Ishkq in Paris

The first track in the album is It’s All About Tonight. It is largely performed by the brilliant Sunidhi Chauhan, but also has the voice presences of Rahul Vaidya and Sophie Choudry. Containing a blend of Hindi, English and some alluring French lyrics, this is actually quite a decent club track. I can imagine people dancing to this song at a party or perhaps even secretly in their bedrooms. It is a drum and bass song, but also has a strong techno feel to it which makes it all the more enjoyable. Sajid and Wajid have definitely taken a brave risk here in producing a very Western oriented composition. As usual, Chauhan delivers in this song and gives a great vocal performance. Vaidya and Choudry sing very well in their parts, though I felt Vaidya could have had a greater voice presence in the song. Nevertheless, I am sure this one will appeal to the youths of today so give this one a listen if you feel like trying something different.

Next up is Saiyaan which is sung by the very talented Rahat Fateh Ali Khan. I found this to be a difficult song to make a judgement on. I love the strong classical Indian music incorporated into parts of it, which includes the tabla and the harmonium. Unsurprisingly, Rahat also performs very well and maintains professionalism throughout. However, the emotion he expresses is not as poignant compared to the song with the same title which he recently sang for Salim-Sulaiman’s Heroine (2012). In addition, I felt the song dragged on a bit and not surprisingly since it is the longest running track in the album at 5 minutes and 43 seconds. If it was condensed a little, then I think this one would certainly have a greater impact. Yet it is not a bad song and perhaps it may catch on once the film has released and we see what particular scene or situation it is employed in. In general though, it is a very average but listenable song.

We then move on to Jaane Bhi De. There are two versions of this song, though the lyrics remain unchanged. The first version is a duet by Sunidhi Chauhan and the great Sonu Niigaam. The second version is a solo sung by one half of the film’s composers Wajid Ali. The duet version is very melodious and has a nice romantic feeling to it. You can hear instruments like the piano and the guitar which complements well with the mood of the song. It also contains pleasant and meaningful lyrics which add to its appeal and quality. Chauhan and Niigaam perform very well and the tone of their voices fits perfectly with this particular composition. The solo version by Wajid is also great and he injects the precise emotion and tone into the song needed to ensure it is equally favoured alongside the duet version. The songs are superb on their own, but I think they will have an even bigger effect when we see the picturizations to them in the film. Overall, it is very nicely produced by Sajid and Wajid, as well as by Kausar Munir who has penned warm lyrics for this particular song!

The soundtrack also has Teri Choodiyan Da Crazy Crazy Sound, performed by Wajid Ali. The song is Punjabi oriented and you can hear instruments like the dhol drums and various other Punjabi flavours. Although the musical composition is quite decent, I found that the major weakness of this song is the fact that Wajid chose to mechanize his voice. This gives the song a very unusual feeling to it and it actually weakens its quality. I think it would have sounded much better if Wajid’s voice remained natural, just as it was in his solo rendition of ‘Jaane Bhi De.’ For that reason, the song can be deemed average but not skip worthy, as the music alone has a unique appeal about it.

Finally we have the dance number Kudiye Di Kurti, performed by Sonu Niigaam and the lovely Shreya Ghoshal. Already sparking interest due to Salman Khan headlining this song as part of a cameo appearance in the film, it has a likeable and rhythmic tune to it which will remain in your head. It is a fast up-tempo track with a very strong Punjabi flavour to it and contains the use of various instruments, including the dhol drums and the harmonium. The Punjabi theme to the song is definitely visible when you see the shortened music video to it as part of the film’s promos. Ghoshal provides a good effort in her one track appearance in the album. However, it is really the energy and passion which Niigaam exudes using his talented voice which adds zing to the song. This will surely contribute to its popularity. Despite ‘Kudiye Di Kurti’ being a well composed song, it is not one of the best songs picturized on Salman Khan. Nevertheless, this should not deter you from listening to it, which is arguably one of the best tracks in the album!

Before bringing this review to a close, I must say that the soundtrack to Ishkq in Paris is a good and worthwhile one to have in your music collection. The best tracks are definitely ‘It’s All About Tonight,’ ‘Jaane Bhi De’ (both duet and solo versions) and ‘Kudiye Di Kurti.’ Sajid and Wajid have delivered an album which contains songs that have been thoughtfully composed and which complements the apparent themes of the film. However, this can be said with greater confidence only when we see the film when it releases on 2 November 2012. Thankfully, the album does not have any remixes and they are not needed as the songs are fine unmixed. Although this is not the greatest album Sajid and Wajid have whipped up for us (this title definitely goes to Dabangg), Ishkq is Paris is a commendable attempt made by the dynamic duo. They have given us some tracks which contain specific styles and forms of music that make it a very dignified album. Let’s hope the film is just as good and entertaining! To conclude with an overall rating, we here at Bollyspice.com award the soundtrack to Ishkq in Paris with a worthy 3 stars!

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Straight off the bat, we have a duet with Jeene Laga Hoon. It has the Atif Aslam effect. Soul stirring and oozing with sensuality. The rhythm is even paced and is completely for the melody lover. Shreya Ghosal pipes in for her routine sweetness thrills but after about the 3rd or 4th listen, you get the feeling this is an Atif number. Having said, the two are almost pitch perfect for the lovesick newbie lovers as described in the lyrics. Romantics are the target and it works.

After hearing Hip Hop Pammi, its obvious this one is for the clubs. Loud, lots of toing toing dhol and very catchy chorus. Towards the end, it even shifts into its own bass beat pumped up remix version. Yet besides the intrigue for what the visuals will be (Prabhudheva is said to be shaking a leg with Jacqueline Fernandez but no promos yet to determine if this is the item number in question), Mika Singh and Monal Thakur aren’t able to save this one. All the Pammis out there may get a kick out of having a song with their name in it but its not rocket science nor amazing. Pretty average and disappointing for the first dance track on the album. Yawn.

Back to melodies, Bairiya is another duet with Shreya Ghosal and Atif Aslam, and again complimenting each other quite well. Even if you get instantly attached to Priya Panchal’s lyrics, the song actually takes 2-3 listens before it sits comfortably on the ears and has you humming along. Sachin-Jigar maintain the slow pace to form the main beat then raise for the chorus without getting too loud since this a soft number. The percussion has a American western twang in it initially but smoothly transitions to desiness and from there on, its all love. .

Peecha Chhute is a bit of a throw back to the village visitor tracks associated to 80-mid 90s but actually talks about a boy looking for his heart and the girl who stole it, instead of how beautiful the village surroundings are. A peppy little  desi number updated a tad with the drum beat, yet you can picture the ukulele-ish violin hero in the fields. And of course, the versatile Mohit Chauhan on the mike for good measure and you have an easy listen to tap your feet to, with the occasional Rama Rama in the background. Possibly the only time a portion of the title comes up.

If the peppy, happy feel on the album was a bit dominating for you, Rang Jo Lagyo is different in tuning and feel. Third time collaboration, Shreya Ghosal is a little tame while  Atif Aslam goes gung ho with Priya’s proving my worth expose but it does get a bit loud in a live rock band kind of way. Even if you look Atif for help, its distracting since its one of the longer songs. This may be due to the visuals making up for the gap but on its own, it can grate on you. Not entirely bad but not exactly special enough to remember afterwards.

Pinching the phrasing from Munnabhai MBBS, Jadoo Ki Jhappi has 2 versions with both Mika Singh and Neha Kakkar on both.  Not much of a difference tune wise but Neha dominated version 1 and there is definitely a more defined wedding/baraatish feel to version 2. This has a party on its own effect on version 2. Either way, fun and dancey number is on the menu. Mika Singh as usual, is charming the Punjabi pants off the lyrics and Neha Kakkar is returning to the mike after what feels like ages although we just heard her on Second Hand Jawani. The two bounce off each other well and could possibly be the new singing Jodi for desi item numbers. Not much room for Priya’s pen on this one either but will be accepted with open arms at your next wedding affair.

So now comes to the final verdict. A perfect world would have awesome music and equally amazing lyrics. But this isnt it. Honestly speaking, this isn’t Sachin-Jigar’s best, but where they have a complex setup or major western influence in their previous work, barring Hip Hop Pammi, the desiness dominates badly on this one and its kept simple. Which is majorly welcomed. I’d love to dwell on the music alone but besides the melody and rhythm, there is a little gap in the lyrics. My pick? For the long run the whole album but for now, Jeena Laga Hoon and Jadoo Ki Jhappi.

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Two singers who need no introduction, Shankar Mahadevan and Sukwindar Singh in the company of newbie Sanchita Bhattacharya open the album with the Title Track. The song, which would otherwise be quite enjoyable, suffers from being over programmed. Never a good sign when you have to strain to hear the vocals. A shame because the track is a whole lot of fun and has a brilliant vocals behind it.

Loud and crazy go to a whole new level with Mika and Shreya Ghosal’s track Changli Hai Changli Hai. Over energetic with the inherent Mika touch, this track goes in the group of loud love tracks from the era of Govinda and Dhawan. Shreya, whom we usually hear in a very tamed tone, sounds as if she had a whole lot of fun with this number as her vocal blends with the genre quite well. Ishq mein tere raho main busy busy, kaam yeh mushkil hai nahi easy easy…not necessarily path breaking lyrics by Kumaar but definitely what the song, movie and genre demanded.

Next up to flaunt their Punjabi side are Sonu Nigam and Sunidhi Chauhan in Suit Tera Laal Rang Da. Believe it or not but this one is perhaps the most tamed of the tracks where the composers and programmers haven’t tried to jam all the beats of the world in one track and have left the simple and traditional Punjabi beats to work their magic. No doubt Sonu and Sunidhi are effortlessly brilliant. Kumaar has written quite endearing Punjabi lyrics. Definitely will see folks grooving to this one in the upcoming wedding season.

Sachin Gupta’s guest track Main Taan Aidaan Hi Nachna comes in next with a host of singers and non-singers being Diljit Dosanjh, Sachin Gupta himself and the deol Khandaan including 3rd generation deol Karan, Sunny, Dharmendra and Bobby. Within seconds of the track you come to a very harsh conclusion, the song is just noise! Perhaps the only commendable part of the track is its concept of blatantly takings digs at the Deol khandaan who as we all know aren’t the best of dancers but insist on doing so anyway.

Mika returns with Suzanne D’Mello in Jatt Yamla Pagla Ho Gayai. This one is a club number mixed with Punjabi flavour. Not the track you’ll be writing home about but perhaps not something you’ll rush to ‘next’ on the iPod.

Toshi Sabri and Sanchita Bhattacharya bring their version of the Title Track, which in many ways fairs much better than the original one. Perhaps because the vocals are far more discernable and Toshi’s voice brings a refreshing change to the tone of the album thus far.

It’s bro Sharib Sabri’s turn next who shines in his version of Jat Yamla Pagla Ho Gaya with Suzanne D’Mello. If you found the Punjabi flavour that comes with Mika’s voice in the original track go for this one as Sharib puts in a more Hindi touch to the track.

The best of the album is saved till the last, the YPD2 Mashup. By the time you reach this track you already had the tracks of the album mashing into one in your memory since they all cater to the crazy/loud/Punjabi flavour of the movie. Luckily the makers of the album fixed the problem by literally making a mash-up for you! The mash up is definitely a lot of fun more than the individual tracks even!

Yamala Pagala Deewana 2 is an album the delivers exactly what you expected from it. The title track, Mashup, Sunidhi/Sonu’s Suit Tera Laal Rang Da and alternative track version by the Sabri brothers make it worth a listen otherwise it remains an album that will work much better onscreen and not necessarily something you’ll be itching to get on your personal playlists instantly.

Yamala Pagala Deewana 2 Music Review is a post from: BollySpice

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This is the first film to be released by Yash Raj Films without the presence of its founder Mr Yash Chopra. The celebrated Bollywood filmmaker sadly died in October 2012 following his last directorial Jab Tak Hai Jaan (2012). The music to Aurangzeb has been composed by Amartya Rahut, who has given albums like Mumbai Cutting (2011) and Vipin Mishra, who has given albums like Aloo Chaat (2009). They lyrics have been penned by three people, who include Puneet Sharma, Vipin Mishra and Manoj Kumar Nath. So let’s take a look and see what the soundtrack to Aurangzeb has to offer.

The first track is Barbaadiyaan, which is sung by Ram Sampath and Sasheh Aagha. The song has a strong techno feel to it which is completely disconnected from the sounds of India. You can tell that Amartya Rahut is trying to deliver something unconventional but sadly it does not work to a great extent. The vocals were average in general and do not have much of an impact on you. It was really a one-time listen and is not a type of composition which I could listen to over and over again.

Next up we have Jigra Fakira, which is performed by Keerthi Sagathia. I love the way in which Vipin Mishra has tackled this song and he manages to give a unique style and texture to it. It has brilliant Sufi elements to it and the vocals are splendid to hear. Overall, this song is a winner and I strongly recommend that you check it out since it is one of the best tracks in the album.

Following this, we have Barbaadi which is sung by K. Mohan (Agnee). You can hear a range of western instruments being used in this song such as the piano and the electric guitar which gives it both a melancholic and rock feel to it. The vocals from K. Mohan were very strong and he manages to sing with the correct dose of passion. Although it’s not your typical Bollywood song, I would advise that you give it a try since the composition works overall and has potential to grip the ears of many!

The title track Aurangzeb is next and has been performed by Marianne D’Cruz Aima. This one was really average and is slightly depressing to listen to. The music is lacklustre and does not have that oomph needed to catch your attention. However, the same cannot be said for the Rock Version of ‘Aurangzeb’ which is sung by Vipin Mishra. This version is youthful and full of energy and the vocals complement extremely well with the music. I very much prefer this version and is definitely another highlight of this album.

The album has quite a number of instrumentals which have all been composed by Vipin Mishra. It is highly likely that they have been composed as background music to the film for the use of specific scenes and situations. They include Trail of Fire (Main Theme), Battleground Gurgaon, The Father’s Truth and Aurangzeb (Orchestral). Having listened to all four of these instrumentals, I can say that they will not appeal to anyone as of yet. Once the film has released, perhaps they will have some takers who may appreciate its use in the film. This certainly happened with me with regards to ‘Ishq Dance’ from Jab Tak Hai Jaan . During the pre-release promotions, this instrumental did not appeal to me whatsoever. However, after I had seen the film, I grew to love ‘Ishq Dance’ and now appreciate it in the same way as I do with all the other songs from this particular film. Hence, wait until post-release and perhaps the instrumentals from Aurangzeb may appeal to you.

To sum up, Aurangzeb does deserve praise for being a totally unconventional Bollywood soundtrack. There are some good moments in this album that make it worth the listen. However, I will be honest and say that it certainly could have been a lot better, had more consideration been taken into sounds and arrangement. Having said this, don’t be put off from giving Aurangzeb a listen. It may just win you over!

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The first track in the album is Badtameez Dil, which is largely performed by Benny Dayal, with Shefali Alvares making a short vocal appearance. I love this jazzy up-tempo number which is flavoursome and highly addictive. There are portions of the lyrics which clearly contain gibberish; but are nevertheless enjoyable to hear. This is perhaps one of my favourite Benny Dayal songs and he performs with energy and enthusiasm throughout. Overall, Pritam has done an excellent job with this one and hence delvers a knockout track.

Next up is Dilliwaali Girlfriend, which is performed by Arjit Singh and Sunidhi Chauhan. The composition contains pure ‘desi’ music that has been interspersed with techno elements, that ultimately gives it a cool edge. Though both singers perform very well in this song, Arjit undoubtedly stands out the most. His charismatic voice contributes vitally in keeping this song alive from beginning to end. Though the lyrics are somewhat questionable, this is one tune you should not miss out on hearing!

Following this, we have Balam Pichkari, sung by Vishal Dadlani and Shalmani Kholgade. This one contains the use of a range of Indian, as well as Western instruments such as the dhol drums, harmonium, violin and the tabla. I love this song to the core, as the rhythms just make you want to get up and dance to it ‘Indian style.’ Both the male and female vocals are stupendous and they complement well with the general tone of the music. As shown in the film’s promos, it is a Holi song. Hence, I am pretty sure that by next Holi, the Indian youth will be gathering in parks and other open spaces and grooving to this song! This one is definitely my favourite song in the entire album so you should definitely check it out. Kudos to Pritam on this one!

Ghagra is next and is performed by Vishal Dadlani and Rekha Bhardwaj. I very much appreciated the way in which the tabla drums have been executed in this particular song, given that it is an instrument that is being used far less in today’s Bollywood music. Rekha’s vocals certainly contribute in solidifying the folk theme of this song and thus deliver a sensational performance. This is definitely a song which will grow in popularity, if not now, then after the film has released.

Next up is Illahi, which is sung by Mohit Chauhan. This one works overall and is very much enjoyable to hear due to the catchy guitar samples. However, the highlight of this song is Mohit’s wonderful voice, which is highly masculine in nature. He performs with immense skill and therefore; no other singer will have done this song justice, in contrast to Mohit. The more songs he sings, the more amazing his voice sounds!

There is also a Reprise Version of ‘Illahi’ included in the album, which is sung by Arjit Singh. I personally found the vocals and the arrangement of the original version to be more gripping compared to this one. Arjit is a very talented singer, but his voice does not go well with this song. It was unnecessarily included in the album and could have done without.

Following this, we have Kabira, which is performed by Rekha Bhardwaj and Tochi Raina. This one did not work for me and I found it to be very average overall. The music was not as flavoursome compared to the other tracks in the album and the vocal could also have been much stronger. However, perhaps it may attract many listeners after the film has released and once we have been exposed to its picturization.

There is also an Encore Version to ‘Kabira,’ which has been performed by Harshdeep Kaur and Arjit Singh. Honestly, I found the Encore Version to be more enjoyable, due to the Punjabi flavours that have been incorporated into it. Harshdeep is as superb as ever and she sings with passion and soul. Definitely one not to miss out on!

Finally we have Subhanallah, which features Sreeram and Shilpa Rao in the lead vocals. This is another wonderfully composed song by Pritam, with great lyrics from Amitabh also. It has a nice romantic feeling to it and I am sure it will go onto win the hearts of many listeners. In general, there is really nothing much to complain about this song, since it contains the right beats and vocals that make it a cool track to listen to!

To sum up, Yeh Jawaani Hai Deewani is a delicious album that will surely satisfy your musical needs. Pritam and Amitabh Bhattacharya have carved a splendid soundtrack, which will certainly go onto become one of the top Bollywood albums of 2013. There are a range of amazing songs in this album that contain the right ingredients which will ultimately enthral you. Therefore, make the time to listen to Yeh Jawaani Hai Deewani. You will be a fool to miss out on this one!

Yeh Jawaani Hai Deewani Music Review is a post from: BollySpice

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Aala Re Aala, composed by Anu Malik, begins with a strong dance beat and with the addition of a brassy wail of a trumpet it sets the scene for a dance number for Sophie Choudry. Sunidhi Chauhan sings with an energetic, spicy, snap, especially on the Aala Re Aala lyric, that seems perfect for the feel and rhythm of the song. Then it gets a bit odd because Mika Singh joins in in a very smooth vocal avatar supported by Punjabi beats, which is good in its own right, but it is confusing because it is so much in another musical space. The switching between Sunidhi and Mika’s completely different sections really just doesn’t mesh at all. There are even more parts of the song that are a mix of styles that at times are very cohesive, but at other times fight each other. I have to say the only part of the song I really liked is when Sunidhi and Mika are each singing their strong Aala Re Aala sections with that very strong percussive beat. That makes for a very good dance number but the rest doesn’t mix and the song does not play in the end.

There is also Aala Re Aala Remix by Gourov Das Gupta & Roshan Balu, which adds electro-synth overlays and under beats with a sped up tempo. Adding those elements somehow mixes the two different tones of Sunidhi and Mika together and it works better, it is not so jarring. The layers of beats and instruments they laid down makes it a very dancey trancey track. I am not usually a fan of remixes, but this one I am. 



Babli Badmaash is a very disco track with music by Anu Malik. As you probably know, this song featured Priyanka Chopra in her very first item number. Sunidhi Chauhan is wonderful on the track, singing with great energy and zest especially on the Babli Badmaash stanzas. However, sometimes it sounded like her vocals were fighting the music so this is not my favorite song by her. There are some nice change ups that added to the track but there was just something missing. A good song yes, but a great song, not so much. There is also a Babli Badmaash Remix By Gourov Das Gupta & Roshan Balu, which you also should give a try especially if you like the original.



Composed by Anand Raaj Anand, Laila features Sunny Leone in an item number in the film. The cool thing is that this time it is not a female vocal driving the song, this one has fab vocals by Mika Singh and he adds a depth and a new flavor. ‘Laila’ has this cool syncopated beat that gave the song it is own unique flavor. It is also with filled many layers and many different sections including rock, orchestra and a jazzy trumpet which sort of work, but I think were not needed. I liked pared down sections with Mika Singh doing what he does best, with the cool dance and Dhol beats, but like many of the tracks on the album the rest could have been toned down. The Laila Remix by Gourov Das Gupta & Roshan Balu gives the song a completely different groove that I really liked. These guys add the right beats, different and interesting layers and pick the right moments so the song is not overpowered by the remix, it is enhanced. A different song so I would say let it play!

Yeh Junoon is my favorite track on the album and now resides on my favorite Bollywood ballad playlists as well. Mustafa Zahid has this dreamy, romantic voice that makes you want to hit play again before the song is even over. He sings with such strong, passionate, vibrancy and gently longing it is brilliant. The music is great, though I wish it had a bit more depth in some of the refrains, some lower bass to round it out so it is not so tinny, but that is being picky. With each listen I liked the music more. But the highlight is Mustafa’s voice. This one is a must listen. 



Yeh Junoon also gets a Remix by Mayur Sahani. Though it is very true to the song and well done with some cool elements that were unexpected, this song never should have had a dance remix. I so love the original that this really could have been skipped and you should skip it. Just enjoy the purity of Mustafa Zahid’s vocals in the original. 


Meet Bros Anjjan come in with Aye Manya. Joining in the vocals are the great Adnan Sami and wonderful Shaan. I am always a fan of how Meet Bros Anjjan mix many different genres, styles and feels and once again in this song it works. Shaan kills it. He has this gritty, strong vibe that is brill. Adnan Sami is, of course, fabulous too. A very strong percussion line adds to the depth. Give this one a try, the more I listened the more I liked and I think we will like it even more once seen in the film! 


Meet Bros Anjjan also bring us Goli, an anthem with a very strong backbeat and a very powerful dark vocal. It transposes into a more rock flavored track with that full on rock electric guitar riff but always there is that thumpin’, stomping under beat that drives it forward. Meet Bros Anjjan, Sudesh Bhosle, bring in the vocals as well as spoken stanzas by Anil Kapoor and John Abraham. Love the deep vocals, really seems perfect for the whole feel of the song. I think it will work well in the film and it will be interesting to see what scene this song will accompany. 


Goli’s Remix by Mayur Sahani is also very good. It has a different vibe and is not as let’s get on the dance floor as many remixes tend to try to be. He adds some really wicked elements. What is excellent is that in parts it simplifies the song and showcases the cool vocals. This one is another remix that I say is one you must keep on your playlists because I liked it almost as much as the original. 


At only 48 seconds we could have left Ek Din Ke Liye off the review, but we had to include it. This song just showcases her entire talent in vocal, intonation, range and feeling and proves why Sunidhi Chauhan is brilliant!

Shootout at Wadala is an OST of many different flavors and styles and tracks. They all sound good and some even great, but did I love every note, no. On the plus side, I am usually not a big fan of remixes, but the remixes on SAW are really good and in some cases I liked them better than the original. My pick has to be ‘Yeh Junoon’ as the song of the album. In the end, I was neither overly impressed nor completely underwhelmed with the songs of SAW. I think many of these will play better within the film and the action.

Shootout at Wadala Music Review is a post from: BollySpice

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The film immediately has us hooked with its wicked dialogues, addictive score, and Saif as the bleached Boris. If the trailer had us salivating for more zombie kills and wisecracks, then the promos for Slowly Slowly and Khoon Choos Le have us amped to see these songs in action. Sachin and Jigar are coming off a very strong year with their songs as the redeeming feature in I, Me, aur Main and along with their fantastic album for ABCD. Sachin and Jigar display their versatility and sense of play on a crazy album like this where they let loose on the dubstep and electronic loops. The duo always seems ready for a challenge, and this album works brilliantly as a concept album to make this zomcom alive!

The album kicks off with the irresistible, Slowly Slowly, which pushes you right into the action with the intense dubstep-beats and heavy reverb that open the track. Talia Bentson is astonishingly good here, keeping up with the frenetic and spitfire verses at the beginning, while the autotune does make her sound a tad like Anushka Manchanda, she comes into her own throughout. Jigar lends ample support and makes sure to enunciate the risqué, “Raat hai ek whore, hai maange more, Tu lut jaa slowly slowly,” which immediately sticks with you. As I’ve mentioned before, I do love some risqué and edgy lyrics that don’t try too hard, the lyrics by Priya Panchal are apt for the rave scene in the film. The references to weed and rolling a spliff come thick and fast throughout, so do be warned if that isn’t your cup of tea! Often, rave tunes can just pile on the trance and spaced out beats, but Sachin and Jigar make sure that this tune has the right pace and addictive quality that makes you sway along. Try this one out!

The anthem to the Monday blues is up next, Khoon Choos Le, pays its punny respects to the blood-sucking Mondays and zombies. From the snippets of the “Main nahi jaana,” and rolling “rrrrrrrs” I was already excited, since nothing could convey the gritting annoyance of getting up to go to work or to uni on a Monday. It’s a credit to Arun Kanungo, Suraj Jagan, and Priya Panchal for voicing that anger and pulling off all that tricky wordplay with Amitabh Bhattacharya’s witty lyrics. Bhattacharya has a wicked sense of humour here, and unleashes all our festering rage at leaving our “Sunday ki dildaar” for a “Sukoon ke shikaari, Somvaar.” Sachin and Jigar arrange the track superbly, letting the heavy drums and guitar riffs to kick in around the chorus. It’s an innovative and imaginative tune where the arrangements complement the witty rendition of this rant against Mondays.

We’re back to toking up and coughing our lungs out with, Babaji ki Booti, where Sachin and Jigar let loose over an original and hilarious tune concerning the ultimate high. Sachin and Jigar arrange a very sprawling melody of claps, spare guitar riffs, and drum kicks along with the female chorus in the back, to enhance the spaced out mood. The conversational lyrics like, “Woh dekh woh kya hai, Panchi hai kya? Na re pagle..plane, Arey dekh underwear bahar hai, superman Na..that is babaji” give it a hilarious spin as they walk us through their hallucinations and goofing around. The duo lend the track a very Cheech and Chong vibe, with the speechy digressions and easy chemistry between the two. While the song may seem a bit goofy, there’s hardly a song out there that goes this far in bringing the stoner vibe and sound to film music. Try this one.

One of the surprises is the gentle and breezy, Khushamdeed, which is gorgeously rendered by Shreya Ghosal. It’s not a stretch for Ghosal, but she gives the track its requisite breathiness and sweetness to an otherwise intense and goofy album. The pulsating guitars and drums create a honeyed melody that gives it that Goan authenticity, and the solos in the bridge are lovely. The song makes a nice and pleasant diversion from the crazy antics that we’re anticipating from these previous songs. Definitely listen to this one if you need a bit of a break!

Closing up the album is, I Keel Dead People, which opens with heavy and jagged riffs, coupled with loud dubstep beats to give it that menacing sound. Looping the great dialogue from the trailer and more words of wisdom from Boris, the track works to establish the horror and intense mood of a traditional zombie flick. Using the screams, and high-pitched dubstep sounds to act as screams, Sachin and Jigar are definitely one of the best duos to utilize the music and dubstep in the best way. Perhaps the instrumental sections of the song might be used for one of the many shootouts in the film, which makes this track work in that sense.

Go Goa Gone should be treated as perhaps a concept album that establishes the setting and personalities of the film and its characters. Sachin and Jigar go out on a limb to create consistently inventive and versatile albums that transcend the film’s release dates. It’s a chaotic, crazy, and witty album, which begs to see how they are picturized onscreen. Curiosity may just kill this zombie!

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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.

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The first track is Yaaram, which is sung by Sunidhi Chauhan and Clinton Cerejo. I love the music to this song which has a strong modern flavour to it. The vocals are nicely done by the singers and matches well with the feel of the song. Overall, the song is a winner and will surely be loved by many.

The next song is Tote Ud Gaga, which is sung by Suresh Wadkar, Sukhwinder Singh and Rekha Bhardwaj. This is an edgy and up-tempo song, which includes the use of both rock and ‘desi’ music samples. All three singers perform it extraordinarily well and they really sing their heart out in this one. It is definitely a song which you should check out as you may end up being highly addicted to it. Kudos to Vishal Bhardwaj on this one!

Next up is Kaali Kaali, which is performed by Clinton Cerejo. I’m in two minds with this song. The composition is nice and smooth to listen to; yet it does not have that wow factor about it that will grab your attention. The vocals are average and could have been stronger in my opinion. Thus, it is a weak song that could have been so much more.

Following this, we have Lautungi Mein, which is sung by Rekha Bhardwaj. The vocals were very well performed by Rekha, yet the composition just did not appeal to me. It sounds a little too melancholic which makes the song lose some of its flavour. However, if you are keen to check it out, then do so for Rekha’s wonderful vocals.

Next we have Sapna Re Sapna, which is performed by Padmanabh Gaikwad. I found this song to be the weakest in the album. It contains lacklustre samples of the piano and the flute which makes it difficult for one to appreciate it. The vocals were also uninspiring and Padmanabh Gaikwad does not perform her best in this one. Hence, give it a miss since you will end up daydreaming whist listening to it rather than actually enjoying it.

In conclusion, Ek Thi Daayan is not an amazing album, yet it isn’t bad either. The two songs that will appeal to many Bollywood lovers are ‘Yaaram’ and ‘Tote Ud Gaga,’ which are great fun to listen to. The rest of the songs just do not have any catch to them and hence, you will find it difficult to fall in love with them. Despite having created genius music in the past, this is not Vishal Bhardwaj and Gulzar‘s best work. Unfortunately, it does not quite meet your expectations.

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The first track is Aaja Nindiya, which is sung by Sangeet Haldipur. The composition has a very contemporary and melancholic feel to it, but it just did not win me over. The vocals are a bit sluggish, but not horrible either. Overall, with more work perhaps this song would have had a better end-result.

Following this, we have Teri Khatir, which has been performed by Suraj Jagan. This song has strong heavy metal music which has been brilliantly composed by the music director. Surja also sings this song fantastically and manages to release a lot of energy through his voice. Hence, the great music and vocals make this song a winner and I definitely recommend that you give it a listen.

Next up is Jee Le Jyada, sung by Alyssa Mendonsa, Anusha Mani, Shefali Alvares and Apeksha Dandekar. This song is a bit too ‘High School Musical’ in my opinion. There is a strong pop element to this song, which will appeal more to the youngsters rather than the adults. For the adults, I recommend that you try out the second version of this song which has been sung by Nikhil Paul George. Although that ‘pop’ element is still there, it nevertheless has a mature feel to it.

In the album, there is also an instrumental titled The Aatma – Theme. It contains the use of various instruments, with the violin dominating most of the composition. There is no real appeal to it and it is a tad depressing to listen to. Therefore, skip this one and move on as you will be wasting almost four minutes of your life listening to dull music.

Finally, we have Koi Jaagi Aankhein, which has been performed by Anahita Irani. The music has a cool jazzy tone and the vocals are quite unique and different in a positive sense. It is perhaps one of my favourite tracks in the album and one which you should certainly not miss out on hearing. Give this one a whirl and you may end up loving it!

To sum up, Aatma is an album which disappoints, but is not a complete failure. Other than ‘Teri Khatir’ and ‘Koi Jaagi Aankhein,’ there is no oomph with the other tracks that will captivate you. Therefore, it is a run-of-the-mill soundtrack which will not transform into a classic at all. Perhaps 2013 will offer us better soundtracks compared to this one.

Aatma Music Review is a post from: BollySpice

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