoom while vocal talents consist of Javed Ali (‘Guzaarish’ – Ghajini), Shafqat Ali (Tum Mile – Title Track), K.K (Desi Boyz – Title Track), Sonu Nigam (Jabse Mere Dil Ko Uff – Teri Meri Kahani) and Shreya Ghosal (Chikni Chameli – Agneepath). The album has 6 tracks and is devoid of any remixes or reprises.

Raaz 3 hits cinemas 7 September 2012.

The album begins with Deewana Kar Raha Hai which is sung beautifully by Javed Ali. Written and composed by Rashid Khan, the track demonstrates a sweet and quiet intensity in terms of lyrics and music. Rashid employs as nice amalgamation of instruments and pens the track brilliantly as well. In short, impressive.

Jeet Ganguly takes over the album with Zindagi Se. In the same line as Deewana Kar Raha Hai, Zindagi Se also starts slow and then picks up the pace. Shafqat does a great job singing the track. His vocals compliment Masoom’s well-penned lyrics. Like Rashid, Jeet also has a good command of mixing and alternating between a variety of instruments and makes Zindagi Se a wholesome number.

K.K’s Rafta Rafta is pleasant enough but in light of the previous Bhatt-K.K compositions, it falls short. One only has to remember Zara Sa from Jannat 1 and 2 to feel what the track lacks. Other than that, it is a reasonable composition that is penned well by Masoom.

Oh My Love, suffers from the same fate as Rafta Rafta. It is lacklustre and entirely mediocre for a Sonu Nigam and Sherya Ghosal track. O Soniye from Raaz – The Mystery Continues immediately comes to mind, a soulful romantic number with a timeless quality that also featured Sonu and Shreya. Oh My Love, on the other hand, fails on all accounts.

Kya Raaz Hai also fails miserably, mainly due to Shreya Ghosal. Her vocals sound out of place against Kumaar’s lyrics about raw ambition and power. She does render the ‘morey saiyaan’ portions of the track relatively well and her vocal capture the hurt and desperation perfectly. Zubin on the other hand does a fantastic job and brilliantly vocals the angst and regret ridden lyrics. Usually a Bhatt situational number is entirely listenable away from its onscreen counterpart, but this time round Kya Raaz Hai does not hold its own. Kaisa Yeh Raaz Hai from Raaz – The Mystery Continues was a fine example of a situational number that worked fantastically as a stand alone.

The album ends with Khayalon Mein. It is a sweet and girly number that Shreya renders well. However, it seems a bit out of place in an erotic-thriller. Regardless, it has a youthful bounce to its music and the lyrics are fairly a decent. All in all a good track.

In summary, Raaz 3 fails in comparison to its predecessors. That being said, it does not have a bad collection of songs. The songs simply do not have that endearing and haunting touch to them. In any event Deewana Kar Raha Hai and Zindagi Se are not be missed. Khayalon Mein also has its appeal in a sugar-and-spice-and-everything-nice kind of way but the rest of the album is mostly unremarkable. Hopefully, the film infuses some sizzle back in the soundtrack.

Raaz 3 Music Review is a post from: BollySpice

The post Raaz 3 Music Review appeared first on BollySpice.