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
www.planetbollywood.com/

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!
www.planetbollywood.com/

Veer

The soundtrack of Veer doesn’t need my review. Hell, it doesn’t need anyone’s review. Why, you question. The answer is simple – there are so many Salman Khan fans out there that even if the music was disappointing, it would be hailed as good by many of the clan, that’s fan power for you!
But then again, given that Sajid Wajid’s reputation for providing solid music (save for Salman starring movies) has not been too great in the past, it’s apt that expectations have been curtailed somewhat. Having said that, the duo have improved this year with the music for Wanted and Main Aurr Mrs Khanna, unsurprisingly both of which starred Salman Khan. What’s more, for the music of Veer, they have another catalyst for success and for potential listeners to sit upright with curiosity. And that catalyst and inspiration is non other than the award winning lyricist Gulzar, whose recent hits include his poetry inYuvvraaj, Slumdog Millionaire’s "Jai Ho", and Kaminey. His collaboration with Sajid and Wajid for the music of Veer is his first and the end result is simply one of the duo’s most accomplished works to date…

The haunting pad to the opening track “Taali” sets the perfect mood for the rest of the song, and though some will point out that the tune has a distinct similarity to Mangal Pandey’s “Takey Takey”, strangely this one has its own distinct charm as well. Of course, it goes without saying that Sukhwinder Singh brings his own style and groove to this very Indian rooted song. Sound arrangements are fantastic from Sajid and Wajid. Sonu Nigam combines his vocals with Singh’s to make an eclectic vocal combination. They are supported by backing vocals of Wajid and Neuman Pinto. The sheer energy is supported by the mind-blowing beats that have a slight Middle-Eastern flavor in the middle of the song. The synthesizer samples hold a distinct earthy flavor to it that will give immense appeal to the listener. As for Gulzar’s lyrics, they are flawless. He truly is a master with earthy lyrics, they are poetry in motion and the best part about them here is that you can actually visualize the events through your own imagination (through his lyrics) that completes the package. A rocking start to the album!

The second version of the song called “Taali (Solo)” appears later on (Track 6) and as per the title is a solo by Sukhwinder Singh- whilst it is just as powerful as the original I guess the impact is greater with the original duet of Sukhwinder Singh and Sonu Nigam. Still a nice alternative.

If you thought Veer was all about power-packed songs, then Track 2 will completely change your mind. Rahat Fateh Ali Khan soothes you with a very romantic track called "Surili Akhiyon Wale". The beauty of this song is that one can literally feel it – so much so that you are at risk of being transported to another world! Suzanne has become a regular backing vocalist for uttering mundane English lyrics in many Sajid Wajid songs, but thanks to Gulzar she has some decent English lyrics here to work with. Starting with some soothing guitar strums and a cosmic sound effect in the background, the arrangements are later accompanied by the harmonica and Suzanne’s vocals. The beats are very Indian, and the percussions, bass and the pads give it a totally pleasant and romantic aura with a periodic feel to it! Gulzar’s lyrics yet again hit the bulls eye, and how. The subtlety of the lyrics make you smile, and (for those in love) think about your loved one or (for those not in love) want to fall in love with someone. Another fine song in the making this should deservedly rise to the top of the charts – this one will floor the lovers of romantic tracks.

Those who enjoyed the song will welcome “Surili Akhiyon Wale (Duet)” which adds Sunidhi Chauhan to the equation and she does what she does best – sing in that sweet, fluffy and perfectly restrained manner. While some listeners will be divided on which version is better, most will accept both the versions with open arms. Personally, I wonder which of the versions will be used on screen?

The whole romantic feeling continues with the next track called “Salaam Aaya”, which marks the return of a hugely talented (but underrated and underused) singer in the form of Roop kumar Rathod who teams up with Shreya Ghoshal to provide another superb duet. The sound arrangements are so sweet and romantic, the song actually feels like it is dipped in honey. Roop Kumar Rathod’s vocals are perfectly suited for such songs and he croons his lines amazingly well. Shreya Ghoshal must be the most reliable singer in Bollywood – she rarely disappoints and here she croons her coy lines with semi-classical perfection. Is it any wonder that she has so many admirers worldwide? The music, in keeping with the theme of the movie, is very much rooted to semi-classical Indian with the dhol, sitar and flute pivotal to the arrangements. The feeling after listening to the song will be something that dangles between exhilaration and love. Suzanne gives the perfect backing vocals yet again in the right places, and the music at that point compliments her croons with heightened verbs. Lyrics are good again. Wow by the end of it I’m asking myself if this is really a Sajid Wajid track I’m reviewing?!

The beats return with Track 4,“Meherbaniyan”, but of a totally different kind. A complete 70s touch is met with this one bringing a Western old-world feel to it’s core provided by the synthesizer samples and the beats. And those claps! They make you feel like you’re back there when the people were more interested in tap-dancing in the open air. Sonu Nigam’s vocals perfectly suit the bill – something that requires him to be on a typical modern Western tinge, and yet sounding classic at the same time. That’s his trademark – a versatile singer who knows his melody and can fit into the bill of any song. Gulzar’s lyrics are really imaginative, and easy to decipher. If promoted well this song should become a favorite amongst the masses. Sajid Wajid have already scored a hat trick of winners with the first three songs of the album. This one whilst not as good, should promote the album well.

The penultimate track arguably highlights the most intense and powerful track of the entire album called “Kanha (Thumri)” that is very much rooted in the Indian classical genre. Though semi-classical in nature, it tilts very much towards almost classical thanks in main to the superb singing and the intense but meaningful lyrics. In fact, it is due to these lyrics that the song becomes a really difficult one to compose but Sajid Wajid have proved here that they know their melody to the core, and they haven’t taken the easy way out through gimmicking- instead they have created a solid rustic song that give justice to the lyrics. Then we have Rekha Bharadwaj’s rendition which encapsulates a superb combination of rustic edges with intensity, vulnerability and emotion that totally touches your heart. Listen out for the final minute of the song which is the complete highpoint where the combination of music, mixing, arrangements, lyrics and vocals elevates the song to dizzying heights. Rekha is supported by backing vocals from Shabab Sabri, Toshi & Sharib. Overall this is an excellent track from the stables of a music directing duo that has been churning out nothing but commercial masala songs. While there will be many people thumbing down the song because of the lack of universal appeal, I personally feel that the song is one of the best from Sajid Wajid, and also arguably the best track of the album. This one is for the connoisseurs of music. Highly recommended.

The album ends with an instrumental called“Spirit of Veer”. Whilst it is a cool and peppy theme song , at only 58 seconds long it is far too short to make a lasting impression!

For an album with limited expectations this has been a rewarding experience. The surprisingly good score boasts of very good sound design coupled with the amazing choice of singers and a masterful lyricist. And considering Sajid Wajid’s only other credible work in the last two years has been for the previously released soundtrack of Main Aurr Mrs Khanna, this one actually sets a benchmark for themselves as composers. Non-Salman fans will be equally enthralled by the versatility of the music director duo, and will now expect better things in the future. Thankfully, this is also Anil Sharma’s first film in a long time that has very good music – and this can only be good news for the movie at the box office!
www.planetbollywood.com/

Chance pe Dance

Expecting too much from a soundtrack that provides a mixed bag at best is a dangerous move. But then again, is that our fault as listeners? We simply have to expect, expect, and keep expecting. While some expectations are fulfilled, some simply aren’t. The soundtrack of Ken Ghosh's latest movie, Chance pe Dance falls into the unfulfilled category where all we get is a few good dance numbers alongside some poor ones as well. And considering the music composer is Adnan Sami, who does a lot of hard work in his compositions, this album turns out to be nothing but sheer disappointment!
The opening track, “Pe… Pe… Pepein” sets the right kind of mood for the rest of the album due to it’s high tempo, electrifying beats and the sound arrangements by Eric Pillai (no wonder the song sounds Pritam-esque as Eric Pillai is used for almost all Pritam albums for sound mixing and arrangements). The chartbusting combo of Neeraj Sridhar and Saleem Shehzada has been repeated after “Aahun Aahun” from Love Aaj Kal to give this number yet another mind-blowing feel. The Pe… Pe… Pepein shenai has been repeated from Ajab Prem Ki Ghazab Kahani’s “Oh By God” (another Pritam track). Despite all the Pritam-ized elements, one cannot help but shake your body to this one. One helluva number, it also features Hard Kaur as backing vocalist, giving the right urban/bhangra touch to make it the perfect Pritam number. Wait, this is composed by Adnan Sami right? So why am I getting confused? Because Adnan Sami has ripped the style, sound arrangement – what the heck, he’s even taken Pritam’s regular sound arranger and mixer to make it sound so frighteningly similar it could be termed a copy. And considering Adnan Sami has a typical trademark in his own compositions (not seen here I might add!), it might be a very unpleasant surprise to some ardent fans of his music. But considering all that, it still is an addictive number that has potential to go right up the charts. If only Sami had experimented with his music more than take the tried-and-tested route of success!

Next comes the most publicized song of the lot, and this is also arguably the best in the whole album.“Pump It Up” , as the track is called, is not really a rock track but has a solid dance feel to it. And with Vishal Dadlani behind the mic, what can go wrong? His excellent, husky, upbeat voice sparkles on the extremely powerful beats and the electronic guitar pads, which make an excellent combo. One of Adnan Sami’s most accomplished works till date, this one shows he has it all in him to do anything he wants! Lyrics by Irfan Siddiqui are nothing to speak about, but really set the tone for the whole song as a package. The added Na…Na…Na’s actually give the track an excellent groove. The percussions and the synth samples blow the listener off and make him/her dance. Mainly a dance number, this can actually be called the unofficial theme song of the album due to the whole ‘feel’ of dance and freedom of expression captured in this whole song.
DJ A-Myth’s “Pump it Up Remix” is efficient but I personally still feel the original leaves a better impact.

Next comes a romantic track, “Pal Mein Hi” , which is an utter wash out, simply because it lacks soul. It tries to be as urbanely romantic as possible to attract the listeners, but fails miserably thereby resorting to a ho-hum track only. Shreya Ghoshal’ singing is efficient, though she is relegated to the dubious position of being an almost-backing-vocalist in this one. Unfortunately, Soham Charkraborty doesn’t put his heart into his singing, which is audible. He sounds like Shaan at times. The lyrics are okay, but the packaging as a whole is a clear thumbs down. Average at best.

Kunal Ganjawala makes a spirited attempt to raise the mediocre bound techno-driven track “One More Dance” to a passable level and he succeeds to some extent. However, the track is more or less situational in nature and should find ample support with exceedingly impressive visuals. The sound arrangement is impressive, but the punch is missing, which is certainly something that shouldn’t happen in such a dance-oriented album. The lyrics are nothing to talk about. Period.

And the singer returns yet again to prove himself in a retro styled track called “Yaba Daba Yahoo” . This one stands out as a decent situational track that actually makes you feel weirdly happy! Just like “Gori Gori” (Main Hoon Naa) made us do that small twist-jig we do when we hear such tracks, this track gives you the same effect. Kunal Ganjawala is in his best form here and you feel like letting your hair down and taking to the dance floor! The lyrics are more ‘happy’ in nature and you’ll have that grin on your face while listening to the song. All in all, this is a delicious respite from the disappointment of the previous songs. One can only hope for the rest of the album.

But – oh no! “Rishta Hai Mera” brings it all down again. The music is good in patches but the choice of singers is questionable. In fact, Tulsi Kumar doesn’t really gel well with the proceedings of the song. And she doesn’t impress either, in all honesty. Shaan, on the other hand does impress, but Tulsi neutralizes the effect Shaan brings for the song. This is plain 90s stuff that tries hard to be modern but fails.

The last original track, “Just Do It” should be accused of a short timeline, because it’s amazingly well composed (this one by Sandeep Shirodkar), well-arranged, and well-mixed. The lyrics are hilarious, and the listener will be able to visualize the proceedings on screen for this. Amitabh Bhattacharya has this incredibly creative mind to churn out such wacky lyrics (something he did for most of Dev.D). The beats are amazing, and you need good speakers or headphones to enjoy the bass in them. Simply enjoyable. How I wish it could have been longer! Too short for it’s own good.

The album ends with “Pe…Pe…Pepein…” (Duet) , which for some reason introduces Tulsi Kumar into an already decent song. Since she brings no benefits, you end up wishing they didn't make a second version featuring her in this one! Where is the charm of Tulsi Kumar that was so inevitably present in “Akele Tanha” from Darling? I request her to choose her genres wisely the next time round.

Ken Ghosh has been a music video director for as long as I know. Remember Baba Sehgal’s Thanda Thanda Paani? Ah yes, he’s a successful music video director from those wee days. And considering that, he should really have a stronger sense and taste of music than what he portrays here. Whilst the music from his previous movies, Ishq Vishk and Fida (both by Anu Malik), made me feel that he really understood the music he put into his movies, this effort puts me into doubt!

To put it bluntly, he (and the team behind the music) could NOT have taken the music of a movie such as Chance Pe Dance (with music itself a heavy influence) so lightly as demonstrated here. Also, this being a Shahid Kapoor movie (and Shahid Kapoor movies usually boast of some amazing music) disappointed me immensely. Adnan Sami, who impressed me in the past with his music for Lucky and Shaurya disappoints here. It seems Ken Ghosh’s choice of music director for such a movie has proven to be the wrong one especially given Pritam’s record. Not that Adnan Sami is a bad composer, but he is clearly best suited to different genres not dance/urban!

Overall, Chance Pe Dance is a disappointing album that could and should have been so much better.
www.planetbollywood.com/

Pyaar Impossible

It will be difficult for the fans of classic Salim-Sulaiman to accept a soundtrack like the one for Yash Raj’s latest movie, Pyaar Impossible, since they will be more awed by the sound design of previous soundtracks such as the duo’s unique Dor (2007). However, let's remember all the genres cannot have the same type of music, and that’s precisely why the duo keep changing their sound design and music style. That in turn makes them the most versatile music producers after A. R. Rahman, Shankar-Ehsaan-Loy, Vishal-Shekhar and Pritam. And that’s why they’ve come up with an extremely different soundtrack here, which is – to be frank – nothing new, but is surely very pleasant and entertaining at the same time. Not to mention addictive too!
The opening track “Alisha” is a surefire chartbuster from the word GO! Anushka Manchanda’s sensuous vocals make you really visualize Priyanka Chopra singing, something that doesn’t usually happen when you hear soundtracks of movies before their release. Salim Merchant’s backing vocals are apt and eclectic. Anvita Dutt Guptan’s lyrics are cool, hip and fresh, and don't make a caricature of English lyrics to “suit the tastes of the Desi audience”. But well, don’t all Salim-Sulaiman songs have intelligent English lyrics to suit the mood of the song? Coming to the composition, I guess there is no song that is as chilled out as this one right? With a groovy bass, a bit of percussion for spice, a hot beat, some cool synthesizer samples and a perfect amount of reverb to give the track an added final zing. This song will impress the listener and with the video already out and being aggressively promoted by the marketing department, it seems this song will top the charts and set them on fire! Recommended for replay value.

The heat rises a few notches in this cold winter with a rock-solid “Alisha Remix”, which makes the listener dance to the beat of the tune. Abhijit Vaghani is turning out to be one of India’s most dependable remix producer as right from the remix of “Dhan Te Nan” (Kaminey) till date, he has continuously produced hit after hit in the format of remixes, and here he continues to impress and how! This one is seriously recommended and will likely have a whopper of radio airplay.

Next in line comes the title track “Pyaar Impossible” which starts off with memorable guitar strums that set the mood and the genre of the song right away. The drum beats further enhance the impact of the song upon the listener, energizing them and making them smile all the way with a feeling that love is around – or am I getting carried away? Actually I’m not – the song really is all about freshness, innocence and pyaar, which either of the protagonists find impossible to grab, or so the lyrics say. Efficiently penned, the lyrics really reflect on looks and how people find looks the most important to fall for a person. It makes one think about the reality of the situation. And since the lyrics are not preachy, the song as a whole can be enjoyed for its freshness. The best thing about it though is that it comes in a new pop/rock flavour, which the Jonas Brothers and Miley Cyrus have been doing for a long time. The vocals of Dominique Cerejo and Vishal Dadlani are near-perfect and leave the utmost impact on the listener. Another chart-topper with the potential to leave the listener enchanted for a long time.

“Pyaar Impossible Remix” is mixed yet again by Abhijit Vaghani and gives a different, urban, contemporary twist, and makes the song all the more groovier and addictive. This one is for the people who love a jig or two. This remix, like with the one for “Alisha”, will earn immense radio airplay and clubs will hog it 24/7!

The contemporary urban R&B comes back to the fore with “You and Me” , a song that doesn’t have a remix and rightly so as it doesn’t need one! Neha Bhasin, who got her first big break with Salim & Sulaiman’s “Kuch Khaas Hai” (Fashion), comes back to do an extremely urbanized number with Benny Dayal (until recently he was known as ‘the guy who sings for A. R. Rahman’), who sings his second song for Salim & Sulaiman and proves why he is spreading his wings to a wider audience with a splendid performance! The duo of Bhasin and Dayal give tremendous energy to the song’s superbly arranged beats, samples and sound effects. Another song that yet again deserves replay!

In the penultimate track, we get the Indian version of one of the tracks of Hannah Montana! Here comes (DRUMROLL) “10 on 10” , an upbeat pop/rock track that is catchy and frothy! The rock beats and the teenage-girl pop feel that artists like Taylor Swift, Miley Cyrus and Leona Lewis have been giving us for a long time has finally arrived in a big way! Mahua Kamat and Anushka Manchanda (both of whom have had ample experience in pop/rock from their Viva days) penetrate the track in a big way to give that energetic n’ frothy feel. Whilst the lyrics aren’t that great, “Mere jaisa koi kahaan 10 on 10”? , with such an energetic song and energetic vocal singers (which incidentally also includes a male voice, Naresh Kamath) does anyone notice the lyrics? A cool, peppy song that’s targeted exclusively at the youth – it is directed at a niche audience and open-minded listeners who love the genre. Proud ‘elites’ will write the song off, but the youth will grab it!

For the last song, "Ek Thi Ladki", we get another track that fits in the pop/rock category with a zing of innocence. The lyrics sound so much like Taylor Swift’s number one single “Love Story”, but does that matter? The freshness is kept intact – and yes, there is a hint of childlike innocence too. Rishika Sawant’s vocals totally fit the cutesy proceedings of the song, and while the song and lyrics ooze the fresh and frothy situation to the audible ears, one wonders if the style has been inspired by the title song of Neal N’ Nikki which incidentally was also composed by Salim & Sulaiman. This one also stands out for a niche audience who like innocent and fun songs.

It will be impossible for all the people to agree with me on this count, and while some people will still go with their opinion that ‘it is a forgettable album at best’, I say otherwise. I personally feel that the musical duo have actually done well, by sticking to the movie’s feel-good element and situation, a tactic that will probably make the listeners realize that the movie is basically happy-go in nature! Taking this into perspective, I found the album particularly lovable and pleasing to listen to. I’ve personally heard a lot of Disney musicals (High School Musical, Hannah Montana et al, which provide ample emphasis on music), and I guess Salim and Sulaiman have been inspired by the cutesy atmosphere of those musical soundtracks, which is why we get to hear them for this fresh, innocent romantic comedy.

Overall, Pyaar Impossible OST is for the open-minded listeners and despite reluctance it’s certainly not impossible to fall in pyaar with this one! Not an excellent soundtrack by any means but surely not forgettable either! Go give it a try!
www.planetbollywood.com/

Rocket Singh

When you have a movie like ROCKET SINGH – SALESMAN OF THE YEAR having an immense buzz around it, expectations for its soundtrack are obviously high. But, like Shimit Amin’s (director) last critical and commercial hit, Chak De India, this one has also has a music release date that is barely a week from the movie release date. With pre-release hype surrounding it, and a very mixed response received for its promotional title song (Pocket Mein Rocket) which was aired around a week after the release of the first teaser promo, on radio, television, and through other marketing methods (Facebook, YouTube et al). Like the soundtrack of Chak De India which had a rather odd presentation with a different set of situational tracks – a first for the Yash Raj banner who usually strive to have good music in most of their productions. To put a patch on the horde of situational tracks, the distributors glorified it by making it an interactive data CD and pitching in some videos for marketing. Of course the songs were hits BUT only after the release of the movie – very few even cared to listen to anything other than the title song and the Hockey song, and maybe even those two would have been ignored if they hadn’t been promoted decently. A similar trend is following with ROCKET SINGH, but does the music CD create any magic?
Well the biggest shocker is that the music CD only has three original tracks belonging to the movie (the rest of the them are from past Yash Raj Films). Don’t blink your eyes- it is fact that the soundtrack of ROCKET SINGH is a short three-track effort, which is a disappointment, considering a lot was expected of this album. So do the three tracks manage to catch the attention of the listener?

The album opens with an overtly hyped “Pocket Mein Rocket”, which starts off with some random sounds but shifting slowly to its main gear after a big bang. Salim & Sulaiman have given us a lot of English and Hinglish songs (most of them with the Yash Raj banner), but this particular one – a Hinglish effort – is unusual in its own way. With the weirdest of lyrics, and an amazing set of beats, bass, synthesizer loops, samples and pads, this one is a sure-shot rocker! Benny Dayal, more known for his recent singing collaborations with A. R. Rahman (a la Ghajini and Yuvvraaj), gives us listeners the mind-blowing attitude this song needs. The only problem with the song – it’s only for the urban sensibilities. Usually most of the English lyrics in Bollywood numbers are crass and wannabe, but this one has real meaning – and explains the situation of the title character of the movie, Harpreet “Rocket” Singh, hence the pocket-mein-rocket (which, if you’ve seen the video, means “My name is Rocket Singh; here’s my card.” – don’t know how it connects, but Ranbir Kapoor keeps flashing his business card every time a chorus arrives!). Give it a try – you’ll love the number for it’s amazingly zany lyrics and it’s overall attitude.

When you read a title like “Gadbadi Hadbadi” for a song at the back cover, you expect a fun number. With Vishal Dadlani as vocalist you get exactly that – a fun situational number that would probably suit the sensibilities of the screen better than just audibly. Doesn’t mean it’s a bad number – it just doesn’t have the impact it should. It’s just an okay listen, and might grow on you after a while, but only until the release date of the movie.

Now comes the real gem of the album. This one, titled “Pankhon Ko” is an amazing number which is sensitively composed and rendered. Salim Merchant’s vocals prove to you that he is the only singer composer (apart from Wajid who recently rendered the fantastic “Tum Ne Socha” from Main Aurr Mrs. Khanna) who takes his singing very seriously. Here, he sings with an uncanny emotional depth, which will touch the core of your heart. The music is spellbinding, and the best part about it is that it doesn’t focus a lot on beats – in fact, there is a lot of guitar strumming throughout three-fourths of the song. This almost ‘unplugged’ track deserves appreciation for its lyrics by Jaideep Sahni, which makes you think for long. Salim & Sulaiman’s composition is amazing, and gives the required impact a slow song should give. All you need to do is to switch off the lights, slip in your favorite headphones, slump into a couch, and immerse into the song. Overall, a beautiful track that deserves constant and consistent replay, this one will literally make you smile and feel better every time you hear it. Thumbs up!

That’s it! It is very tough to rate an album like this, as with only three songs, it doesn’t really deserve to be called an ‘album’. But with two out of three songs managing to make an impact (“Pocket Mein Rocket”, “Pankhon Ko”), this one still turns out to be a deserving buy. What’s more, you get a promotional video of “Pocket Mein Rocket” as a bonus! Whether or not people would buy it for only three songs is a question that can only be answered by the shelf life of the music in the days to come, but the only thing that can be answered right now is that the three sole tracks meant for the movie are worth a listen. Not a bad try.
www.planetbollywood.com/

Paa

Sometimes, music can unexpectedly make an impression.
There are many composers who work at a feverish pace to keep upgrading their sound to suit the ears of the current generation and to sell more soundtracks. And then there are a few who do not need to upgrade their sound for the simple reason that they strongly believe in their own music. Illayaraja is one of the latter.
With his new Paa, expectations naturally turn out to be sky high for a number of reasons; the main reason being that it is the soundtrack of an Amitabh Bachchan starrer. Other reasons include director R. Balakrishnan’s second collaboration with Illayaraja, the first being Cheeni Kum, which went on to become a sleeper success both musically and moviewise. Also, due to the sole fact that a sample of the theme (which has impressed many music buffs) has been used for the background track of most of the trailers, the music’s ‘almost–invisible’ hype has broken the skyrocketing expectation limit. The question now is – does the soundtrack of the movie deliver?

For a movie like Paa, the soundtrack has obvious reasons for being sober throughout, and it’s sober, subtle tone starts off right from the opening track of the soundtrack, a song that has been promoted off late in the TV spots worldwide. And while Cheeni Kum had Shreya Ghoshal as its constant, Illayaraja has taken fancy to the voice of Shilpa Rao, who sings wonderfully to Mudhi Mudhi Ittefaq Se. Starting off with a crash beat, which keeps looping every four beats till the requisite time. But during those four beats, the build-up starts to take place. With a soothing piano melody, coupled with a suitable, dreamy background pad, the whole introductory melody progresses toward an additional set of beats to it, and once the beats arrive, the listener might already have guessed and adapted to the mood of the song.

And once Shilpa Rao starts crooning to Swanand Kirkire’s playful lyrics, you know that you are instantly going to fall for this one. With a wonderful melody and a stable, uninterrupted and smooth flow, this one’s a beautiful opener to an album one wasn’t expecting any genre of. This one has it in itself to reach out to the audiences. And with decent promotion and word-of-mouth, this one will be a universally popular to all the music buffs around the world, unlike the ‘Pritamized’ dance tunes that are somewhat strictly relegated to the youth. So switch off the lights, close your eyes, rest on your couch, insert the earpieces of your earphones into your ears, and drown into the simplicity and subtleness of it all!

And while one wonders what is going to pop up next, Gumm Summ Gumm makes an entry with similar grand piano arrangements, which, sometime later, get coupled with simple, relaxing beats, dreamy pads and synthesizer samples, this one also makes its move forward. But unlike the last song, which had lyrics of a romantic nature, this one is more of a children related song. The lyrics will make you reminiscent of ‘Bheja Kum’ from Taare Zameen Par (2007), as those lines which are brought to life by K. Bavatharini, Shravan and chorus, who all sound like decently convincing children, mostly condense to form a simple question (probably directed to the central character of the film, Auro, played by Amitabh Bachchan) – What is your problem, boy? Speak up – we’re ready to accept you!. The difference the song makes from its lyrically similar song in ‘Bheja Kum’ is that while the latter is more negatively portrayed audibly as well as visually, this one has a more comforting and positive tone, which indirectly says – there is room for improvement. Situational that the lyrics are, the song might not find much patronage, but for the excellent rendition by the singers and the simple and absorbing music by Illayaraja, this one deserves a listen or two – and who knows, people might actually take to it!

With one beautiful and one decent song behind us – we expect a decent next track. What we get instead is a rehash of the opening track, this time titled as Udhi Udhi Ittefaq Se. As disappointing as this may sound, it is not. In fact, this song entirely raises the bar of beauty of the opening track by Illayaraja. And since the lyrics by Kirkire are not entirely similar to the previous track, and yet entirely and equally absorbing, this one stands on its own as a separate track. Shilpa Rao returns to sing for this one, and this is where the track dips a little, as a feeling of déjà vu creeps in. Non-ardent music listeners might not be able to notice the difference between this track and the last one. Had they changed the singers on this one, it would have been much better. Nevertheless, this as well turns out to be a wonderful hear, and music buffs will lap this up as quickly as they did the first track.

And now comes a brilliant track that enters with a BIG BANG! Not that I’m talking about any dance number, but this one really makes an impact with its superlative arrangements. Whether it’s the beats, the percussions, the pads, the synthesizer samples or other musical compositions, this one makes for arguably the best song in the album. Consider it a surprise package or whatsoever, but Hitchki Hitchki really scores on all counts. Kirkire’s lyrics are brought to life by Chauhan’s well-restrained vocals (neither too boisterous, nor too soft and fluffy), which has been put to good use by Illayaraja. The lyrics, which yet again get playful with words, have been well-written, as the words used are vivid and imaginative.

There is some chance that the song’s title and the choice of singer while reading it on the back cover will mislead the music buffs, but all misconceptions are cleared once the song is heard. The song is not the least bit ‘powerful’ or ‘thump-inducing’, but sometimes, even the most basic sounds make an impact with their subtlety and purity. This one is pure, universal sound that unbiased music buffs will like. There is a meager chance this might not be appreciated by the youth who need more dance-oriented tracks, but once accepted wholeheartedly, this one is sure to be loved. Consider it to be right up to the rank of ‘Mudhi Mudhi Ittefaq Se’ and ‘Udhi Udhi Ittefaq Se’, as this one has immense replay value, just like the previous two did.

It seems Illayaraja is so much in love with the melody of the Shilpa Rao-crooned numbers that he decided to make a third version of it. It probably might not be his fault, because it is possible that director R. Balakrishnan wanted a third, more somber and melancholic version of the song to suit the mood. Nevertheless, this song, which might not be as engaging as the first two, probably certainly suits the mood of the film. Though the lyrics are not really situational, this being the third version of Shilpa Rao’s opener, might not gain much patronage until the movie releases where people will get to pick favorites. But for the time being, this one doesn’t quite impress or register in the minds of the listeners.

Yet another track that relies on situation to apparently make the proceedings of the movie slightly brighter, Halke Se Bole sounds more like a song that is set in a school with all the school kids singing in chorus – though we only get to know the real situation that is set when the movie releases. This song, short that it is, won’t really do much for the album. Skip this one if you want to and you won’t lose anything, but hear it and you won’t really feel bad after hearing it. The lyrics are decent, though not a lot to talk about. The music is also decent, but, like the lyrics, don’t go far enough to impress. Strictly okay.

The next song doesn’t really have melody. The singer doesn’t sing well, and the music is far too melodic to suit his singing. Even the lyrics are not poetic. But guess what? This song works big time! And why? The reasons are quite a few – the singer in question is Amitabh Bachchan, who totally delivers according to his character (so much so that his voice gets shockingly unrecognizable – though ardent fans will recognize his voice in any case). Questioning the lyrics would be sacrilege, as they totally describe the story perfectly. Though situational, the song Mere Paa has emotional depth, because of Amitabh Bachchan’s excellent rendering of the track. While pseudo-intellectuals will disagree with me, I would advise the listeners to sit quietly at one place, slip in the earphones in their ears and listen to it carefully. It’s excellence lies in its mere simplicity, as also due to the simple fact that Illayaraja has sensitively managed to weave a melodic theme tune around it. This one is a clear winner!

And speaking about the theme tune, its solo finally arrives, though its a tad disappointing that its remix. Viccky Goswami has managed to impress the listeners with a fantastic remix that hooks them from the very start with Paa Theme (Remix). The sole charm of the remix lies in the fact that the whole remix is not really heavy on club or house-related beats, but is slightly energetic all the same. The only sole fact that will nag the listener would be the wish that there should have been an original version all the same!

Paa as an album might not really have a universal appeal because its genre is restricted to variations of soft music and romantic tracks, which will make universal music lovers throng upon the album, but the dance-crazy youth might not warm up to it due to its very somber feel. At the risk of repeating myself here though, this album is totally for the universal music lovers who love melodious tunes and poetically written lyrics and emotionally deep renditions by singers. As an overall statement though, it would not be incorrect to state that this album is surely a breath of fresh air in the midst of the barrage of Pritam soundtracks that pop in from anywhere.

With not much releasing on the front for the end of 2009 anyway, this one turns out to be a gem that will face the risk of getting underrated for its simple music. The silver lining here though is the fact that fans of Amitabh Bachchan, of Illayaraja, and of Swanand Kirkire are sure to grab a copy to check it out. Once the listeners get accustomed to the simplicity and purity of the music in the album, they will be sure to lay their hands on them, which will probably make the album stay on the shelves for a reasonably good time.

As a FINAL word for this review, all the people who are desperately in need of a change in music should buy this album for keeps! And as I end this one, Sachin Tendulkar’s famous catchline enters my mind– Go Get It!
www.planetbollywood.com/

3 Idiots

The music of “3 Idiots” is a mega release for several reasons. Firstly, it more or less confirms the imminent release of the much anticipated comedy caper which is expected to be a huge success thanks mainly to a certain actor, Aamir Khan. But don’t underestimate the supporting cast (including Kareena Kapoor, R Madhavan, Sharman Joshi and Boman Irani) and the production team which consists of a successful team including Vidhu Vinod Chopra (Producer) and Rajkumar Hirani (Director) from “Munnabhai” fame. Let there be no doubt, this is another blockbuster in the making!

The music itself is delivered by the underrated Shantanu Moitra, a gifted composer who has been the firm choice for Vidhu Vinod Chopra ever since Moitra produced the exceptional, career defining and widely acclaimed soundtrack for Parineeta (2005). Lyricist Swanand Kirkire has been partnering Moitra for most of his career and has proved a stalwart companion. But “3 Idiots” presents a unique challenge for them in that the music is likely to feature more as situational / background amidst the laughter and comedy scenes….can they make a telling impact to add value to the movie?

Track 1, “Aal Izz Well” is undoubtedly a background tune to the zany theme of the movie with its fun-n-frolicking attitude! Moitra lights up the atmosphere of “3 Idiots” with a mixture of bells, whistles, dhol damaka and good humoured banter that will support the visuals on screen. Sonu Nigam’s jolly vocals are superb and dominate proceedings although he is supported in the background by Shaan and Swanand Kirkire (don’t be surprised listeners, this isn’t the first time Moitra has made use of the lyricist's vocal talents!). Lyrics by Swanand Kirkire are just as freaky as the music but that’s the whole point of the song! Overall as a stand alone track it’s disappointing but on screen it should work well.

Wow Track 2 lights up the bulbs in your mind and gets you itching for the dance floor and then some! “Zoobi Doobi” brings together one of the finest singing duets in Sonu Nigam and Shreya Ghoshal amidst a catchy, upbeat but old fashioned jazz tune created by Moitra that will remind his fans of the amazing “Kaisi Paheli Zindagaani” from Parineeta! As a result expect plenty of real sounds from instruments like the drums, trumpet, piano, strings etc. The singing is simply wonderful here with each singer complimenting the other perfectly like two white doves, listen out for their laid back accent and the superb manner in which they overlap each other’s chorus line “Zoobi doobi zoobi doobi pum para, zoobi doobi param pum, zoobi doobi zoobi doobi nache kyun pagal stupid man”. Lyrics are humorous, fresh and fit the bill. This is a song that won’t appeal to the masses but those with a discerning ear will appreciate it immensely and fans of Shantanu will lap it up instantly! Alas, if only it was longer....but let’s hope Aamir and Kareena can create the magic on screen as well.

The soundtrack takes a serious turn with the sound of a bewitching flute greeting you to Track 3, “Behti Hawa Sa Tha Woh”. To put this into perspective you have to appreciate its purpose in the movie; to reminisce, portray and unravel the feelings of some guys (R Madhavan, Sharman Joshi) in search of a close friend who is no longer with them (Aamir Khan). Moitra keeps the music solemn and soothing with a melodious string instrument at the core…add some touching lyrics and you have a sound foundation for another fine background track. But who will utter the all-important vocals? Very few singers could have sung this as sincerely or as eloquently as Shaan but he does Moitra proud and makes it even more attractive on the ears. This is an enjoyable track but probably a little too short and situational to make a lasting impression. It's like a hummable story in a song!

Track 4 follows the same pattern as the previous track albeit we have a more upbeat and carefree distraction here with the youthful but provocative “Give Me Some Sunshine” . Guitar strumming is the order of the day but Moitra is much better than your average guitar strummer! He adds some fabulous sounds to the melting pot including an overlapping electric guitar, percussion, keyboard, harmonica, chorus clapping and god knows how many other niche instruments to round off this tune. There’s some verses from the story mixed in as well which breaks up the music but adds impact to the on screen antics. The mixture of English and Hindi lyrics by Swanand Kirkire works a treat for once, it just sounds so classy! The final ingredient here is the singing by a rising star in Suraj Jaggan. Wow, how he lights this track with some zestful singing. He is supported by actor Sharman Joshi who makes it sound even more real. Another track for the movie, this one should also trigger everyone of you grown ups to reminisce of your youth …“Give me some sunshine, give me some rain, give me another chance, I wanna grow up once again”. After listening to this, who wouldn't want to?

The final original track (5) “Jaane Nahin Denge” starts with some amazingly soft vocals by Sonu Nigam indicating a sombre, albeit short end to the soundtrack. But a few seconds in and you realise it’s anything but soft as the track transcends into an inferno of emotions with Sonu breaking the shackles from his voice into an amazing spur of power, anger and rage! Moitra supports this eruption with an orchestral volcano of his own consisting of dhols, cello, and a backing chorus. And then suddenly the anger is soothed again with the start of a new stanza until the next chorus lines…The effect is superb and conveys the emotions of the scene well! Alas dear listener, this is another situational track but Sonu fans will enjoy it for sure since his vocals are rarely stretched in this fashion. Lyrics are another highlight and Swanand Kirkire proves his metal again. Moitra shows his own versatility in the composition here and whilst no classic, it will surely sound awesome on screen.

Tracks 6 and 7 are “Zoobi Doobi Remix” and “Aal Izz Well Remix” respectively. Both are remixed well by DJ Amyth and Darshan. But the original compositions are still the best!

Without doubt Moitra's soundtrack succeeds in adding immense value to the movie in terms of atmosphere and background support. It is fresh, authentic and real. But you have to say it also disappoints as a stand-alone soundtrack apart from a couple of songs (particularly “Zoobi Doobi” and "Give Me Some Sunshine"). To be fair to Shantanu, the scope was always going to be limited with such a theme as the one presented in “3 Idiots”, let’s not forget the movie is an all out entertainer / laugh riot with a strong emphasis on friendship, humour and adventure so it was never going to be remembered for its music. Most of the songs aren’t even given a chance with shortened lengths thus limiting their potential for a lasting impression. Also ask yourself why there are only 5 original compositions here? Consequently, the soundtrack can and should only really be judged after seeing the movie. In fact the music portrays a serious undertone to the movie hitherto unknown to many fans. That's how intertwined it is with Vidhu Vinod Chopra’s story of the “3 Idiots". There's clearly more to the movie than meets the eye and the same can definitely be said for the music.
http://www.planetbollywood.com/