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Posted by: SANUM ARUJ KHAN Oct 26 2007, 04:51 PM

Posted by: SANUM ARUJ KHAN Oct 26 2007, 04:55 PM

Aaja Nachle Music Review
She’s back and ready to reclaim her throne, conquering our hearts instantaneously with one of her
quirky gestures that only “the” Madhuri Dixit can pull off. Our arms are spread wide open,
ready for her to jump in and remind us of the magic we experienced during the 90s during her films,
and thankfully, the wait is almost over! To entice your taste buds, the music of Madhuri’s next titled Aaja Nachle has released. While Aditya Chopra is producing the film, debutant director Anil Mehta takes the directional reigns.

For any Madhuri Dixit film, especially a comeback, fantastic music is essential. Known to be one of the best, if not the best dancer in Bollywood, one of the most awaited aspects of the film is the music and dance. And with a title like Aaja Nachle (Come Dance), expectations are sky high. Quite a risk I must say, on YRF’s part, to let music directors Salim-Suleiman craft the album. Though they have demonstrated undeniable talent with Kaal, Chak De India and Neal N’ Nikki¸ it might have been safer to go with more experienced composers like Shankar-Ehsaan-Loy. But being the risky man he is these days, Aditya Chopra puts the hearts of fans on the line by handing over power into questionable hands. Is the album good enough?

Way to get the album off to a mesmerizing start! Easily the best track of the album, Sunidhi Chauhan energetically renders the title track Aaja Nachle which seems to be the quintessential Madhuri track. It’s got the ‘dhin-chak’ beats, racy pace and appropriate lyrics by Piyush Mishra. It’s an absolutely perfect mix of slightly Western beats but an overall Indian feel that literally makes you want to get up and dance. No doubt this number is going to be an absolute rage and once it hits the screens, get ready for a chartbuster! It’s the only rack of the album to come in a second version titled Nachle (Reprise) which focuses more on beats than anything else. The beats are louder but the song is still just as effective. One of the few remixes that works!

In complete contrast, Sonu Nigam and Shreya Ghoshal crawl into the scene for a romantic duet titled Ishq Hua with lyrics by Jaideep Sahni. Though the lyrics are quite conventional, it’s a sweet song that’s soft and pleasing to the ears. Sonu Nigam is at his usual melodic best but it’s Shreya Ghoshal who surprises here as she sounds completely different than usual. There is something oddly different about her voice in parts of the song, though not necessarily in a bad way. If you’re looking to kick back or get into a romantic mood, check this out.

This one’s a totally fun and vibrant number and doesn’t seem to have any qualms about admitting it! With a title like Show Me Your Jalwa, you know to expect something exciting. Despite uninspiring lyrics for the title, the rest of the track is in Hindi and nicely written by Jaideep Sahni. Richa Sharma catches you completely unaware as she usually falls into the trap of singing routine sad and depressing songs and only occasionally gets a mainstream track like this one. She’s perfect and along with Kailash Kher and Salim Merchant brings tons of rustic appeal.

It seems like we’re on a roller coaster! Alternating between upbeat and soft songs is apparently an intentional trend of Aaja Nachle. Truly on a soothing note, the inimitable Rahat Fateh Ali Khan who is on a roll this year captures the mic solo and impresses one again in O Re Piya though it would be nice to see him sing a different type of song once in a while. It’s not conventionally romantic and unexpectedly breaks into a qawalli-ish tune for a bit. Enjoyable and should work well in the film, but this one definitely requires time to grow on you.

Madhuri Dixit herself opens Soniye Mil Ja to set the mood of the track followed by Sukhwinder Singh and for a small portion, Sunidhi Chauhan. This track, too, has a small-town feel to it and echoes celebration throughout. There’s not much to write home about in terms of composition as it isn’t instantly likeable and in fact probably won’t appeal to listeners until the film hits the screen.

Lovebirds Shreya and Sonu return with Is Pal which is even more soothing than the first romantic track of the album. If one were to epitomize a melodious track, it would be this one, undoubtedly! There’s just something about Sonu and Shreya’s voice. Alone, they are brilliant. Together, the combined effects of their voices take you into a different world. Sheer romance!

Situational in every way, shape and form, Koi Patthar Se Na Maare is a disappointment. If rumours are to be believed, this is to be picturized as a play in the film. It’s not unbearable but really doesn’t enhance the soundtrack at all. In fact, it slows the proceedings down completely. Let’s hope it looks good on screen at least! On the bright side, combined vocals of Sunidhi, Shreya and Sonu are wonderful and the lyrics are well written by Piyush Mishra.

In a complete turn of events, we have out first full-fledged track sung by Sonia Saigal. While listening, not once do you feel that Dance With Me is a wannabe-English track. It sounds like a song you’d hear on an American radio station! Composition-wise it’s not amazing but it’s enjoyable and hopefully will work in the film considering the title is completely relevant to the film. Not bad, but not great.


If the subject of the film is dancing, you naturally need to have a great score to keep viewers enticed. Watching Madhuri Dixit dance is icing on the cake! For the most part, the music of Aaja Nachle lives up to expectations and provides great variety. The title track kicked the album off on an astounding note and will become a universal chartbuster, guaranteed! If nothing, at least listen to that one track. Amongst the masses, ‘Show Me Your Jalwa’ should trigger appreciation and the lovers of romance and melody will be delighted with ‘Is Pal’ and ‘Ishq Hua’. The remaining tracks are not mindblowing by any means, but are quite passable. Salim-Sulaiman have impressed in for the majority of the album, but their two left feet seem to come into play occasionally.

From a film completely centred on dancing and music, one expected slightly better. The soundtrack of this film deserved to be completely innovative and magically special—something that it’s not. All it’s missing is that ‘X’ factor that would set it apart from other albums and make it a classic. Nevertheless, the title track is brilliant, romantic songs are enchanting and Show Me Your Jalwa is lively. What are you waiting for? Grab the album and pay heed to Madhuri Dixit’s plea when she asks you to ‘aaja nachle’!

Posted by: SANUM ARUJ KHAN Oct 26 2007, 04:57 PM

No Smoking Music Review

Bollywood lovers are literally swimming in a pool of music these days, with monumental albums like Laaga Chunari Mein Daag, Saawariya, Om Shanti Om, Bhool Bhulaiyaa and Jab We Met giving us ample choice. Among them emerges No Smoking, an album visibly different from what we have heard lately. Still, for those that aren’t interested in the commercial, massy-oriented albums making the rounds right now, this album composed by ace Vishal Bhardwaj comes as immediate respite. From an objective point of view, the album impresses in parts but fails to capture you in totality.

If an album is different from the regular crop of tracks topping the charts, it’s not necessarily a bad thing. Unconventional albums like Bluffmaster, Ek Chalis Ki Last Local and Johnny Gaddaar have worked in the recent past. No Smoking is expected to follow the same route, but not to the same extent.

Adnan Sami kicks the album off with a bang in Jab Bhi Cigarette [Jazz] which is a true-blue soft rock track with plenty a dose of jazz thrown in. Don’t expect real jazz, but it’s definitely a nice track to listen to when you aren’t looking for something loud and brash. Sami’s voice is soothing, as usual, and the track grows on you with each listen. The nice thing is that it doesn’t jump on you like a monster and claim to be a chartbuster of any sorts, but rather slowly slides up and wins you over. It also comes in a second verson titled Jab Bhi [Trance] where Sunidhi Chauhan takes over and sounds soothing and inviting. The track is faster paced than the first version and should increase excitement within the film. Still, one cant help but think that Adnan’s version is slightly better.

Get ready for a big bang! Phoonk De [Club Mix] arrives with great excitement but for some odd reason leaves you puzzled after one listen. Eventually this expression changes to delight after you realize what a catchy and fun track this is with interesting lyrics by Gulzar. Touted to be the next ‘Beedi’ featured on Bipasha Basu and John Abraham, the song is bad word is not allowed, sultry and fun. Rekha Bhardwaj is at her seductive best and brings an extra edge to the song. The second version, Phoonk De with Sukhwinder Singh is far less inspiring. Stick to the first version!

Trio Vishal Bhardwaj, Daler Mehndi and Sukhwinder Singh croon Kash Laga which comes across as a pleasant listen. The problem is, though it doesn’t come as a damper to the soundtrack, it doesn’t stay with you after it finishes. But it’s still a welcome change in the album which so far hasn’t had any feel-good numbers like this. Also worth noting are Gulzar’s lyrics which are situational but work well.

I hate to say it, but Ash Tray is really pointless, tuneless and boring. Deva Sen Gupta gets next to zilch opportunity to sing and his voice seems powerless. In parts, Gulzar’s lyrics are nicely written and in others they are completely disappointment. One wonders if this is an attempt at something different gone wrong. Or is it intended solely for situational purposes? Even then, it would be boring to watch in the film. This one’s painful to get through!

The album is quite short with only six tracks, two which are duplicate versions. In some respects, it’s a disappointing album from Bhardwaj who usually exceeds expectations. After Omkara, one surely expected better though there are a couple good tracks. Nevertheless, 'Phoonk De' will prove a mighty proposition for the film as it slowly works its magic as a steamy item number. Initially it will meet with mixed reactions but will slowly pick up and should prove to be the anchor of the album. 'Jab Bhi Cigarette', with its innovative picturisation, is perfect for the film as well. If you’re bored of the recent starry albums, it can’t hurt to give this cigarette a whiff (no pressure!).

Posted by: sana_cutey Oct 27 2007, 01:07 AM

gud work Sanum

Posted by: Sana_Sonu Oct 27 2007, 04:21 PM

nice work.

Posted by: s.C.a.B Oct 27 2007, 10:16 PM

gr8

Posted by: SANUM ARUJ KHAN Oct 29 2007, 08:13 PM

Jab We Met Music Review


After his debut with Socha Na Tha, director Imtiaz Ali is back with another flick, this time starring the gossip-generating duo: Shahid and Kareena. In their previous films, namely, 36 China Town, Chup Chup Ke, and Fida, the music has been quite noteworthy, so expectations are already flying high. With well-known and much-loved Pritam at the helm for the music, they are raised even more. The lyrics can be attributed to Irshad Kamil.

To start with, Aao Milo Chale, begins on a mellow note. Slightly old-fashioned, it nonetheless manages to weave together Shaan's melodious voice with traditional background vocals. Although not a song that will stick in your head for even a minute after it's over, it is worth a listen or two, especially to create a peaceful setting.

Ustad Rashid Khan steers the next track, titled Aaoge Jab Tum. If the previous track was traditional, then this can be nothing short of classical-based. However, it is rather pleasant to listen to, with the refined flute and violin embellishing the lyric-less parts. The language, as in the wording, of the lyrics suits the mood of the song well. Ustad Rashid Khan must be applauded more finishing this song with so much dignity. Despite the fact that this song will not gain mass appeal, it is not a loss.

Mauja Hi Mauja is the kind of track where right from the start you know it's a hit. 'Bhangra' beats, catchy to the core, with lyrics matching the mood and tempo make you want to get up and start dancing right then and there. The 'dhol' is a prominent fixture throughout the song and adds just the right element of a Punjabi feel. Labh Jajua croons the original version of this track, but it also has a remix with Mika at the mike, which is just as, if not more, promising. Like the title implies, this song delivers nothing but Mauja! (Mazza!)

Nagada Nagada follows on the same fast-paced vein as Mauja Hi Mauja. Barely a few seconds into the song, Sonu Nigam's adored voice starts the song off on a high note. The happy, free-spirited feel is maintained through the song. There are some annoying and rather unwanted elements (the girls chanting, weird exclamations from the background singers, too much emphasis on the snake-charming-like music). On the whole though, don't write it off completely before listening to it.

The mood immediately switched back with the first few notes of Tum Se Hi, sung by Mohit Chouhan. Melodious notes from the flute are slightly reminiscent of the title song from Kal Ho Na Ho in this song. However, it has nothing on that fabulous song. With a few original aspects and suiting (although unoriginal) lyrics, Chouhan's song may be quite appealing to some and on the whole, is melodious and lacks major fluency disruptions. Do listen to it at least once, especially if you prefer softer, emotionally-based music.

And we're back to our foot-tapping pieces! Likable from the start, Yeh Ishq Hai, finally brings a female voice onto the scene. No points for guessing who it is -- the current nightingale of the movie industry, Shreya Ghoshal. Once again, the lyrics don't strike any impact, but they suit the beat of the music and will stick since they're quite simple rhymes. The grand-hit 'Mahiya' of Pritam's, from the movie Awarapan, is the song one is reminded of in this song. Breaks in music have been used to add emphasis, showing off the professionalism of the musician. Antara Mitra sings the remix version of this song, and lately remix version of songs have been improving and this is no exception. Some will prefer the original, others the remix. There is no doubt, however, that this is one of the best tracks in this album and should be added to your newest playlist!

Surprisingly, the instrumentals which people usually tend to skip over creates a strong impact. The 'theme music', following in the veins of Tum Se Hi, with the now-trademarked flute flowing through it, is actually really well-rendered. In the entire album, this is the track that reflects Pritam's versatility and skill. Merging grand orchestration seamlessly with oriental themes and a skillfully-rendered percussion section, one would really have to trouble themselves to find fault in this piece. The tempo builds into a faux climax and comes down astonishingly, but not choppily, fast. A brief chorus at the end finishes off the extremely well-done piece. Even if you're not a fan of instrumental music, sit down and listen to this piece once just to prove to yourself what music is!

Initially, the music from this movie fails to impress. Towards the end of the album, with the last two tracks in particular, Jab We Met redeems itself. No man is infallible, and Pritam did fumble with a couple of the songs. However, the producers need not worry for the album definitely has enough to catchy tunes to use in promotions. The songs may not excite you for the movie, but they at least a couple of them will stay with you. So go, listen, and enjoy!

Posted by: SANUM ARUJ KHAN Oct 29 2007, 08:18 PM

Saawariya Music Review


There are few albums that capture your heart in an instant and take you into a world of ebbing poetry and magical music and the fact that Saawariya captivates you so proves the power of its music.

Hand in hand with the music of any Sanjay Leela Bhansali film comes mammoth expectations due to his impressive repertoire in the musical department. But with his biggest flick yet, he takes a huge risk. If casting two newcomers in lead roles for his largest venture yet wasn’t alarming enough, it’s as if Bhansali is on a rebellious streak of sorts! His latest risk goes by the name of Monty Sharma, the composer of the album. Though he composed a brilliant background scores for Bhansali’s Black and Devdas as well as the background score for lesser known films like Silsiilay, Lucky and Aashiq Banaya Aapne, he has not composed a full-fledged album—until Saawariya that is. Luckily enough for the SLB, Sharma, after working on this album for years, delivers with a plethora of flying colours, making this an unforgettable soundtrack.

'Doli mein bhitaake
Sitaaron se sajake
Zamaane se churake le jayega
Saawariya, ah ah ah, Saawariya, ah ah ah, Saawariya
Oh Saawariya'

The best way to describe this album is a journey of romance in its most subtle form. Welcoming you to what will truly be a wonderful musical experience is Shail Hada as he so flawlessly croons the title track Saawariya. It’s crystal clear that both Monty Sharma and Bhansali have a keen eye for talent. After showcasing Shreya Ghoshal so beautifully in Devdas, they present to us yet another singer evidently soaked with talent. As far as the composition goes, it’s catchy from the word go and is soft yet upbeat at the same time. Sameer’s lyrics are perfect though the song falters towards the end with the uncalled for English lines. Nevertheless, one can overlook this minor flaw and easily recognize this as one of the greatest tracks of the year.

'Jab se tere naina
Mere nainon se laage re
Tab se deewana hua
Sabse begaana hua
Rab bhi deewana laage re'

Shaan arrives with Jab Se Tere Naina which is such a delicate number that you can almost feel its fragility. Though Shaan pulls off the song extremely well, it’s Sameer’s stunning lyrics that catch you unaware. Probably the only flaw in this, and it’s probably just attributed to my picky nature, is that it gets a bit repetitive at times. Also, it takes a few listens to grow on you unlike the title track which you fall in love with from the very first beat. Thankfully this doesn’t make it any less of a great composition which will most definitely work completely in-sync with the film.

'Ghumsum chandni ho
Nazaneen ho, ya koi hoor ho
Dilnashin ho, Dilkashi ho
Ya Jannat ka noor ho
Masha-Allah'

Now this is classic Sanjay Leela Bhansali, reminding you of eloquent compositions in Devdas, Hum Dil De Chuke Sanam and Khamoshi. Say hello to Masha-Allah, my personal favourite of the entire album. With each track, Sameer’s lyrics keep getting deeper and more enjoyable. Monty Sharma truly deserves a standing ovation for such a sparkling composition. Though the album credits Kunal Ganjawala and Shreya Ghoshal for the vocals, it’s primarily a Kunal song with Shreya pitching in quietly in the background. Kunal proves his versatility and takes us back to his ‘Bheege Hont’ charm. One wishes Shreya had more to do because she probably would have made this amazing track even better. Elegance at its finest!

'Thode badmaash ho tum
Thode nadaan ho tum
Haan magar yeh sach hai
Hamari jaan ho tum'

After three tracks led by male singers, Shreya Ghoshal’s Thode Badmaash couldn’t come at a more opportune time. It’s beyond me how after singing so many tracks in her career, she enchants every single time. Luckily enough, she has such a wonderful composition and even more captivating lyrics to support her. Shreya’s voice is haunting, sweet and truly touches you, making for an enthralling track.

'Yoon shabnami
Pehle nahin thi chandni
Chand woh bharmaa gaya
Tujhkho dekha sharma gaya
Woh churane laga hai nazar'

If you’re expecting the album to suddenly drop a few notches like the majority of recently albums, think again. I advise you not to underestimate the perfectionist nature of Monty Sharma and Sanjay Leela Bhansali. Yoon Shabnami is one of the most unique tracks of the album because the first half is quiet and suddenly the track breaks out into a series of Indian beats which are extremely well stitched into the song. Then it tones down once again and manages to keep you listening at the same time. Another pretty unknown singer, Prathiv Gohil sings this track straight from the heart and demonstrates brief flashes of lead singers like Sonu Nigam and K.K. while maintaining a unique voice. The music during the last 45 seconds of the song is gleaming with brilliance.

'Ho saawariya, nahin chain,
Daras bina nahin chain.
Saiyyan, daras bina nahin chain'

Shail Hada and Prathiv Gohil team up with the lingering vocals of Richa Sharma who has a lasting effect with her rendition in Daras Bina Chain Nahin which was in fact used in the theatrical trailer. Coupled with the lasting effects of the singers is an movingly crafted composition. While listening and absorbing the music, you can see it fitting into the film extremely well and with Bhansali’s knack for gorgeous visuals, expect nothing short of spectacular.

'Sawar, sawar gayi mein
Saawariya!
Kab se ghadi mein doori atariyaan
Beet naa jaaye, o rama, sari umaariyaan
Sawar, sawar gayi mein'

It looks like the females have taken over! After much anticipation, Shreya Ghoshal returns for a three-and-a-half minute rendition in Sawar Gayi. We already know how talented and charming Shreya is and I don’t even have any adjectives left to praise her. Let’s just say she’s at her usual best. Similar to the rest of the tracks, this one is not loud and in-your-face. On the other hand, it creeps up on you slowly and is pure melody.

'Jaan-e-jaan, iss dil mein tum samaaye ho
Dil mein samaaye ho
Jaan-e-jaan, iss dil mein tumhi samaaye ho
Tum mere ho! Bas mere ho! Mere hi ho!
Dil naa dukhaaoge aur door jaaoge ho'

It’s ironic how in an album of a romance film, Jaan-e-Jaan is the first duet. Who better to do the honours than Kunal Ganjawala and Shreya Ghoshal? This one definitely takes quite a few listens to create the same effect as the rest of the tracks but it’s still well done. One can’t help notice Sameer stumble a bit as the lyrics get a bit corny. I think most of the problem lies in the fact that after eight tracks one begins to feel like it’s getting a bit monotonous.Not the best of the lot, but still a notable effort.

'Arre hai, ek din aasmaan se pari...aayegi
Lot ke phir naa vaapas kabhi...jaayegi
Arre hai, uske khamosh aahat sunta hoon mein
Raat din, har ghari
Lamha lamha intezaar ussi ko'

Well, at least Sameer is back in action with Pari that sees Kunal Ganjawala behind the mic for another track. Again, it’s on the slow side and doesn’t completely capture you. It’s more like a track that would work really well on-screen but you can’t identify it’s full potential until you actually see it on celluloid. It would also be nice to see someone other than Kunal do the honours though he does a great job. I think at this point one tends to scrutinize the tracks down to every little beat. Take this one in your stride and move on with the rest of the album.

'Chhel chabeela, rang rangeela
Badan kateela, ho raseela
Roop sajeela ,yaad hateela
Tang pajama kurta dheela'

Surprisingly enough, it’s Alka Yagnik’s first and last appearance in a fun track titled Chabeela. After a bunch of tracks slowly-paced (though very enjoyable), this one is nice simply because it’s different. It has a different singer, a different mood and a different pace as well. Some might want to gag at Sameer’s playful lyrics but at the same time if you take them lightly, they’re quite cute. Like most of the tracks, it will take time to reach its full potential as a popular song but I guarantee that it will eventually. Alka Yagnik definitely makes her presence felt in the overall picture of the album. It’s fun-spirited and does make you smile!

Adequately bringing closure to the album is the Saawariya Reprise featuring the same singer. A lot of albums like to remix and reprise and all that jazz, but this is one of the few whose second installment of the track actually differs from the first. A really great way to end a beautiful album off on a positive note!

You must know before venturing into Saawariya that you won’t like at least half the tracks after one listen. It’s only after a few listens and maybe even after seeing one or two on screen that one can truly understand the genius behind this album. In some ways it’s similar to the tracks of Devdas in the sense that many tracks didn’t work initially. Today, they have become legendary. I expect the same route for Saawariya. After listening to the songs, half of you will agree with this rating and the other half will laugh with scorn and claim that it's nothing special. So yes, I am warning you before-hand, if you are expecting a mass-oriented masala album, Saawariya is not the album for you. On the other hand, if you like to submerge yourself deep within melodious love ballads, then expect to open your arms and embrace Saawariya whole-heartedly.

It’s an unbelievable burden for a virtually debutant music director to take on the task of composing the tracks for such a prestigious film, but Monty Sharma takes that overwhelming burden and casts it off his shoulders like no tomorrow. The fact that he has actually exceeded expectations is a great thing. He only falters towards the end of the album where he gets repetitive. After his spat of Himesh films, I had truly lost respect for lyricist Sameer. But after his work in this album, he has re-invented himself and unleashed the poet inside him (barring in mind one or two tracks). And boy, is it a pleasant change to listen to an album sans English lyrics (disregarding the unnecessary English in the title track)!

I know it’s my job to dissect each and every track, but in totality this is such a beautiful album that it shadows all blemishes along the way. Now that you have so dutifully listened to me ramble on and on, I urge you with every fiber of my being to grab these tracks at the earliest opportunities and open your soul to a wondrous world of delightful magic called Saawariya.

Posted by: SANUM ARUJ KHAN Oct 30 2007, 09:39 PM

Om Shanti Om Music Review



Farah Khan’s sophomore effort has much riding on it and based on the mind-blowing success of both the movie and soundtrack of Main Hoon Na, the expectations out of her forthcoming Om Shanti Om are massive! Let’s take a look at what Om Shanti Om already has going for it based on face-value: the ever so popular Shah Rukh Khan - the reigning King of Bollywood, the hyped debutante and supermodel Deepika Padukone’s jodi with the baadshah, and the great track record of Vishal-Shekhar’s music. Farah Khan most certainly has many expectations to live up to with her up and coming!

The Om Shanti Om soundtrack is now out and after giving it a few spins I’ve come to conclude that it does not disappoint. However, it certainly does not impress either.

Here’s a quick rundown on the pros and cons of each song; what I see going into overplay and what falls in the forgettable category!

Let’s start with the already popular song, Ajab Si: It’s nice and pleasant, easy on the ears. The songs is penned by Javed Akhtar and has an enjoyable lyrical quality about it. The state of being completely hypnotized or mesmerized by a lover is described through a nice, easy rendition by K.K.

Dard-E-Disco is reminiscent of old-school songs, but mixed with an Arabic flavor. It has a sort of addictive quality, owed to the infectious beats especially in the beginning. The lyrics, however, are a tad odd and the English bits do seem out of place in such a number, but it isn’t bad after a few spins. It’s the type of song that grows on you, and fast! It’s certainly one of the few out of the album that you would give another spin to. Dard-E-Disco (Remix) is equally contagious as the original.

Deewangi Deewangi is a nice peppy, upbeat number. It has catchy music with equally snappy lyrics. It most likely could be the next hit after Ajab Si. The Deewangi (Rainbow Mix), is just as inviting!

Main Agar Kahoon is an absolute delight to hear, beautifully rendered by Sonu Nigam and Shreya Ghoshal. The lyrics are absolutely beautiful! I can imagine this one picturized in a dreamy, romantic setting - the distinct wistful vibes instantly transforming you to a different place. Very few songs have such a quality, the ability to kick up the listener’s imagination and take them to a different mental and emotional state. A 10/10 to this one!

Jag Soona Soona Lage: featuring the soulful voices of Rahat Fateh Ali Khan and Richa Sharma, is largely a boring piece. The music does not grab you, and there really is nothing about this song that could envelope your senses or even make you feel the lyrics despite the deep performance. You are likely to give it a full listen the first time around but then might hit the skip button midway the next time.

Dhoom Taana sounds like the perfect song out of a bad 90s film! What were they thinking?! I believe they are trying to truly fit in the with the old time movies theme, since most of the songs have that old-school quality. I would have liked it better had it been a classier ode to the old era. Hmmn … maybe the movie is about bad old movies? We can’t say yet! But this number is definitely the disposable kind. It has no redeeming quality, ranging from the lyrics to the music to the singing. NOTHING!

Dastaan-e-Om Shanti Om is also another, suggestive of an old-school feel good movie where the hero is dejected at one point. With the orchestra in the back hitting crescendo, you know he’s going to bounce back! You just know it! The lyrics of Dastaan are of an unhappy person but who has the strong-will to fight back and overcome the odds, adequately delivered by Shaan. Dastan (The Dark Side Mix), is more uptempo than the original, and this only makes it better!

The Om Shanti Om (Medley Mix) is a mix of Dard-e-Disco and Deewangi, catchy and fast paced, this one goes on repeat in the playing order!

Om Shanti Om (Theme Music) is sheer enchantment, a lovely symphonic piece that should’ve been longer!

On the whole, the album is one with few lows and many more highs. In spite of the many highs, only a few of the 12 tracks really stand out. I can’t even say how long they would stick in my head. The album is a nice attempt by Vishal and Shekhar but it has no repeat value, at least not in the long-term. The music, predominantly, is of the disposable kind that would lose its unique touch after the movie’s fever dies down. I understand the aim was to create a bygone era’s feel, but many songs felt simply out of place even when observed from that perspective, let alone 2007!

All in all, Om Shanti Om has a slightly above average soundtrack with some numbers of stellar quality and some nothing to write home about.

Posted by: SANUM ARUJ KHAN Oct 31 2007, 09:17 PM

Johnny Gaddaar Music Review


By Prathna Tiwari - BollySpice.com
23 September 2007
Bluffmaster and Ek Chalis Ki Last Local. Two titles that comes to mind when one listens to Johny Gaddaar. The composers are certainly not the same but the genre of music is. Not all will find it appealing, however if you enjoyed the above albums then you have a good chance of liking many aspects of Johnny Gaddaar.

Shankar-Ehsaan-Loy have taken the most unexpected turn. For a trio that have delivered the average and mediocre styled albums in the last few months, this album comes as a big surprise. Anyone who likes a change will certainly call this a good surprise.

The albums kicks off with the title track Hey Johnny. It's been recorded in three languages: Hindi, Tamil, and Telugu. If you're looking for a poetic numbers than this album is certainly not your cup of tea. Johnny Gaddaar is an album that is crude, realistic and consists of street-wise lyrics. Words are not hidden in poetic language instead delivered like it is meant to be understood. Hey Johnny is exactly this. The music is eerie and glides towards the genre of rock music. The new generation will absolutely love it however all those that need poetry or those who are accustomed to the typical Bollywood and Indian style music will find the track of much disturbance.

Move Your Body... an overrated phrase in the Indian music industry but one that has been given a different meaning in this album. The music is a mix between retro-Bollywood and Punjabi and tune that will most certainly be rocking nightclubs! The lyrics continue on the trend of street-smart words without any poetic covering and they do tend to get a bit relative due to the repetition of the chorus but, the overall composition makes up for it. This song has also been recorded in Hindi, Tamil, and Telugu.

Dhokha is a track that upon listening can be immediately pointed out as a background track. Anousha Mani's voice manages to take one back to the days of Hema Malini and Zeenat Aman. An entirely listenable number but not as impressive as the first two tracks.

For all those who didn't quite enjoy 'Hey Johnny' the album provides for a remix. The most intriguing aspect of this remix is that it does not rely on the additional beats and layered music but rather on other effects that enhance the song.

Along with remix of 'Hey Johnny' comes the "Phat Mix" of 'Move Your Body': not too impressive since the original itself was fine.

Johnny Breakbeat Mera Naam pays tribute to the legendry Dev Anand's 'Johnny Mera Naam'. With lyrics and songs from Dev Anand's classic comes a combination of compositions used in the title track. This track certainly does not stand out but maybe something someone would like to be playing in the backdrop.

Now comes a fantastic track that may catch many people's attention, Revenge of the 70s! A track that's purely instrumental and is an ode to musical geniuses like Lakshmikant-Pyarelal, Kalyanji-Anandji and more.

Following in trend for the last two tracks that pay tribute to various people, The Caper Begins is a sinister instrumental track, also meant as a background score to accompany the movie. It Reminds me much of background scores from both, Hollywood and Bollywood movies of 70s, especially of the various James Bond movies.

Toss is yet another instrumental track that accompanies compositions from the title track, however in a darker setting.

Till now the album was paying tributes to the 70s, however Confidence is one for the 60s! Yet again we hear the eerie, dark, and intriguing genre of composition used with a mixture of background scores from action or climax sequences of that era.

For all those who think that the current music trend is absolute rubbish and cherish track of centuries back, this album even provides a solution for that. "Bhule Bisre Geet" pays a tribute yet again to music of pervious eras. Lyrics from "Ghade ki Suiya" and "Dholki" provide a great time travel experience.

Johnny Gaddaar is certainly not for everyone's taste, but it's sure to have its' own audience. The first two tracks are so outstanding that they cater for whatever the others lack. It's an terrific album in its own way.

Posted by: SANUM ARUJ KHAN Oct 31 2007, 09:19 PM

Bhool Bhulaiyaa Music Review


By Kamna - BollySpice.com
9 September 2007
When a comedic remake of a drama-heavy Malayalam movie is called for, the only director worthy of the task is Priyadarshan. Add a tablespoon of stardom, including Akshay Kumar. Priyadarshan and Akshay have worked together enough before that we've set ourselves numerous expectations of them. At this stage, enter Bhool Bhulaiyaa. This is hit-maker Pritam's third time working with Priyadarshan, after 'Garam Masala' and 'Bhagam Bhag'. Stir in the lyrics by Sameer and it's the recipe for a rocking soundtrack. So what can you expect of this album that Pritam has cooked up? Let's take a look.

Blending in English lyrics seamlessly with the Hindi counterparts, the title track is a definite foot-tapper. Fast-paced but somewhat repetitive, 'Bhool Bhulaiyaa' innovatively uses the lyrics 'Hare Krishna Hare Ram.' Reminiscent of Bhagam Bhag's title track, it still has enough unique tunes to carry it off. Neeraj Sridhar of Bombay Vikings fame is completely at home behind the mike of this song, adding just the right 'cool' factor. Just a slight caution before you dash off to hear this track: it's gonna be stuck in your head, guaranteed!

Four of the seven tracks in this album have remix versions. The title track is no exception. Best of all, the remix doesn't completely ruin the original. In fact, some might even find themselves more inclined towards the additional English spices which accompany this version.

Even before the lyrics begin, you know 'Labon Ko' is not a track you want to miss. Pritam has hit the bulls-eye with the distinctive beginning which was probably a mix rendered in the studio, slowly building up to K.K.'s effortless crooning. The tempo is set at a contrast to the passionate singing and lyrics, yet the combination definitely clicks. Before this, Pritam composed and K.K. sung his heart away in the amazing 'Kya Mujhe Pyar Hai', starring Shiney Ahuja. One can't help but recall that when one discovers this track, too, is picturized on him and Vidya Balan. Providing a deep sense of love and passion, this number too has its own remix version, both of which are fit to add to latest playlist!

Oh, here's the shenaiye! Taking its time to enter the core, 'Let's Rock Soniye' seems to skip through a variety of genres, seemingly undecided but not discontinuous. When the lyrics begin, you optimistically raise your head. Is that Shaan I hear? Yes, the lovable, never-miss boy is sings with Tulsi Kumar's shrill tunes in this definite wedding number. Peppered with rap, salted with your basic 'dhol' beats, stirred with suiting lyrics, prepare your taste-buds for feast of flavors…in the same dish!

And K.K.'s back! Ay oye oh! In 'Sajda' he brings out youthful flavor, fresh and happy. Sameer's pens the lyrics relating inextricably to the lighthearted happiness that love brings, heightening the feel of youthfulness. Another instant foot-tapper, it could flow seamlessly into any college movie. Let's see what Priyadarshan's picturization adds to this above-average track. Although able to pull its own weight, this won't be making any top ten lists. Yes, it has a remix, but what's new?

Ghungroos chiming in rhythm to the taal with a light sitar in the background. From the first second, 'Mere Dholna' spells classical. With a standard classical beat, any tabla-player or Kathak-dancer will rejoice to hear it. Pritam's label of a pop/rock-genre composer may need to be reexamined as he considerably expands his range himself with this one track. The arrangement is well done, lasting almost seven minutes, and may go over well in the movie with a decent picturization.

With Shreya Ghoshal's flawless sweet voice behind the mike, nothing can go wrong. Challenging to the extreme due to its classical nature, she embraces the change of genre with grace only a singer of her caliber is able to do. MG Shree Kumar, a talented Southern vocalist, accompanies her, a heavy task in itself, on this track. A song unlike any to come from this industry's movies in recent years, it will definitely make a mark among the classical listeners, although 'Mere Dholna' might lack mass appeal.

Perhaps the single unappealing track is Tulsi Kumar's solo, 'Sakhiya'. Although it won't necessarily kill your eardrums as it is tastefully done, this track is not one anybody will recognize two months from now. Sameer fights a losing battle to sustain interest in this track. If you're waiting for a chance to leave the movie and go for relieve yourself, now would probably be a good time to do it.

Finishing off on an upbeat note, we are once again confronted by K.K.'s immense talent in 'Allah Hafiz.' Oh, and the Pritam we all know and love is back, too! With light overtones and beats that won't go amiss, here's what you were looking for and expecting in this album! In addition, Sameer's lyrics won't be lost to the beats and they are quite suiting, although just short of innovative. With Pritam's signature style all over it and K.K. at center-stage, here's a complete Akshay tune that's going to deliver.

Let's summarize Bhool Bhulaiyaa. Catchy tunes? Check. Cool singing? Check. Disco beats? Check. Gen-x lyrics? Check. Something for the classics? Check. Love ballad? Check. What more could you ask for? This recipe is jam-packed with everything, from the mediocre to the brilliant. How's that for a Priyadarshan-surprise?

Posted by: SANUM ARUJ KHAN Oct 31 2007, 09:24 PM

Laaga Chunari Mein Daag Music Review


By Aly Kassam - BollySpice.com
7 September 2007
More than half the films spewed out of Bollywood have English titles along with random English words in our songs and Western babes dancing with our stars. In the midst of this Western invasion, Yash Raj Films presents Laaga Chunari Mein Daag—a film with an Indian heart and soul. After Parineeta, Pradeep Sarkar is back with Rani Mukerji and Konkona Sen Sharma spear-heading his female-centric film about the lengths a simple girl goes to for her family.

You won’t find the seemingly regular English phrases embedded into Swanand Kirkire’s lyrics, nor will you find Western music bytes inserted into Shantanu Moitra’s compositions. But let me tell you, it’s such a relief to have our good old Indian tunes making an appearance in this album!

The album opens on a vibrant note with Hum To Aise Hain which brings together two of our most talented female singers, Sunidhi Chauhan and Shreya Ghoshal. This track dives straight into the feeling of excitement and showcases the playfulness and innocence of two girls. It’s definitely an enjoyable and foot-tapping track that really puts a big smile across your face for its sheer upbeat feel. Both Sunidhi and Shreya are fantastic because not only do they have to simply sing, but they have to capture two personalities through their voice. Naturally, they pass with flying colours. Swanand Kirkire’s lyrics are fit for the occasion and he deserves a round of applause for the slow interlude towards the end which Sunidhi croons wonderfully. It's nice how you are introduced to the main characters through the song. The entire track simply radiates energy.

Starting off with a Spanish tune, you can tell that Zara Gungunalein Chalo is the song set in Spain. This track has a solid beat; not too fast, not too slow. It’s quite feel good and the lead singers Babul Supriyo and Mahalaxmi Iyer carry it on their shoulders adequately. It’s not exactly brilliant or anything to rant and rave about, but it’s still worth a listen and works as a romantic track.

Chunari Mein Daag, composed by Roshan and with lyrics by Sahir Lududhianvi, is not a commercial song that you can expect to see topping the charts any time soon. It’s completely situational and one can vividly see it working in the film, but it’s not a track you’d want to listen to in your spare time. The composition is absolutely applaud-worthy because it combines Indian instruments with regular beats so perfectly. Ditto for the lyrics, which are beautifully penned. Shubha Mudgal uses her unique voice to add an interesting flavour to the track.

Shantanu Moitra returns with another feel-good romantic track titled Ik Theeki Theeki Si Ladki featuring KK and Shreya Ghoshal. In comparison, this one’s slightly better than Zara Gungunalein Chalo because it’s more unique and the lyrics stand out. It doesn’t strike you as a great track on the first listen, but it continues to grow on you due to the endearing melody. About three quarters in, it goes a bit haywire with the addition of computer effects which could have easily been left out. However, not to worry as soon after it returns to its regular pace and tune, allowing the listener to breathe a sigh of a relief. Except for about thirty seconds, it’s melody at its best!

Look out for this one on-screen. Why? The elegant Hema Malini will be gracing the silver screen for this mujra track sung by Rekha Bhardwaj who recently blew us away with her Namak in Omkara. Titled Ehi Thaiyaa Moti, you can safely say that this is a real mujra track with soulful lyrics and classical beats. By far and large, its not the most appealing track on the album and doesn’t instantly appeal to you like Anu Malik’s Salaam in Umrao Jaan. But there’s something special about it that you can’t exactly put your finger on. Maybe it’s the earthy voice, the truly classical music or the simplicity. Either way, it won’t make an impression on most listeners at first but its popularity will definitely rise once audiences watch Hema Malini dazzle us with her dancing skills.

Kachchi Kaliyaan breaks all the conditions that mentioned earlier. It has the English bits, the Western-style beats at some points, but for some odd reason its essence remains Indian. Note that this will probably be the track featuring Rani, Konkona, Kunal and Abhishek so it already has quite a lot going for it. It’s a great dance track but the random English parts are honestly a disappointment. I’m not being picky, but it just seems out of place. All the singers, Sonu Nigam, Shreya Ghoshal, KK and Sunidhi Chauhan pull their weight equally. If you overlook a few blemishes, it’s an enjoyable, fun track that will definitely be crawling up the charts soon.

With only six tracks, the album Laaga Chunari Mein Daag really does possess a lot of variety. You have your conventional romantic tracks (Zara Gungunalein Chalo, Ik Theeki Theeki Si Ladki), the mandatory dance sequence (Kachchi Kaliyaan), a free-spirited track (Hum To Aise Hain), a mujra with classical lyrics, classical beats and a classical beauty (Ehi Thaiyaa Moti) and finally an unconventional song (Chunari Mein Daag). It’s got something for everyone, minus those craving Himesh-style dance tunes. I’m sure all the tracks will work perfectly in the film as they seem to agree with the both the mood and storyline. Shantanu Moitra and Swanand Kirkire can give themselves a pat on the back as their combo has once again proved prosperous. After a rocking Jhoom Barabar Jhoom, Yash Raj Films has another winning soundtrack under their belt though in a completely different genre. One thing’s for sure—this chunari is daag-less!

Posted by: SANUM ARUJ KHAN Nov 6 2007, 10:19 PM

Khoya Khoya Chand Music Review



Close your eyes. Forget SRK’s six-pack, Mallika’s huge bust-line and foreign girls dancing practically naked all over our stars. Instead, transport yourself back through the decades of Indian cinema and come to a halt at the 1950’s. Often called the “golden age” of Hindi films, the 1940’s and 50’s saw films arriving with their own distinct style and witnessed the birth of song and dance through cinema. Here, in the midst of Bollywood’s golden age, you will find Sudhir Mishra’s Khoya Khoya Chand.

Starring Soha Ali Khan, Shiney Ahuja, Sonia Jehan and Rajat Kapoor as principal characters, the film gives us a glimpse into the rollicking era of the 40’s and 50’s, in particular, the filmy scene at the time. A film of this sort certainly demands quite an original score; a score that has the ability to make you feel like you are listening to tunes from that particular era. Music and lyrics duo Shantanu Moitra and Swanand Kirkire are back once again in absolute full form after going slightly commercial with Laaga Chunari Mein Daag. With their latest offering, it seems that they have decided to provide a treat to their original fan base that prefers classic Indian tunes rather than the mass-oriented tracks of LCMD. So if you were disappointed with their last album, check this one out as it’s quite soulful and really brings to life the 1940-1950 era.

Setting the tone is the title track Khoya Khoya Chand which honestly does not feel like it’s a track from 2007. It truly sounds like a tune straight from the golden era, with beautiful lyrics, and great vocals by Ajay Jhingran and Swanand Kirkire himself. It’s not too slow and monotonous or too fast for your ears; it’s just right. It’s got this really fun spirit behind its olden-day feel which makes it fun to listen to. Plus, we haven’t heard anything like this in a really long time.

While listening to Yeh Nigahein, you picture a lavish and classy party, musicians’ playing in the background and women with funky hair-do’s with gallant men dancing the night away. The music is subtle, the kind you can sway slowly too, taking in the poetic lyrics. Sonu Nigam and Antara Choudhary are perfect, though I feel like Shreya could have done slightly better than Antara. Still, both singers match each other beautifully and create a classic piece of music.

Speaking of Miss Ghoshal, here she is with Chale Aao Saiyan, a track which roots itself in hardcore classical beats. I can’t see the younger generation taking to this very fast, but I know that quite a large fraction of the older generation loves classical tracks like these. If anything, it gives Shreya the power to flex her vocal cords. If you’re a fan of classical music, you’ll love this one though if not you better stay away.

Hamsika Iyer, who we last heard in ‘Chanda Re’ from Eklavya smoothly croons Khushboo Sa. Stepping away from the classical genre, this one is along the lines of ‘Kaisi Paheli’ from Parineeta. Iyer’s voice is fresh and suited perfectly for the track, moving far away from her earlier ‘Chanda Re’. The orchestra in the background is the most appealing factor of the track and if you are looking for a genuinely nice composition without any commercial airs, get your hands on this one.

It’s now Sonu Nigam’s turn to carry a song on his shoulders only. Titled O Re Paakhi, it starts off extremely slow and changes halfway through though it remains quite slow. If there was ever a definition of mellow, this track would be it. It almost sounds like a lullaby! Kirkire deserves to be applauded for creating great lyrics throughout the entire album so far. Just like Shreya earlier, this is Sonu’s perfect chance to weave his vocal magic all over again. Sonu fans, lap it up!

After three solos, Sakhi Piya is a welcome duet with Pranav Biswas and Shreya Ghoshal. Lovers of ghazals, classical music and even bhajans will be delighted at such a simple yet endearing track. Biswas proves his mettle as a classical singer once again and gets the meatiest parts of the track.

No matter what, you can guarantee that the Sonu-Shreya combo will work. Don’t expect any less from Thirak Thirak as they are truly at their finest. Honestly, this track makes me feel nostalgic and makes me want to snuggle up to my couch and enjoy a good old black and white film. Definitely one of the finest tracks of the entire album, it provides great closure to an already wonderful album. Wah, kya gaana hai!

After Parineeta, I honestly fell in love with the Shantanu Moitra – Swanand Kirkire combo. However, with the recent Laaga Chunari Mein Daag, I felt like their true potential was dampened by the need for a slightly commercial score that would reach out to the masses at least on some level. With Khoya Khoya Chand, they shed their inhibitions and prove how unbelievably talented they are. Moitra’s music coupled with Kirkire’s poetry (yes, I have decided to cease from calling them lyrics) take you way back in time. What’s so great about the album is that not once does it bother to go hardcore commercial to please viewers. What you see is what you get, take it or leave it. And what you get is a beautiful score straight from the heart that is completely consistent and works well as an album on the whole.

I can’t really say there’s something for everyone here, because there definitely isn’t. The four stars do not mean this album is for everyone! Most likely, the younger generation will scorn it and continue grooving to ‘Dard-e-Disco’. Either way, it’s such a pleasant surprise to find an album like this in the twenty-first century and to discover that neither Moitra nor Kirkire have lost their charm. If you’re tired of so-called modern and hip tracks, I suggest you give Khoya Khoya Chand a listen and get ready for a journey in the golden era of Hindi cinema.

Posted by: SANUM ARUJ KHAN Nov 27 2007, 07:32 PM

Taare Zameen Par Music Review




Taare Zameen Par is the directorial debut of the fabulous actor Aamir Khan. The director took great pains to make sure the music for his first film was top-notch, even delaying the release because he was not happy with the quality of the glass master of the master recording. Taare Zameen Par’s tag-line is that every child is special because the film is mainly about children, childhood and the story of one teacher’s experiences. The script was written by Amole Gupte and was based on his own experience working with kids and what Aamir calls “his love of childhood”. Gupte not only wrote the script, he was also involved with many aspects of the film including the creation and production of the soundtrack. One of the tracks has lyrics penned by him and that song was composed by Shailendra Barve. The rest of the songs were composed by the magnificent team of Shankar-Essan-Loy with lyrics by Prasoon Joshi. The lyrics are one of the highlights of the album and truly stand out. Aamir was so happy with the lyrics of all the songs that he wanted everyone to read the beautiful poetry. He said on his blog, “Over the next few days what I plan to do is to translate the songs into English. This is for the benefit of those of you who don’t speak Hindustani, or for those who need a little help. I feel the lyrics are really special and I would like to help you enjoy them.”

The soundtrack seems perfect for a movie about children even before one sees how the songs fit into the film. Each one of the songs gives you a surprise musically and they all fit together to make a beautiful album. Let’s take a look at each track:

The title song Taare Zameen Par (Like Stars on Earth) is one of the finest on the album. I once heard that the melody of a song is important but it is the lyrics that make you feel. Nothing could be more true about this track. The song starts off very sweet but then it grows into a very musically complex piece. Sung brilliantly by Shankar Madehavan, whose voice quality is perfect for the song. The song has a very heartwarming feel, with lyrics such as:



Yeh to hain sardi mein dhoop ki kirane (Like sunshine on a winters day)
Utarein jo aangan ko sunhera sa karne (Bathes the courtyard in gold)
Mann ke andheron ko roshan sa kar dein (They banish the darkness from our hearts)
Thithurti hatheli ki rangat badal dein (And warm us to the core)
Kho na jaaye ye taare zameen par (Let us not lose these stars on earth)


You can’t help but love the song even more.

Dominque Cerejo and Vivienne Pocha join Madehavan for another beautiful section and the three of them blend together perfectly:


Jaise rangon bhari pichkari (Like fountains of colour)
Jaise titliyan phoolon ki kyari (Like butterflies upon blossoms)
Jaise bina matlab ka pyara rishta ho koi (Like selfless love)


SEL have definitely done it again with this track. This song is one you will listen to over and over and over again.

Next is Kholo Kholo (Open Up), another triumph. Sung by Raman Mahadevan and backed by an acoustic guitar it is a superb match for this singer’s moving voice. The lyrics again are special and are inspiring not only to kids (for who it is probably sung for in the film) but for all people.


Tu dhoop hai jham se bikhar (You are the sun, radiate light)
Tu hai nadee o bekhabar (You are the river, don’t you know?)
Beh chal kahin ud chal kahin (You’ll find your purpose)
Dil khush jahan teri toh manzil hai wahin (Where you find your happiness)


Again the song has may different musical moods, from simple to strong beats and all done with great feeling. Another wonderful track that makes you excited to see what the picturization will be.

Bum Bum Bole completely changes the mood of the album and is the peppiest track. It starts out rather silly with Aamir talking gibberish to the children. Evidently this song is for the kids in the film and for the kids in the audience. It is a very catchy tune (I am still singing in my head Bum bum bole, masti mein dole bum bum bole masti mein tu dol re!) You picture Aamir entertaining the kids and then they all join in and dance around. Shaan sings the song with great energy and he is backed up by a great beat with the drums and music. A great to track to listen to and it makes you want to get up and dance!

Jame Raho (Keep At It) is done in a very different style and is hard to pin to one genre of music. It represents a day in the life of a child beginning with an alarm clock waking him up. The beat and the vocals are very strong in the beginning and then it moves to a rock beat for the chorus section. The song then takes another musical turn, becomes much softer, filled with poetic lyrics. Back to rock and then even another turn to a great harmony section continuing on with the poetic lyrics, finishing up with the rock beat. Reading this, one might think it was a mess of a song but it all fits together seamlessly. It is sung exceptionally by Vishaal Dadlani, especially so, since there are so many different musicals styles rolled into one.


Ye waqt ke kabhi ghulam nahin (Not slaves to time)
Inhain kisis baat ka dhyan nahin (They’re carefree)
Titli se milne jaate hain (Having meetings with butterflies)
Ye pedon se batiyate hain (And discussions with trees)


Next up is one of the songs that tugs at your heartstrings. The track is simply called Maa and is another song tailor-made for Shankar Mahadevan’s voice. The song is about a child telling his mother about his fears but saying, “you know don’t you, you know everything.” It is a tranquil love song to mothers and Shankar excels at bringing out the emotion in the lyrics. The music, again with acoustic guitar is very soothing and beautifully backs up the lyrics. It will be very interesting to see how the song is portrayed in the film.

Bheja Kum (Brainless) is the only song that disappoints and it was expected to be one of the best since Shankar said the song was the highlight of the album. Only 2 minutes in length, it has 10 different singers on the track including Aamir and his wife Kiran. The song has all these different people yelling at a child, calling him idiot and I guess represents what that must sound like to a child. The song is discordant and is terrible to listen to. The only thing that sounds good is Kiran Rao saying in her sweet voice, “Tumhara problem kya hai beta?” Also on the track are Shankar, Bugs Bhargav, Shankar Sachdev, Raj Gopal Iyer, Ravi Khanwilker, Loy, Ram Madhvani. It is an interesting experiment, but it does not work, and probably should have been left off the album.

Musically, Mera Jahaan (My World) is probably the best song on the album and has a fullness of sound and music that takes it to another plain. This song begins simply but then transforms into an intricate musical number. The track includes the children's choir Gleehive along with Adnan Sami, Auriel Cordo and Ananya Wadkar, with backup vocals provided by Suraj and Shailendra Barve. The track starts with a child singing acapella and who later is joined by the other children in the chorus, singing about wanting to be free. Then the incomparable Adnan Sami joins in and the song becomes something special. He sings:


Choo loon main itna kareeb (Its close enough to touch)
Chai padum to kitna door (But disappears like a mirage)
Sapno ka buna sweater sa warm (Knitted in dreams, warm as a sweater)
Safed baadalon ke paar (Beyond the fluffy white clouds)
Mera Jahaan (Is my world).


You begin to think this song can’t get better but it surprises you and does. The next part of the song reminds me of the album Life in a Metro, so rich, especially the notes and music to the words mera jahaan. The blending of Sami’s voice with the other singers is something truly amazing to hear. Best part of the entire song.

The songs ends with the single child voices singing:


Bachpan ke din chaar (These few days of childhood)
Na aayenge baar baar (Will never return)
Jee le jee le mere yaar (So live them now)
Jeib khaali to udhaar (You’re on borrowed time)
Jee zindagi (Live life kingsize)


It seems the ideal ending to the song expressing what I think is the essence of the film and childhood is all about.

The soundtrack as a whole is wonderful and will compliment the story of the film perfectly. If you are looking for an album to get your groove on at the clubs this is probably not for you, but it a very enjoyable album to listen to and musically it is superior to many albums out now. The songs will probably be even better in the context of the film, but while you are impatiently waiting for its release it is a good album to listen to. Another excellent outing by SEL and the lyrics are some of the most beautiful I have read. (Thank you Mr. Khan for translating them!)

Posted by: SANUM ARUJ KHAN Dec 13 2007, 04:25 PM

Dhan Dhana Dhan Goal Music Review

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In the footsteps of Chak De India!, Vivek Agnihotri’s Dhan Dhana Dhan Goal is a fellow sports-based film (Note: For the purposes of this review I’m going to call the film Goal as I prefer not to give my fingers typing exercise.) However, it’s quite different as it is based out of the United Kingdom, deals with football and tackles issues of racism within the NRI community. It stars the sizzling pair of John Abraham and Bipasha Basu with Arshad Warsi and Boman Irani for company. Let’s hope for John’s sake that this film works after his latest, No Smoking has emerged as the biggest disaster of the year, critically and commercially.

After Chocolate (remake of Hollywood’s The Usual Suspects), Vivek Agnihotri is back this time with an original script (let's hope) backed by leading production house UTV. High off the success of Bhool Bhulaiyaa and Jab We Met, music director Pritam is back for his umpteenth innings this year and promises another chartbusting soundtrack.

Brilliant is all I have to say for the first track of the album. Titled Billo Rani, this track embodies a festive mood with unbelievable mass appeal. It’s semi-qawwali with great beats that make for an extremely catchy listen. Expect this one to work from the word go! If the film works, this track will skyrocket unbelievably. Kudos to Javed Akhtar for writing playful yet wonderfully crafted lyrics. It’s nice to hear Anand Raj Anand after so long, but it’s Richa Sharma who hogs the limelight and is absolutely outstanding! It’s so great to see her singing songs other than the regular rhona-dhona tracks she usually does. This track exposes a totally different dimension to her voice. It comes in a Remix by DJ Amyth which forces the song to lose its Indian appeal and become peppier. It kind of loses its magic, but isn’t so bad. Goal? Without a doubt!

Why does Ishq Ka Kalma seem straight of the Bhool Bhulaiyaa soundtrack? Maybe it’s just me, but this track sung by Neeraj Shridhar just isn’t that great. It’s got a nice tune, but it just doesn’t reach the above average mark especially after such an astounding first track. The lyrics are decent but the English kind of sabotages them because it just doesn’t fit. I’m sure this one will become enjoyable with time, but for now it’s nothing more than ordinary.

Hey Dude seems appropriate for the film as it has a competitive spirit and is quite edgy. Unfortunately it doesn’t give newcomer Devrat much to work with in terms of vocals, and it almost sounds as if he’s talking rather than singing. There isn’t much that can be said for the third track of the album as it offers nothing new but is by new means horrendous either. It should work well within the narrative.

Finally, we’re back on track! Full of spunk, spirit and pride, Halla Bol makes you feel good. There’s just something about that chorus that is so addictive that makes you want to listen to it over and over again. Instead of singer Daler Mendhi stealing the limelight, it’s actually the powerful lyrics and great beats that are the star of the show. This one definitely gives you something to cheer about!

On a far more subdued and sombre note is Tara Ru which seems completely situational. Even after a few listens, it doesn’t register much of an impact though Javed Ali sings well. The lyrics are nice but go to waste in a track that doesn’t do much for the album and isn’t a novel composition by any sorts.

In totality, Pritam’s latest work in Goal hasn’t scored in entirety and is a mixed bag if there ever was one. ‘Billo Rani’ is sure to set the charts ablaze and expect ‘Halla Bol’ to be the next sports anthem after the Chak De India title track. Apart from that, the rest of the tracks are average at best and will probably get overshadowed by the rest of the album.

Those expecting another rocking album will be horribly disappointed. However, if anything, make sure to check out the two awesome tracks of the album. Pritam might have scored a Goal, but not a particularly amazing one.

Posted by: SANUM ARUJ KHAN Dec 13 2007, 04:26 PM

Manorama - Six Feet Under Music Review

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Manorama Six Feet Under seems like the meeting point of new directors, fairly new actors, new lyricists and new music composers. Abhay Deol is definitely raising eyebrows by taking an almost unconventional route with films like Ek Chalis Ki Last Local and then making his presence felt in commercial hits like Honeymoon Travels Pvt. Ltd. Also starring Raima Sen and Gul Panag, debutant director Navdeep Singh’s Manorama Six Feet Under falls into the grey genre—where it’s neither startlingly white nor is it pitch black.

What makes this album special is that Jayesh Gandhi, who has sung some brilliant tunes in the last few years, is one of the music directors along with Raiomand Mirza. Various lyricists are assorted throughout the six tracks of the album.

Woh Bheege Pal is sung by none other than Jayesh Gandhi himself, and naturally, he does a fantastic job of bringing soul to the composition. This one falls into the latest genre making waves in Bollywood; that of soft rocks tracks with deep soul-stirring emotions embedded into them. However, it stands out from the others because it relies not-so-much on beats but more on vocals. A track like this also needs lyrics that touch your heart in some sort of way, and Jayesh Gandhi along with Surendra Mishra get the job done.

Clearly intended to act as the USP number of the film, it also comes in two more versions. The first is Woh Bheege Pal Version 2 sung by the talented Zubeen Garg who brings his own flavour to the track. The next is the Remix of Jayesh’s version which allows beats to completely overpower the vocals. In the end, the DJ Akbar Sami Remix, like most, tears apart a beautiful track. Plus, by the third version, it gets a bit tedious.

Far more subtle than the first track, Tere Sawalon Ke is soft and soothing to the ears. Composers these days fail to realize that simple and soft beats are quite often more appealing than a cacophony of random sounds (see ‘Dum’ in RGV Ki Aag). Note the interlude of violins which fits perfectly into the tune. Roopkumar Rathod and Mahalaxmi Iyer lend their voices for this one and quietly work their magic. Manoj Tapadia’s lyrics are fantastic. A wonderful composition and sheer melody at its finest!

Listening to Kailash Kher is always a pleasure and the same goes for Dhundla Jo Sama Bandha. This eloquently penned track gives him ample scope to prove to us what an amazing singer is and the power his voice holds. This is another one of those different tracks, but it’s different in a good way. It’s a really clever composition which builds up throughout its five minute duration. It won’t appeal to everyone, but if you’re a Kailash-fan, quickly grab this one as it’s a great showcase of his talent.

Richa Sharma carries her harsh vocals into Dhokha which is by far the weakest of the lot. Musically, lyrically and vocally it just doesn’t stand out. In fact, I’m not sure if it really has a tune. It might work well in the film but I wouldn’t give this one a second listen unless forced to.

It’s nice to see composers continue to try and push the envelope, and for their first attempt, Jayesh Gandhi and Raiomand Mirza have definitely made an impression. Though not all the tracks are ones you’d want to take home with you, there are a few that stick like glue into your head and touch your heart.

Manorama Six Feet Under isn’t your typical masala album, but then again, who and what define “typical”? If you look at the albums released this year, most of them don’t classify under what you’d consider a “conventional” Bollywood album. I think it’s about time we change, or at least broaden, the definition of a conventional Bollywood score.

Posted by: SANUM ARUJ KHAN Dec 21 2007, 07:14 PM

Welcome Music Review

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After years of struggle, Akshay Kumar has finally hit the spot with a line-up of hits this year, making him the undisputed king of the box office. Shall I say, Welcome to the era of Akshay Kumar?

With his next release directed by Anees Bazmee (No Entry), Akshay stays within his comfort zone in a mob-comedy co-starring Nana Patekar, Anil Kapoor, Katrina Kaif, Mallika Sherawat and Paresh Rawal. After Bhool Bhulaiyya, one would hope that the strength of three composers (Himesh Reshammiya, Anand Raj Anand and Sajid-Wajid) could produce another hit album. Do we have another ‘Hare Ram Hare Krishna’ on our hands? Let’s find out.

After the first listen, the title track Welcome is extremely irritating and annoying. But after repeated listens, it eventually catches on despite silly lyrics and ordinary vocals by Shaan and Sowmya Rao. In fact, it’s only the chorus that’s catchy enough to keep you listening. Otherwise, this is by no means a chartbuster.

Anand Raj Anand composes the next track titled Hoth Rasiley sung by himself, Shreya Ghoshal and Shankar Mahadevan. This is an extremely upbeat track which is far more exciting than the previous for its sheer excitement even though it may not be a great composition. Even vocally, you can’t go wrong with Shreya Ghoshal and she delivers once again. So it may not be the greatest dance track we’ve heard recently, but it’s definitely listenable and even likeable to some degree.

Uh, was Himesh smoking something when he decided to sing and compose this Insha Allah? He can’t seem to decide whether it’s a classical or rock piece! The second Shaan and Akriti Kakkar begin to sing, you’ll heave a sigh of relief and hope that Himesh doesn’t attempt that high-pitched screech again. Oh wait, it’s back! Better skip this track to save your ears from mass damage.

From the very first beat its obvious that Kola Laka Vellari is a Himesh Reshammiya track. This is a quintessential Himesh track in every sense—routine, boring and bland. It’s really not worth any more words. By this point, you’re pretty much ready to throw the album out the window.

Finally, the Reshammiya tracks are done and Anand Raj Anand returns with Uncha Lamba Kad. This one isn’t so bad either, but really it’s nothing special at all and if it wasn’t part of such a big film it probably wouldn’t get a second listen. The tune is hardly catchy and just not worth the time.

Kiya Kiya is one of the better tracks of the album, the kind you might actually re-visit for a second listen. Still, this judgement is based in comparison to the rest of the album which is horribly below par. This one’s fun, peppy and though it doesn’t stick or linger, you enjoy it while it lasts.

Unfortunately, there isn’t much to say about the music of Welcome, hence the short and to-the-point review. Really, it’s below standards and if it weren’t for the fact that it was associated with big names, the album probably wouldn’t be given a second glance. Luckily for the team behind the film, the title track is catchy enough to at least make a minute impression on audiences if picturised correctly. Other than that, ‘Hoth Rasiley’ and ‘Kiya Kiya’ are the only two that are mentionable, while all of Himesh’s tracks are downright horrendous. Please, Reshammiya-saab, save us the time and don’t compose again until you have something worth offering. This is one of those albums that you try to ignore and hope that the film will be far more engaging.

Posted by: SANUM ARUJ KHAN Dec 21 2007, 07:15 PM

Taare Zameen Par Music Review

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Taare Zameen Par is the directorial debut of the fabulous actor Aamir Khan. The director took great pains to make sure the music for his first film was top-notch, even delaying the release because he was not happy with the quality of the glass master of the master recording. Taare Zameen Par’s tag-line is that every child is special because the film is mainly about children, childhood and the story of one teacher’s experiences. The script was written by Amole Gupte and was based on his own experience working with kids and what Aamir calls “his love of childhood”. Gupte not only wrote the script, he was also involved with many aspects of the film including the creation and production of the soundtrack. One of the tracks has lyrics penned by him and that song was composed by Shailendra Barve. The rest of the songs were composed by the magnificent team of Shankar-Essan-Loy with lyrics by Prasoon Joshi. The lyrics are one of the highlights of the album and truly stand out. Aamir was so happy with the lyrics of all the songs that he wanted everyone to read the beautiful poetry. He said on his blog, “Over the next few days what I plan to do is to translate the songs into English. This is for the benefit of those of you who don’t speak Hindustani, or for those who need a little help. I feel the lyrics are really special and I would like to help you enjoy them.”

The soundtrack seems perfect for a movie about children even before one sees how the songs fit into the film. Each one of the songs gives you a surprise musically and they all fit together to make a beautiful album. Let’s take a look at each track:

The title song Taare Zameen Par (Like Stars on Earth) is one of the finest on the album. I once heard that the melody of a song is important but it is the lyrics that make you feel. Nothing could be more true about this track. The song starts off very sweet but then it grows into a very musically complex piece. Sung brilliantly by Shankar Madehavan, whose voice quality is perfect for the song. The song has a very heartwarming feel, with lyrics such as:

Again the song has may different musical moods, from simple to strong beats and all done with great feeling. Another wonderful track that makes you excited to see what the picturization will be.

Bum Bum Bole completely changes the mood of the album and is the peppiest track. It starts out rather silly with Aamir talking gibberish to the children. Evidently this song is for the kids in the film and for the kids in the audience. It is a very catchy tune (I am still singing in my head Bum bum bole, masti mein dole bum bum bole masti mein tu dol re!) You picture Aamir entertaining the kids and then they all join in and dance around. Shaan sings the song with great energy and he is backed up by a great beat with the drums and music. A great to track to listen to and it makes you want to get up and dance!

Jame Raho (Keep At It) is done in a very different style and is hard to pin to one genre of music. It represents a day in the life of a child beginning with an alarm clock waking him up. The beat and the vocals are very strong in the beginning and then it moves to a rock beat for the chorus section. The song then takes another musical turn, becomes much softer, filled with poetic lyrics. Back to rock and then even another turn to a great harmony section continuing on with the poetic lyrics, finishing up with the rock beat. Reading this, one might think it was a mess of a song but it all fits together seamlessly. It is sung exceptionally by Vishaal Dadlani, especially so, since there are so many different musicals styles rolled into one.

Posted by: kiran kanwal Feb 7 2008, 12:38 AM

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Posted by: SANUM ARUJ KHAN Apr 17 2008, 02:58 PM

Tashan Music Review

Dil Haara perfectly opens the album on an excited note, with Sukhwinder Singh infusing unbelievable life into the track. With the essence of spirited love, fun and ecstasy, the song goes from strength to strength with loud beats that never overpower the fantastic vocals but keep the listener pumped. Eventually, it reaches a thrilling crescendo that brings a fantastic rock feel to the surface. Piyush Mishra's lyrics may not be poetically astonishing, but they are more than a welcome change from what one would normally expect from a love song. In fact, instead of a melodious serenade of love, this song embodies the energy of love to the very core. Mark my words; this track is going to be huge.

"Suraj ko andha kar do, dedo chand ka chashme. Ladki hoon, par mujhe pasand nahin duniya ki koi rasme. Kahin dillon ka mujhse hai, ajab-ghazab connection…Pooja ko yehi hai, yehi toh hai tashan!" –Pooja's Tashan (Stylish!)

Immediately following is the track picturised on Kareena, titled Chhaliya. This track is everything you could expect it to be; peppy and robustly exciting. It relies primarily on great rhythm rather than Anvita Dutt Guptan's lyrics, though they are also apt for the mood. Ranging from melodious to simply invigorating, it seems to fit the image of Kareena's character in the film. After 'Yeh Ishq Hai', we can be sure that this track is going to exhibit another dimension of Miss Kapoor. Another winner in the bag!

"Life is strange. People are stranger. Har sundar cheez mein hota hai kuch danger. Zinda rehne ke bhi badalte hai ab fashion. Jimmy ki life ka yeh hai 'tashan'." –Jimmy's Tashan (Interesting, but not as good as the rest.)

Before venturing into Dil Dance Maare, I should perhaps warn you not to evaluate it as a regular song. Before your jaw drops in horror, keep in mind that the song is supposed to have outrageously horrible lyrics as it comes during a scene where the characters are dressed up as foreigners and trying to speak English (key word: 'trying'). With lyrics by Vishal himself, the song is an absolute laugh riot even though it may be the most bizarre of the album! If you can take it with a pinch of salt, fully understanding that the song is intended to make you cringe at the horrible English inserted into the lyrics, you'll enjoy it immensely. Even with such ridiculous lyrics like "Oh very happy in my heart, Dil Daance Mare re!" Vishal-Shekhar manage to put together a hit. Sung by Udit Narayan, Sunidhi Chauhan and Sukhwinder Singh, the vocals are not as important in the song as the listener is meant to concentrate more on the hilarious lyrics and rollicking rhythm. Hats off to the composer duo for getting so creative with this track! As silly as it may seem, it can be incredibly hard to make a great song out of crappy lyrics while maintaining its humour. Like it or not, judging by initial public reaction, this song is a chartbuster in the making.

"Ram Chandra Ji kehgaye Siya se: aisa kalyug aayega, bhale burre ki jaaj bhi ek din humko creditcard dilwayega...kaho to tumhare chehre ka badal de hum position? Yeh hai Bachchan Pandey ka Ganga Kinare wala 'tashan'!"–Bachchan Pande ka Tashan (Hilarious!)

After pumping our veins with high-octane energy, the album steers onto a more subdued note with the romantic Falak Tak. It maintains a modern feel throughout but somehow gives you a nostalgic feeling of melodious romantic tracks composed during the nineties. With soothing lyrics by Kausar Munir, you finally get a chance to kick back and relax in an album that never lets you waver for a second. This track is equally as captivating as the rest, but in a much more quiet way. What make it so fantastic are outstanding vocals by Udit Narayan and Mahalaxmi Iyer, who both bring a certain sense of magic to the song. It's so great to see that Udit hasn't lost his touch after so long! For those who aren't a fan of romantic tracks, at least this gives you a chance to reel back from the unbelievable energy of the first few tracks.

"I'm a-speaking English phully. Sahi ghalat ko maaro goli! Hah, I'm wearing a suit, tana tan. Underwear ijh…phir bhi Indian. I'm villain of old tradition. Dish, my dear phellow, ijh my 'tashan'!" –Bhayyaji ka Tashan (A knockout!)

The album comes to a timely close with Tashan Mein, a track that creates an adventurous mood, perfect for an action flick. Vishal and Shekhar further expand a rock-n-roll feel to the track with guitars and drums being the primary instruments used. Crooned by Vishal and Saleem, give a very rugged impression that works in tune with the mood of the rest of the track. Though it may not emerge as the biggest chartbuster of the album, it's a perfect addition to the album because it fits perfectly into the theme. Not to mention, it's exceptionally creative!

When listening to Tashan, you feel as if composers Vishal-Shekhar must have been high on something when they composed it (in a good way!) because they seem to seep each and every beat and note with an underlying essence of energy. Also, the four character snippets were a wonderful addition to the album. Boasting of at least three chartbusters, one fantastic romantic track and another admirable creative effort, the album lives up to the immense hype and hysteria. Will they all go down as a classic? Maybe not all, but the tracks will certainly prove to have a large life-span as they crawl up the charts right from day one. Since the title was revealed, many have pondering the exact meaning of the word tashan. Listen to the album and you'll figure out just exactly what tashan is. So what's your tashan?

Posted by: SANUM ARUJ KHAN Apr 17 2008, 03:00 PM

One Two Three Music Review
One Two Three is a movie about 3 guys, all of whom are named Lakshmi Narayan, so you can imagine the many problems and hysterical results stemming from this. Starring Suniel Shetty, Upen Patel, Esha Deol, Sameera Reddy, Tusshar Kapoor, Paresh Rawal, and Tanishaa and directed by Ashwani Dheer, the film is set to release on March 21st. Composed by Raghav Sachar with lyrics by Aditya Dhar and Munna Dhiman, the soundtrack has some truly impressive tracks and is surprising in its range of musical excellence and the many changes that happen within songs. Two of the songs, though the music is incredible, are odd and should have been left to be seen on the silver screen, however we will get to that in a bit. One thing is for sure: by the end of the album, you will not forget the name of the movie and the melody One Two Three will be playing over and over in your head.

One Two Three One Two Three One Two Three and One Two Three

The title track, One Two Three, begins with a thumping drum beat then adds a funky flute and even a violin. In this first song, you are treated to the incredible mix of tempos and surprises that are the hallmark of the entire album. Sung by Kunal Ganjawala with Earl ED contributing some excellent rap sections, there is a female voice that I could not recognize. Surprisingly, that “female singer” is not female at all but the composer himself, Raghav Sachar. Kunal Ganjawala sounds fantastic and there are some harmony sections that are great. One pure musical guitar section really stands out and you can hear the talent of this composer. This is one foot tappin’ number that you will remember, especially the chorus... One Two Three One Two Three One Two Three and One Two Three. There is a Club mix that is good too: it is a faster version of the song with a little more electronica thrown in.

Usually I would include a few sentences about the third mix of the title song at the end of the title song’s section, however the ballad version of the song is so good that I have to give it its own paragraph. Beginning with a lyrical guitar section, the song is sung perfectly by Raghav Sachar. With lyrics by Munna Dhiman, the song is one of the best songs on the album. It is just a gorgeous simple arrangement that is much too short. Put it on replay and enjoy the notes of the singer and instruments.

Bilkul Freeee Bilkul Free Bilkul Freeee Bilkul Free

The next song is ‘One Two Three Amalgamation' and amalgamation is the only word for this track. It’s hard to describe and I think it will make more sense when seen in the context of the movie. It has a couple of very fast bhangra sections, a qawwali, some of the One Two Three refrain and even a few lines of the Spiderman theme song. I think you get the idea. The singers on the almost 8 minute track are Kunal Ganjawala, Kaptan Laadi, Kshitij Tarey, Kailash Kher, Raghav Sachar and Aditya Dhar. In between and during some of the sections, it is musically very good but for this one I would listen once and then wait for the movie.

One Two Three One Two Three Duniya Mein Aana Hai Free

'Rock Mahi’, another good track, is sung by Raghav Sachar and Sunidhi Chauhan. The song is full of many tempo changes and you never know what to expect. The refrain of “You gotta Rock Mahi, Never Stop Mahi” is another line that will go through your head after just one listen. In fact, it is going through my head now as I write this. There is a jammin’ instrumental section that is full of tabla, deep voices and a flute that really makes the song. The song works and is a very good outing by Raghav Sachar.

The Sunidhi Chauhan solo 'I Wanna Guy' is, like all the tracks on this album, musically superb. Starts like a ballad, but it changes into something totally different: a pop jazz fusion maybe, with a little Spanish flavor thrown in. In parts, Sunidhi Chauhan is her usual brilliant self; however,in a few of the sections it sounds like she is screaming and I had to turn the volume down. Listening to the saxophone riff, you can imagine that this song will have some very cool choreography and will be interesting to see how it plays out on the big screen.

'Lakshmi Narayan' is another track that I am not sure belongs on the album but could be much more interesting on screen. Sung by Ninad Kamat, who has an incredibly deep voice, he is backed up by some slick beats. His vocals are interspersed with dialogues from the film and one is not quite sure what to make of it. Like ‘One Two Three Amalgamation', give it a listen once, and then perhaps again after you've seen the film. It is an interesting experiment that maybe should have been left off the album.

The best song on the album is 'Gup Chup'. It is another intricate musical track sung brilliantly by Mahalakshmi Iyer and Raghav Sachar. From the first few notes of the song you can tell it is going to be a top notch listening experience. Mahalakshmi Iyer’s talent leaps out at you as she manages to sing fast but make it sound like a ballad to match the slow beat. It is brilliant. The harmony is wonderful and the Na Jaa stanza is wonderfully wistful. Listening to the song on my iPod, the music just surrounds you (so kudos to the sound engineer as well!). There is a haunting horn section that shows off the composer’s excellence in his craft. This one is a bilkul addition to your Bollymix playlist. The remix is just a faster version but the original is too good: I would stay with it!

One Two Three One Two Three One Two Three and One Two Three

After listening to this album, anytime you read the title of the film the refrain will begin to go through your head and you may even begin to sing it out loud. Raghav Sachar is a composer to look out for, for he has a talent for mixing many different counter rhythms within a song, and they work. All the tracks on the album are full of superior music with the title song, the ballad version, and of course Gup Chup, being the best. Be sure to listen, and in case you forgot, One Two Three One Two Three One Two Three and One Two Three!