Teen Patti

A situational soundtrack set in an out and out Western mood is what one expects from Teen Patti which has composer duo of Salim-Sulaiman coming together with lyricist Irfan Siddiqui. Though director Leena Yadav's last film Shabd had indeed boasted of a few good tracks by Vishal-Shekhar, there was more scope of coming up with commercially viable songs due to the romantic theme of the Sanjay Dutt-Aishwarya Rai-Zayed Khan starrer. Not that a plot driven film like Teen Patti can't be expected to have good music but then the job is only a little more difficult, unless a film has a film maker like Sanjay Gupta at the helm of affairs. This is the reason why one keeps expectations in check before playing on Teen Patti.

MUSIC
'Neeyat' is the song of seduction that marks the beginning of Teen Patti. Sung by Sunidhi Chauhan, the song surprisingly reminds of lesser heard 'Khatti Meethi' (Acid Factory) which was rendered by Manasi Scott. The similarity lies in the theme and placement though the setting is a little darker in 'Neeyat'. The song has a lazy feel to it and comes close to being the kind of number that plays in the opening sequence of Bond films. Erotic in the way it has been picturised, the song should work well along with the film's narrative and can be expected to pick up steam (no pun intended) if and when Teen Patti turns out to be successful at the box office. Later in the album, 'Neeyat' also sees a 'remix version' for itself where one can hear tid-bits of Amitabh Bachchan's voice. Also, there are added English lyrics by Ajinkya Iyer with Abhijit Vaghani pitching in as well.
Naresh Kamat goes on to sing a solo in the form of 'Intezar' (Arriving later in the 'remix version') which picks on momentum after an entire minute has gone by. As expected, the song has a Western setting to it and has carries an Indi-pop mood. There are quite a few variations that this situational track takes and while it may work at bits and pieces in the background, it can't be expected to be the kind of song that makes one form beelines in front of the music stands.

The songs of Teen Patti may not necessarily be carrying a chartbuster appeal to them but one thing that is noticeable is the consistent feel that the entire album carrying. There is no real jerk per se that one encounters throughout the album's duration and this is the reason why title song 'Teen Patti' doesn't cause any intrusion on its arrival. Salim Merchant reserves one of the better tracks for himself and renders 'Teen Patti' with the kind of attitude that does justice to a title song. The song catches your attention most at the point where 'Ikka, Baasdhah, Rani' is heard. If used judiciously right through the narrative of the film and attached at the crucial junctures, 'Teen Patti' (appearing later in 'remix version') should manage to hold one's attention.

There is a muffled sound of Amitabh Bachchan followed by a dialogue that begins 'Life Is A Game' which appears first in an English followed by a Hindi version. Yet again, the song has a Bond feel to it with Sonia Saigal coming behind the mike for the English version and later joined by Anushka Manchanda for the Hindi version. A theme track which is written by Asif Ali Baig, it may well be the one that plays in the opening credit rolls. The sound of violin which is interspersed in this four minutes piece is haunting and lends a feel of mystery to the mood of Teen Patti.

The album concludes with a two minutes piece by George Gershwin, 'Summertime'. Sung by Joe Alvares, this is the kind of number which one primarily finds in Hollywood affairs rather than mainstream Hindi films; 'Summertime' only carries forward the situational theme of the album.

OVERALL
As expected, Teen Patti remains Western in it's outlook and has its eyes on taking the narrative forward more than being the kind that is lapped up by the masses. With its intent and direction in place, Teen Patti doesn't throw any surprises and sticks to the requirement of the script instead of bowing down to commercial requirements of being a popular soundtrack that registers huge sales.

By Joginder Tuteja
bollywoodhungama.com

Toh Baat Pakki

EXPECTATIONS
Over last few years, Tips Music Films and Pritam have been delivering chartbuster soundtracks. Ajab Prem Ki Ghazab Kahani was one of the top selling albums of last year while last year, both Race as well as Kismat Konnection did very good business. Naturally, one expects at least a decent outing in Toh Baat Pakki. However, there is one factor that is required to be kept in mind before one starts expecting too much. The fact is that music played an integral part in the aforementioned three films with a strong element of love tying the film's screenplay together. However, Toh Baak Pakki is more of a situational comedy. Also, it doesn't have a big budgeted extravagant feel to it, something that oozed out of all other outings. This is the reason why one has expectations in check before checking out what does Pritam have to offer this time around.

MUSIC
Pritam Chakraborty turns into Pritam Singh once again for Toh Baat Pakki which has a Punjabi beginning to it with Mika Singh coming behind the mike for 'Jis Din'. A catchy number that instantly gets you jiving, it has everything that you have heard before from Pritam and is still reasonably impressive. This Mayur Puri written number has a good mix of Punjabi and Western arrangements that make it the kind of track that can find an audience in the bigger centres as well as interiors. Expect the track (which is repeated in a 'remix version', just like every other number in the album) to find it's way in the marriage processions to follow if and when the film turns out to be a success
The sound of guitar that marks the beginning of 'Phir Se' reminds one of many romantic tracks that Pritam has created for Imtiaz Ali in the past. However, the moment Sonu Nigam starts rendering the track; you get into the world of Mohd. Rafi. Sayeed Qadri plays it simple once again though surprisingly the tune is more Sajid-Wajid/Nikhil-Vinay than Pritam. One would have expected the song to be really melodious considering the fact that it is the only quintessential romantic number in the album. However, 'Phir Se', in spite of seeing a 'remix version' version followed by another one which has Rahat Fateh Ali Khan at the helm of affairs, doesn't quite break the ceiling and remains average at best.

Javed Ali and Shilpa Rao get together for another 'let's bring on the Punjab flavour' song which has so much of 'Yaara Dhol Bajake' (Dhol) to it that one wonders whether Pritam made both the songs at the same place few years back? The part rendered by Javed Ali especially reminds one of the all-boys show that one had seen in Dhol.... A Shabbir Ahmed written track, it has some annoying interludes which only end up making 'Dil Le Jaa' falling into the category of 'heard today-remembered tomorrow-forgotten after a week' track.

Finally comes a rock track 'Karle Mujhse Pyaar' which allows Pritam a free hand in getting into Life In A...Metro mode. It is nice to see this genre finding a place in Toh Baat Pakki because one could hardly see this coming in a movie belonging to a comic genre. Pritam and his regulars like Rana Mazumder and Soham Chakrabarthy get jamming for Sayeed Qadri's 'Karle Mujhse Pyaar' where one can clearly sense them enjoying their outing. One just hopes that the song (which finds a 'remix' for itself) music video running for it pronto so that it gets maximum mileage and find the kind of audience that it truly deserves.

Toh Baat Pakki reaches a relatively quieter end with a 75 seconds 'Aarti' (Om Jai Jagadish) which is sung well by Antara Mitra.

OVERALL
Toh Baat Pakki is a mixed bag with none of the songs being an assault on the ears but not all turning out to be so likeable that they would make this as the hot selling album of the season. 'Karle Mujhse Pyaar' brings in an urban contemporary feel but needs some solid promotion over next few weeks to make an impression. On the other hand 'Jis Din' is good though it does invoke a sense of deja vu. Don't look for anything extraordinary out of Toh Baat Pakki and you won't mind giving this score by Pritam a listening before he returns with something bigger and better in months to come.

By Joginder Tuteja
www.bollywoodhungama.com

Striker

Hardly any. These are what one's expectations are from the music of Striker. If the film's title is hardly encouraging enough to check out what the music has to offer (Striker is about a carom player living in slums and surrounded by criminals), the cast, people behind the film as well as an abrupt release announcement preceded by an audio release are hardly enticing enough. Moreover, even with six composers (Shailendra Barve, Amit Trivedi, Yuvan Shankar Raja, Swanand Kirkire, Vishal Bhardwaj, Blaaze) contributing a song or two, you do feel apprehensive if Striker would indeed be an ensemble affair worth making a beeline for.

MUSIC

Reluctantly one plays on Striker and Sonu Nigam brings on the longest track in the album, 'Cham Cham', which lasts more than seven minutes. Composed by Shailendra Barve (who was the guest composer in Taare Zameen Par with a beautifully composed 'Mera Jahan' to his credit), 'Cham Cham' written by Jeetendra Joshi is yet another soothing piece with a 'qawalli' base to it. However, instead of following a tried and tested genre, 'Cham Cham' makes a good effort (and also succeeds) in being slower in pace and also maintaining a good blend of rhythm and melody that starts settling in after one has given it a patient hearing 3-4 times.
Amit Trivedi (of Dev D fame) comes up with 'Bombay Bombay' which appears to be a jam session that has been impromptu converted into a full fledged number for a film. Prashant Ingole's lyrics don't quite bring in much novelty in the proceedings, especially the part where Siddharth (the lead actor in the film and also the singer here) starts 'talking' about the essence of 'Bombay'. Also, the number eventually appears to be a wannabe track with not much grip in it to make you play it on in a repeat mode. At best a track that may appear briefly in the background.
'Haq Se' is composed by Yuvan Shankar Raja who is a known name down south with close to 75 films to his credit. His number here does take it's own time to settle in and though it is not really the kind that would result in the sales soaring for Striker, it has a hook to it which catches your attention. One wonders though if he could have roped in some other singer than himself since he does sound awkward, especially in the 'mukhda' person. This Nitin Raikwar written track is yet another theme track and is about motivating an individual to for his dreams.

Swanand Kirkire gets into a 'sufi' mode and plays the triple role of a composer, lyricist and singer for 'Maula'. A well paced number with an interesting beginning via means of various instruments coming together that remind one of R.D. Burman's sense of orchestra, 'Maula' has a soothing feel to it and after 'Cham Cham' turns out to be another track that turns out to be a decent hear.

The best of the lot though comes in the form of 'Yun Hua' which has Vishal Bhardwaj and Gulzar pairing up once again. 30 seconds into the song and you know that it has a distinct stamp of this musical 'jodis' that is fast earning a loyal audience for itself. A soft song which remains Indian in appeal throughout with a touch of Western classical shade to it, 'Yun Hua' is sung beautifully by Vishal who makes one sit up and wonder all over again that why doesn't he get behind the mike more often? After singing the title track of Kaminey, he impresses once again.

After 'Cham Cham', composer-lyricist team of Shailendra Barve and Jeetendra Joshi return with 'Pia Saanvara' which is the first (and the only) song to arrive with a female voice. A soft song which has an uncanny resemblance to the title track of Chalte Chalte in it's beginning portion, 'Pia Saanvara' comes on it's own the moment Sunidhi Chauhan takes over. A slow moving number with a semi-classical base to it, 'Pia Saanvara' is about a woman pining for her love to come close to her all over again.

The album ends on a euphoric note with Blaaze's 'Aim Lagaa' which has a Remo Fernandes feel to it and picks up the steam from the word 'Go'. Rest assured, this number should find an appearance all through the background score of Striker, especially at the crucial junctures. A rap track that doesn't require much attention from a viewer and listener from the lyrics perspective, it has good enough beats that go well with the theme track that Striker would have been expecting. A good ending to the album.

OVERALL

As stated earlier, it's zero buzz around the film coupled with largely unknown names and coming together of an unconventional score that would go against Striker from the sales perspective. Nothing wrong with being unconventional but then if an album has to make an impression commercially, it requires an adequate backing as well; something which is completely missing in case of Striker.

OUR PICK(S)

'Aim Lagaa', 'Yun Hua', 'Cham Cham' [Play Songs]

By Joginder Tuteja
www.bollywoodhungama.com
Posted by Bollywood

Rann

From the man who gave us a quintessential musical in the form of Rangeela a decade and a half back, it is surprising to see that none of his recent releases (with an exception of Darling) have attempted to tell a musical tale in a conventional mainstream setup. This is why theme/situational track is all that one expects from the music of Rann which comes from the house of Ram Gopal Varma. An array of composers - Dharmaraj Bhatt, Sandeep Patil, Jayesh Gandhi, Bapi-Tutul, Sanjeev Kohli, Imran-Vikram and Amar Mohile come together to get the soundtrack of Rann in place.


MUSIC

It is interesting to hear the way 'Sikkon Ki Bhook' begins with anchors reading out news headlines. Soon after, the song begins in its conventional sense with the sound of 'Rann Hai' being heard prominently in the background. Vardan Singh, Aditi Paul and Shadab Fardi come together for this Vayu written song which also has the theme of 'Vande Mataram' making an appearance after a while. Though the song may well have been titled 'Vande Mataram', it appears that 'Sikkon Ki Bhook' is the chosen one for this Dharmaraj Bhatt and Sandeep Patil composed track to avoid any controversy.

'Remote Ko Baahar Phek' begins on exactly the same manner as 'Sikkon Ki Bhook' with screaming headlines catching your attention. It's time for a rhythmic outing soon after with Jayesh Gandhi composing and singing the track in a manner similar to what one had heard in 'Jagdi Jagdi Jaa' from Ramu's own Shiva. It takes time to warm up to this spoofy track which is laced with wit, courtesy it's lyrics by Sarim Momin that make a scathing remark on the way news is projected and at times created. Abhishek Nailwal as well as Rajpal Yadav join Jayesh in this song which may make a brief appearance in the narrative of Rann.

Bapi-Tutul's 'Kaanch Ke Jaise' is a better track to make an appearance as it takes a pensive route and narrates the tale of shattered principles of the central protagonist played by Amitabh Bachchan. Sukhwinder Singh is quite impressive in the way he pitches his voice for this yet another track written by Sarim Momin. Moving at a slow pace, this track should help the viewer glued on to screen with visuals aiding in bringing alive a crucial turn in the film's narrative.

Sanjeev Kohli composes and sings another title song which has it's thump reserved for the key words - 'Rann Hai'. Yet again, it's Sarim Momin's lyrics that make a good impression in bringing to life the pathos of media being akin to a battlefield. As predicted earlier, Rann is made of mostly background tracks that should appear in bits and pieces and a song like 'Rann Hai' pretty much validates that.

It's the sound of Doordarshan anthem which marks a beginning to 'Gali Gali Mein' (which also appears in a 'remix version' designed for a club outing) that soon changes dimension and turns into a Western outing. Written by Sandip Singh, one gets a hint of cuss words that are beeped out in this yet another scathing comment about the current affairs of our country, corruption, politics and media ethics. Sung by Jojo and Earl D'souza who go full throated for this Imran-Vikram created composition, this one should bring on the smiles in theatres, courtesy its colourful lyrics.
Bapi-Tutul have another song to their credit in the form of 'Besharam' which, just like most of the album, has an anthem feel to it and is sung by Abhishek Nailwal. This Prashant Pandey written track challenges the presence of ugly elements in the society and how they have reached the point of no turn with no hopes of any redemption whatsoever. Surprisingly, there is an 'instrumental' version of the song that follows next.

Lastly comes Kunal Ganjawala sung 'Mera Bharat Mahan' which carries on the elements as prevalent in all the songs preceding it and yet another gets into a challenging mode. Composed by Amar Mohile and written by Sarim Momin, this could well be one of the more commercially viable songs in the album and could go some distance if aided by a music video.

OVERALL

As expected, Ram Gopal Varma doesn't create a music album which would lead to beelines in front of music stores. However, he gets the kind of soundtrack that should solve its purpose of facilitating the story telling of Rann.

OUR PICK(S)

Mera Bharat Mahan, Gali Gali Mein

By Joginder Tuteja
www.bollywoodhungama.com

Karthik Calling Karthik

I always look forward to checking out Shankar-Ehsaan-Loy’s work…the trio is versatile, has really explored various genres of music throughout the years and has contributed some very memorable compositions to the Hindi music industry. Sure, Short Kut and Thodda Pyaar Thodda Magic weren’t OSTs to boast of, but who can forget gems such as Mission Kashmir, Dil Chahta Hai, Phir Milenge, Bunty Aur Babli, Jhoom Barabar Jhoom, Taare Zameen Par, Rock On !! and London Dreams? Anyway, so I got around to listening to Karthik Calling Karthik’s compositions, which I was looking forward to since the end result of the SEL-Farhan Akthar combination is usually magical.

"Hey Ya!" (4.17) is a catchy song sung by Clinton Cerejo, Shankar Mahadevan and Loy Mendonsa, that blends rock music with hip-hop beats. It’s a well-made composition. Perfect to sing along to and dance to with friends…nice steady beats…Javed Akhtar’s lyrics are rather average, though:

I see you walking through the door, Why won’t you look across the floor? I got to tell you how I feel. Oh baby you’re the only one for me. I want to get closer to you. I need to be closer to you.

"Hey Ya! Remix" (5.17) comes later in the soundtrack courtesy of Digital Boyz. Not a bad remix.

"Uff Teri Adaa" (5.06) has that familiar SEL feel…brings back memories of "Mitwa" and "It’s The Time To Disco"…Nonetheless, it’s still pleasant to listen to…easy on the ears, light listening. I enjoyed the classical style rendition of Shankar Mahadevan (I wish other MDs used his voice more often!). Alyssa Mendonsa also has a nice, deep voice. Sadly, Javed Akhtar really does a terrible job with the lyrics:

Lehraaki, balkhaake, tu duniyaa bhoolaake naach. Dhun koi gungunaa le, gaa le, tu gaa ke naach…Uff teri adaa, I like the way you move. Uff teraa badan, l like to see you groove. Uff teri nazar, it says I want to dance with you.

"Uff Teri Adaa Remix" (4.06) by Udyan Sagar is a high energy pumping remix!

"Jaane Ye Kya Hua" (4.04 ) is a soft, slow-paced composition, and K.K. is the perfect choice to sing this song. The use of the harmonica also gels well with the laid back mood of the song. I just wish the lyrics actually bothered to convey something memorable…Jaane yeh kyaa huaa? Hum dono kaa yun milnaa, Aise paas aanaa, Jaane yeh kyaa huaa. Ab har pal anjaanaa hai, Dekho honaa hai aur kyaa? Jaane kyun lagtaa hai, Dheere se, haule se, Geet koi dil hai gaa rahaa hai…

"Kaisi Hai Ye Udaasi" (6.07) is a beautiful, tehraav filled composition. Although, I do feel the use of the flute for “udaasi” waale songs is a bit clichéd. Kailash Kher’s voice is always a treat to listen to, but what really blew me away was Sukanya Purayastha’s rendition (at 3.59 into the song) and even the lines she got to sing are amazing:

Tu hi bataa eh dil mere, Maine toh hameshaa teraa hi kahaa maanaa hai. Kyun hai mujhe yeh gham gehre? Mujhe umr bhar kyaa bas yehi sazaa paanaa hai? Sapne boye maine aur dard maine hai kaate. Gaaye geet maine aur paaye sannaate. Aarzoo naakaam hai, Sooni si har shaam hai…

"Karthik Calling Karthik" (3.11) brings together singers Shankar Mahadevan, Caralisa Monteiro, Malika Singh and Suraj Jaggan (from "Aal Izz Well" and Rock On's "Zehreelay" fame) has some cool techno sounds…Nothing memorable, though.

Midival Punditz produce the rock inspired remix version titled "Karthik Calling Karthik Remix."

"Karthik 2.0" (4.06) is another rock flavored theme piece composed, arranged and performed by Midival Punditz and Karsh Kale. Theek-thaak hai…Nothing khaas.

I’m really shocked with the average lyrics by Javed Akhtar- there’s no doubt that the man is talented and surely knows how to write beautifully when he wants to but this time around his lyrics were rather clichéd and stale. If you’re going to offer lyrics in your composition then you might as well bother to actually write something memorable…no, that doesn’t mean you have to throw in Urdu words every other line…but for God’s sake kuch toh poetry daalo!

Overall, Karthik Calling Karthik is a pleasant OST with some melodious, easy-on-the-ears compositions including "Hey Ya!", "Uff Teri Ada" and "Kaisi Hai Yeh Udaasi". Nothing exceptional. More of an enjoy-it-while-it's-recent OST.
www.planetbollywood.com/

My Name Is Khan

There is Shah Rukh Khan and then there is My Name Is Khan.
The biggest names in motion pictures are associated with the latest venture of Karan Johar; Dharma Productions, Fox Star Studios, Fox Searchlight Pictures, Red Chillies Entertainment and Sony Music. Karan Johar attempts a “difficult” subject which delicately deals with Islam, the Asperger syndrome and touches on topics like terrorism, relationships and religion. As such the main protagonists, Shah Rukh Khan and Kajol, will go through several circumstances in their lives – both emotionally touching and painful.

Following the musical success of Kal Ho Na Ho and Kabhi Alvida Naa Kehna (KANK), the thirty-seven years old Karan Johar is among the handful of directors in Bollywood, who remains loyal to one music director. Shankar-Eshaan-Loy is repeated – with record breaking music sales for the above mentioned movies, it would pose a risk to experiment with another team or music composer. Dialogue writer Niranjan Iyengar’s lyrics are used for the mega project.

Let’s clear a first misconception: the soundtrack of My Name Is Khan is based on situational events of the script and will be extensively appreciated, when watched on screen.

Soul searching is a turbulent exercise. Sajda invites listeners to a world where one’s identity is lost and the soul is roaming around, essaying to find its role, responsibility and relationship. Surging orchestrations with synthesizers open up the quasi meditative piece, which is further beautified by the truly matured sufi voice of Rahat Fateh Ali Khan. The creative force, Shankar Mahadevan, joins in to complement this atmospheric sufi extravaganza – which is pure, poignant and artistic. Richa Sharma’s prelude is deep enough to set the right mood for the rest of the soundtrack; a mood which neither makes one excited nor sad, it’s very much about the inner side of one self.

If there is enough meditative and spiritual power in ‘Sajda’, then the orchestration follows a perfect route. Employment of instruments like tabla and dholak supports the piece perfectly in the background, allowing the singers to express their emotions to the fullest. A sense of deep awakening exists in the interludes with reflective musical pieces bound to evoke emotions and more thoughts. The trio has ensured that the piece will be echoing in listeners’ minds for a long time. Interestingly, the chorus transforms the piece into a surprisingly high-class track, without being too harsh on the ears. ‘Sajda’ is a spiritual journey which involves connections with the heart, mind and one’s own spirit.

Inner peace and the deeper meaning of life find a new dimension in Noor E Khuda. A sense of vital association with the spirit and the mind is translated through the exquisite voices of Adnan Sami, Shankar Mahadevan and the eloquent Shreya Ghoshal. The healing for the souls aching for the definition of life is musically expressed powerfully and emotionally through the acoustic guitars, which subtly open the grandiose piece. The concept of peace, according to My Name Is Khan, is exploited and redefined – this time, by the way Adnan Sami handles ‘Noor E Khuda’ in the lower octave with amazing versatility, displaying extraordinary control over the pronunciation of the lyrics by Niranjan Iyengar.

Highlights include the various use of the guitar at specific spots in the track, which will be better translated on screen. In this particular case, the acoustic guitars represent the good and bright days whereas other guitar sounds represent the opposite. Insertion of the female chorus captures the melancholy side of the protagonists and projects the grandeur of the movie. The twist in the piece is presented when Adnan Sami tackles the first “antara” and the music which follows after is pure bliss. Listeners are thrown into a world of rustic feelings and mysteriousness. Shreya Ghoshal brings her semi-classical touch in the middle of the track and immediately elevates the repeat value. Her entry is flawless and spreads an angelic feeling from there onwards.

The hypnotic blend of spirituality and meditation in the piece transports an important message and appears to be pivotal in the script. The inclusion of melody is questionable and this brings the question if the song is perfect. Melody is put to the backseat, and it would have been magic if the composers could have amalgamated melody as well. The orchestration fits perfectly the theme of the movie, with the noticeable synthesizers’ sound keeping the music concise and clean. ‘Noor E Khuda’ is a highly pondering piece, which will be better consumed by people having a distinct taste in music, as well, as those with a strong spiritual inclination.

Gradually, the soundtrack changes direction and opts for lighter material.

After doses of meditative and highly spiritual music with an everlasting emphasis on the soul, spirit and mind, the heart is now given importance with the rhythmic Tere Naina. Shafqat Amanat Ali is entrusted with two roles – firstly, to relax the audience and secondly, to pump up the tempo as the track shifts genre in the middle. Shankar-Ehsaan-Loy gets into the musical comfort zone with familiar notes, which is often re-used for big budget movies like Salaam-E-Ishq and KANK, except that 'Tere Naina' does not cross the boundaries of being too Bollywodish. It still keeps the overall mood of the soundtrack, due to the controlled voice modulation of the talented singer. Supported by a chorus from the beginning, ‘Tera Naina’ injects the romantic flavor associated with Shah Rukh Khan before turning into a moderate qawalli for a moment and then reverts back to the romantic feel. No doubt, the piece has a Karan Johar influence from the prelude and hence, is instantly likeable. ‘Tere Naina’ is entertaining, lively and a relief too.

The soundtrack would have been incomplete without Allah Hi Rahem as it deals with Islam. Rashid Khan completely takes control over the song, which has a strong sufi flavor. Furthermore, the harmonium, the male chorus and the heavy strings music in the background, put the piece into a different category. ‘Allah Hi Rahem’ is the epitome of My Name Is Khan.

The Khan Theme is performed by Bombay Film Orchestra and is very similar to a Hollywood style theme. With the electronic piano, violins and strings dominating the instruments’ scene, the piece explores the various themes of the movie. The orchestration is vivid throughout and one can instantly perceive what the movie is about. However, the short duration of the piece does not qualify it to be presented in such a classy soundtrack. The ‘Khan Theme’ has the standard ethereal electronic vibes.

Rapidly emerging singer Suraj Jagan and Shankar Mahadevan embark into a fun journey with the second very commercial song of the soundtrack. Aptly titled Rang De, Shankar Mahadevan brings the rock influence into the piece through his enthusiastic singing and composition. The orchestration is very much similar to Rock On!! and London Dreams. As usual, Suraj Jagan is superlative in his performance, defining the new rock voice in Bollywood and is at the forefront of this emerging trend. ‘Rang De’ is a welcoming change and its high energy is sure to bring a smile on everyone’s face.

The soundtrack also comprises of quality bonus songs from previous Karan Johar’s movies such as Kuch Kuch Hota Hain's title song, 'Suraj Hua Maddham' (Kabhi Khushi Kabhie Gham), Kal Ho Na Ho’s title song and Kabhi Alvida Naa Kehna’s title song.

Considering the figure of Karan Johar and his sense of music, a concise analysis is provided to complement the review.

The Analysis

The new decade is seeing the release of one of the biggest and most ambitious movies ever. Composers Shankar, Ehsaan and Loy are at the helm of affairs and there is not much room for mistakes. It can safely be assumed that the score for My Name Is Khan strictly sticks to the various themes of the movie. Considering that most of these themes are serious, important and quite controversial as well, the music has not navigated away from the core essence of the themes. The family entertainer Karan Johar, who re-discovered the alternate facet of the composers through Kal Ho Na Ho and KANK, has again thrown another challenge at the composers.

Shankar-Ehsaan-Loy does not attempt what has already been done in Bollywood, but mainly experiments with the new genre, which is complicated and risky too. The music neither needs to be too commercial nor too serious – it just requires the right balance to accommodate the feel into the story; a story with a happy ending, but which is more prone to bring tears, striking emotions and stark reality in the story telling at first. My Name Is Khan achieves its aim for most of the part and consequently will disappoint those looking for an in and out commercial score.

The composers have gone back to the ABC of music making, without relying on current gimmicks like substitute voices, remixes, over-the-top programming and most importantly have worked hard on good instrumentation complemented with accurate orchestration, through programming. Classical Indian instruments like the tabla, dholak and harmonium have made surface, which have been skillfully mixed with the new age synthesizers' sounds to re-create the sufi feel.

Despite the existing need to stay on top of the technological change in Bollywood and also in the overseas market by Hollywood standards, My Name Is Khan does not exactly score in the melody department. This begs the question if melody and spirituality do make a good match in music making? The answer is debatable in general, but in Bollywood, the answer is a definite yes. This is exactly where composers like Anu Malik and Jatin-Lalit have never failed. Write them off, but their melodies will stand the test of time.

Shankar-Eshaan-Loy has unconsciously and probably deliberately not given melody the importance it deserves. For example, 'Tera Naina' by Shafqat Amanat Ali, can be considered as a missed opportunity where melody would have made a world of difference to the soundtrack. 'Tera Naina' (Chandni Chowk To China), composed by Shankar-Eshaan-Loy and sung by Shankar Mahadevan and Shreya Ghoshal had more melody to offer.

Looking back at Bollywood’s repertoire of similar movie themes and the contribution of illustrious music directors, one can observe that melody is somehow not a requirement. For example, A.R Rahman’s 'Piya Haji Ali' (Fiza) by A.R Rahman and Shaukat Ali was appreciated for other reasons at its time of release, as it matched the theme of Fiza. Similarly, Shoaib Mansoor’s 'Allah Hoo' (Khuda Kay Liye) is a futuristic piece praising the Almighty and has new age music. The point is Shankar-Eshaan-Loy has not tried a new age or world music soundtrack or what Rahman has done, but something offbeat, with a little more experimentation and possibly less risks with tracks like 'Tere Naina' and 'Rang De'.

Over the years, Karan Johar has developed his own brand of music and this is sometimes dependent on where the movie is shot and its theme. Locations are important for the director and for this particular movie, each sequence of the non-commercial songs, give the audience the magnum opus behind My Name Is Khan. Listeners get the feeling that the movie is shot abroad on a large scale – this is classy cinema one is expecting. For example, listeners will not be treated with a 'Bole Churiyan' or Kabhi Khushi Kabhie Gham’s title song, but songs like the Kabhi Alvida Naa Kehna’s title song and 'Noor E Khuda' do give us an indication what one can expect from such a Karan Johar’s project. And the composers have ensured that the sounds match the perception.

Dharma Productions also recently has a strong penchant for sufi songs such as 'Iktara' (Wake Up Sid) and also 'Rasiya' (Kurbaan) – which both had high production values and singing. However, the soundtrack does not try to be catchy, too melodious or instantly likeable, and this could have been easily achieved, considering the track record of chartbusters of Shankar-Eshaan-Loy and Karan Johar have delivered. Instead, it amazingly keeps the momentum within a particular genre, although it did experiment with the rock genre in 'Rang De' for a change.

One interesting observation is that Sonu Nigam is missing from the soundtrack, as well, as Alka Yagnik (who has been the voice of Kajol for so many years). Sonu Nigam’s Kal Ho Na Ho's title song is one of the most memorable songs of the last decade and the title song of KANK is also a well-composed song (Sonu Nigam and Alka Yagnik). Contemporary singers have been replaced in the soundtrack, to give it another appeal. This is one of the reasons why the soundtrack can be referred to be in a league of its own.

The album’s shining moment is definitely 'Noor E Khuda' – the passion in the song is clearly visible by all those involved. Overall, lyrics by Niranjan Iyengar are a class above and are very complementing.

The soundtrack of My Name Is Khan can be intriguing, but this is what the movie is about after all. It’s very much about transcending the boundaries set by Bollywood by venturing into an emotional state through Sufism and spirituality. My Name Is Khan is equipped with a soundtrack which will definitely moves the story forward and each layers of programming is bound to capture each one’s attention in the theatre. Listeners are hit with the stunning fact that this is one great record – a score synonymous with class. And with additional songs from the director’s past movies, My Name Is Khan is a recommended soundtrack
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Ishqiya

What better way to start the new year for music fans than to be handed a soundtrack from the masterful composer Vishal Bharadwaj? His music for the superb Kaminey was clearly one of the High Notes of 2009 and it’s as if he has heard my personal plea for fresh music to kick start the new decade by gifting us the soundtrack for his latest movie, Ishqiya. Whilst he doesn’t direct the movie, he plays a number of key roles including producing, dialogues, screenplay and of course, composing the music! No prizes for guessing the lyricist however since Vishal sticks to his favourite (Gulzar) and who can blame him? There is no substitute for class.

Before we get into the music itself, it’s important to point out expectations because one thing you realise very quickly with Vishal jee is that he doesn’t do “run of the mill” stuff regardless of whether it is successful or not. Be that as a film-maker or music director. So you can expect something out of the ordinary, something unique, experimental, unpredictable and well….different. The proof of the pudding comes in the form of his recent projects all of which were 'hatke' in nature; Kaminey, Omkara, The Blue Umbrella, No Smoking, Maqbool etc. So, coming back to Ishqiya, is it another trademark soundtrack from the master?

Track 1 is the marvellous “Dil Tho Bachcha Hai” that is being aired on promos. It is a fresh take on the romantic genre although it sounds very much like a song from the 1960s! The beauty of this composition is how uncomplicated it is. Vishal enacts a simple melody from an acoustic guitar and threads it through a soft but engaging background tune, supported by a delightful accordion, that is just as uplifting as it is charming. Notice the leisurely pace throughout and the occasional lulls. That is deliberate and portrays a nostalgic atmosphere and mood. His choice of singer is a masterstroke because Rahat Fateh Ali Khan’s normally sufi styled high pitched vocals would not be the obvious choice for the soft melody here. However, Vishal keeps the singer's voice almost to a whisper level and by utilising the rustic characteristics (of his voice) present, he is able to give the song another dimension altogether. Gulzar’s lyrics are poetic and meaningful as far as the script of the movie is concerned where two men have fallen for a widower…but for different reasons! This is a unique but thoroughly enjoyable composition and a great way to start the album.

"Dil Tho Bachcha Hai Remix” can be found at Track 5 and is a complete blast! Clinton Cerejo does a brilliant job mixing the original and consequently making it appeal more to the wider audience. He achieves this by introducing some delicious beats and lends his own voice to some interesting English lyrics (by Ajinkya Iyer). Are you listening DJs? This is how to remix a song! Highly recommended.

If you found Track 1 a little too docile then move quickly onto Track 2: “Ibn-E-Batuta” because that will surely awaken your senses, the Bharadwaj-style! The musical arrangements whilst catchy and peppy have this lazy almost drunken feel to them thanks to a chilled out dhol melody and some hilarious but easy-go singing by the fantastic jugalbandi of Sukhwinder Singh and Mika. They bring so much life into the song with their gesticulating vocals uttering words such as "Brrrrrrr" and "Phurrrr". Lyrics are absolutely amazing by Gulzar sahib, they are fun if you are chilling out and don’t pay attention, but listen closely and they are full of wit and dark humour! This is such a unique and colorful song with mind-blowing charm equivalent to that of say “Dhan Te Nan” (Kaminey) or "Beedhi" (Omkara) and whilst many will think the songs are poles apart, the reality is they ooze the same qualities we come to associate with Bharadwaj; a catchy but unconventional melody on the exterior, a meaningful track when you dig deeper, fantastic singing, and most importantly full of freshness and charm. Now imagine how it will sound onscreen? Brilliant!

The song has two remixes. The first one appears at Track 6: ”Ibn-E-Batuta (Nucleya Remix)” and is a bit too heavy on the beats for my liking but give it a try. The other remix by Jackie V is plain silly but if you want to try it you will find it at Track 7: ”Ibn-E-Batuta (Remix)”. My suggestion? Stick to the superb original.

Track 3: “Ab Mujhe Koi” is similar in execution to the opening track, very soft, experimental and charming. This time however the pace is even slower and the guitar strumming is joined by a beautiful piano and percussive drums to give an almost jazz like feel to the proceedings. The uniqueness present here is not in the music itself but the unusual vocals that support it. You see the singer in question is the acclaimed Rekha Bharadwaj (who is also wife of Vishal Bharadwaj) and whilst her vocals suit songs like “Namak” (Omkara), they bring a perverse charm to light romantic numbers such as this one. Whilst undeniably a good song in its own right, this one is strictly for the Vishal / Rekha fans out there but probably a little too hardcore for the masses!

Track 4: “Badi Deheere Jali”, is the final original track and another fine proposition for those that can peel away at its multi-layered beauty and bewitching qualities. The truth is if Rekha’s voice does not appeal to you then you will give up on this long before it has grown on you and that would be a shame! Vishal jee is in his haunting mood here and few can rival him in this form. The song starts off slowly with the sound of a sarangi but soon explodes into life with some progressive rock beats that are just so enchanting in the way they are meshed with the otherwise classical sounding arrangements. But this is not a song to be blasting out moreover it’s there to be appreciated and its layers peeled away slowly…if you do that you will notice the use of authentic Indian instruments in the interludes including the sarangi, tabla, another string instrument similar to a sarode and god knows how many more…together they bring a mysterious charm to the overall atmosphere of the composition. This is the kind of track that is made for the vocals of Rekha Bharadwaj and she is just amazing in her rendition here. Gulzar’s poetry is just as mysterious as the music! Overall, this track requires patience to be fully appreciated. Not for everyone admittedly but a must for Vishal / Rekha fans.

Overall, Ishqiya has the hallmarks of Vishal’s multi-faceted take on music. It is a mixture of the unique, dark and subtle music we hear in unappreciated movies such as The Blue Umbrella as well as the catchy, mass-appealing music that we all loved in Kaminey and Omkara…interestingly whilst the masses enjoyed these soundtracks, the music connoisseurs got even more out of it once they got beneath the delicious exterior. That’s the beauty of Vishal’s music, it’s significantly deeper than you think. If you stick to it and let it grow on you, chances are you will fall in love with its finer intricacies, nuances and characteristics. If you don't then you miss out, simple.

When you have one genius at work, chances are you are going to do well but when you bring two of them together (Vishal and Gulzar) to work hand in hand, the music speaks volumes and the music of Ishqiya does it in a big way. Sadly the audience will be limited as there are only four original tracks and two of these (the Rekha Bharadwaj songs) are pretty hardcore. However, music of this quality only adds to the suspense factor as far as the movie is concerned and I for one am now intrigued to see it on the big screen. This is just what the doctor ordered and a great new year’s present for us all to savour!
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