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!
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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.
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Kurbaan

Producer: Ronnie Screwvala, Karan Johar
Director: Rensil De Silva
Starring: Saif Ali Khan, Kareena Kapoor, Om Puri, Dia Mirza, Vivek Oberoi
Music: Salim-Sulaiman
Lyrics: Niranjan Iyengar, Irfan Siddiqui
Singers: Salim Merchant, Sonu Nigam, Shreya Ghoshal, Vishal Dadlani, Sukhwinder Singh, Kailash Kher, Marianne D’Cruz Aiman, Shruti Pathak,Kareena Kapoor
Audio On: Sony Music
Number of Songs: 6
Album Released on: 21 October 2009
Reviewed by: Ankit Ojha - Rating: 7.0 / 10

Composer duo Salim & Sulaiman, popularly known for their stunning background scores in blockbusters like Krrish and Love Aaj Kal, have also doubled up as Music Directors on a number of occasions (particularly for Yash Raj Films in recent times). And their music has always been noticed for its fantastic arrangements and sound design, regardless of the critical response to any of their soundtracks. And now, after the mixed response to Luck comes another soundtrack from their stables – Kurbaan, a movie that has been highly anticipated for three reasons – Dharma Productions, Karan Johar’s faith in another new director (Rensil DeSilva) after Ayan Mukerji in Wake Up Sid, and the pairing of Saif Ali Khan and Kareena Kapoor. The promos have already upped the curiosity level of the viewer, and the music as a result has been eagerly awaited, considering Karan Johar has always maintained a consistent quality as far as the music is concerned. So, do Salim and Sulaiman click this time?

Well in short the answer is YES they do! Mainly by producing a couple of great tracks that linger in the mind of the listener long after the song is over.

The album starts with a bumper opener in the form of “Shukran Allah” , a beautiful number that will sweep music lovers off their feet. Despite having a delicate old-world layer to it, the sound design and arrangements make all the difference. The soft dholak beat, coupled with the right percussions and synthesizers give this song the right feel. Most of the elements of the song have a distinct reverb effect that gives it a touch of elegance. Sonu Nigam’s vocals really touch the chords of your heart while Shreya Ghoshal (who ends up coming much later into the song) wins you over instantly despite her short presence. Salim Merchant’s backing vocals give the song a completely heavenly feel. Lyrics (by Niranjan Iyengar) are contemporary, simple yet effective thus attracting more listeners. A good opening track that deserves replay!

The next track “Dua” is supposed to be somewhat situational, but the overall composition is quite well arranged giving the duo another potential winner on their hands. The eclectic duo of Sukhwinder Singh and Kailash Kher (supported by Marianne D’Cruz Aiman) is back yet again after this year’s bumper number “Fatak” from Kaminey and end up giving yet another great performance. The lyrics by Niranjan are a little situational but the overall energetic feel in this one gives it a boost nevertheless. This one too will be noticed and liked by music lovers.

Now this one deserves everyone’s appreciation! If you thought “Shukran Allah” was good, then you’ll have to eat your words, as “Ali Maula” is the piece de resistance of the album! With such fantastic lyrics, amazing vocals, and a superb composition, what can go wrong? This certainly turns out to be a haunting track that buzzes in the mind of the listener long after the track has ended. Whilst Salim Merchant’s vocals and the lyrics by Irfan Siddiqui end up being the strongest attributes, the music too has some fresh stylized beats moving away from the usual Rabba / Maula / Ali type songs. It also consists of some very urban yet suitable synths which gives the song a completely different outcome altogether. This is a fantastic outing by the duo and one which will make you hit the repeat button.Now this one does NOT need a remix is a thought shared by many of you (including myself!) but the "Ali Maula Remix" by Abhijit Vaghani is carefully handled with a good dosage of House and Trance that sweeps you off your feet. You end up shaking your head a bit and tapping your feet to this one unexpectedly! The delay used in Salim Merchant’s vocals enhances the song’s attraction. Overall this is a remix that deserves appreciation.

Shruti Pathak floored everyone with her “Mar Jawaan” from Fashion. She impressed even further with her performance in “Paayaliya” from Dev.D and now she’s back to give you yet another avatar with "Rasiya"- a song that really turns you off in the first and second listens, but grows on you from then onwards. Pathak’s semi-classical vocals with a seductive undertone really give this song an edge. The instruments used in this track and the arrangements and designing of those instruments along with a subtle beat really end up producing another haunting feeling, something which you will want to experience again once the song gets hold of you. The lyrics by Niranjan are more or less suitable to the theme of the song. Kareena Kapoor’s vocal entry into the song makes it even more interesting. Another impressive song by Salim & Sulaiman!

The closing track of the album turns out to be a bit of a disappointment though. Not that "Kurbaan Hua" is a poor track, in fact it is pleasant and fairly enjoyable with Vishal Dadlani’s vocals complementing things well. But there is one nagging problem. This one sounds like a reprise or a second part of Salim and Sulaiman’s previous “Nazaara Hai” from 8 x 10 Tasveer. Even the same singer (Vishal Dadlani) being roped in to sing the track – a fact that could go against the song and damage its prospects to some extent. On the plus side, it might sound better on screen so one awaits for that potential.

Overall, Kurbaan is a good album which has a combination of some fine Sufi lyrics and some surprisingly enjoyable situational tracks that make for a more rounded album (despite the inclusion of a minimal number of songs). Here, the urbanization goes for a toss to give more emphasis to the melody as a whole. Worth-a-buy!

REVIEWER’S TIP – This album might take some time to grow upon some listeners, but ardent Bollywood music buffs will love it if they notice Salim & Sulaiman’s signature style and sound design in this one!
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