Ashutosh Gowariker’s films are synonymous with A.R. Rahman’s tunes, but for his ‘What’s Your Rashee?’, which has Priyanka Chopra and Hurman Baweja in lead roles, the director has got on board a new composer, Sohail Sen – who has done a commendable job.

From fast pacy numbers to romantic songs to Arabic and folk tunes – Sen, son of music composer Sameer Sen, has packed interesting compostions in the album.

The film has 13 songs, one each for the 12 zodiac signs and one is a mix of all. The young composer has roped in the director as well has his sister Aslesha to sing.

The album kickstarts with a pleasing and soft number ‘Jao na’ crooned by Sen himself along with Tarannum Malik. It is quite intriguing and the part where the song suddenly gains momentum works well for it. It will surely appeal to the younger generation.

Up next is ‘Aaja lehrate’ that has vocals by Shaan and Bhavya Pandit. It is quite fast-paced and has western influences with English lyrics thrown in here and there. But the peppy number doesn’t stand out in the album.

‘Bikhri bikhri’, sung by Sohail Sen and Marianne D. Cruz, will have a tranquilizing effect on you. A soft, soothing and melodious number, it immediately strikes a chord with the listener.

Then we have ‘Mannunga mannunga’. Director Ashutosh Gowariker himself goes behind the mike along with Pamela Jain to sing the song. But the track is unappealing and unexciting.

‘Sau janam’, a love ballet by Udit Narayan, Madhushree and Sen, is one of the best songs in the album. A mushy number, it has a strong musical backing and stays with you long after. A great composition.

Next in line is ‘Aa le chal’. Sung by Aslesha Gowariker, it is nothing extraordinary. An average number.

‘Pyaari pyaari’ is another feel-good song with some amount of sweetness in it. It is crooned by Alka Yagnik and Sen.

Then there is ‘Su che’. Soaked in Gujarati flavour, it is sung by Sen and Bela Shende and is a fact-paced track. It was meant to be a fun song but fails to make a mark.

The next number, ‘Salone kya’, is a song with an Arabic feel. It is sung by Sen and Tarannum Malik. Even though the music is captivating, the lyrics are a big put off and take away the zing from the song.

‘Dhadkan dhadkan’ has edgy music with a strong musical backing. Once again Sen and Tarannum team up for the song that has a haunting feel to it. The number does impress.

‘Pal pal jisko dhoonde’ has influences of jazz music. A soft and free flowing number, it is sung by Sen.

‘Koi Jaane na’ is an interesting number sprinkled with folk flavour. A poignant song, it is sung very well by Rajab Ali Bharti and Bela.

Finally, there is ‘Chehra jo dekhe hain’ by Sen again that is the title track of the film. The song includes samples from the other 12 songs.

On the whole ‘What’s your Raashee?’ is a decent album, even though long. The budding composer has done a good job.

Source: IANS

kambakhtishq

Even if his films may flop, Akshay Kumar’s movies come with one guarantee – chartbusting music. His next release is a lavish Hollywood meets Bollywood romantic comedy starring Kareena Kapoor as his ultra glam leading lady. Kambakkht Ishq also sees the return of Anu Malik – who hasn’t really been in top form in recent years. It’s his big opportunity to make a mark among new kids on the block. Will Kambakkht Ishq be his comeback soundtrack? If the promos are any indication, the composer has successfully reinvented his sound.

Sung by UK group RDB, Om Mnagalam is a chartbuster from the word go. A blend of traditional chants and hip-hop beats, the line Kya Pyaar Kiya Kambakkht Ishq should be a big hit this marriage season. It’s catchy, young, stylish, and in no time you will find yourself grooving to the tune of Om Mangalam.

While there is enough Kambakkht Ishq happening in the chorus of Om Mangalam, it doesn’t qualify as the official title track. There is another song named Kambakkht Ishq. It pales in comparison to the former, but is a lively listen nevertheless. The two numbers have their dedicated remixes as well.

Kareena makes her claim to superstardom loud and clear by getting a song named after her. Bebo is a naughty; seduction number that we are sure will be even more sensuous on screen. Structured on the lines of Kareena’s Don number, Bebo can very well be the real Bebo’s signature dance number at her international tours. Anu Malik regular Alisha Chinai adds to the spunk of the song with her sexy voice.

There’s a break to the dance routine with Shaan and Shreya’s Kyun. The only slow number of the album, it doesn’t make much of an impact. It’s seems like one of those senti numbers that will crop up in the last 30 minutes of the film.

Kumar sticks to the tradition and gets Neeraj Shridhar to sing a solo song for him. Lakh Lakh sticks to the basics of a boy chasing girl number. Sticking to the feel of the album, it’s catchy and fast paced. After Om Mangalam and Bebo this is the third potential chartbuster.

Verdict: Kambakkht Ishq delivers what it promises. There’s little experimentation – but lots of fun packed into the album. It’s the kind of stuff DJs thrive on.

Rating: 3/5

source:buzz18.com

The ‘Serene Version’ of Gulon Mein has been sung by Mohit Chauhan, who is known for singing serene numbers. That’s not such a bad thing because Chauhan does the slow stuff really well. Justin-Uday’s Gulon Mein (Serene Version) is easy on the ears… nice.

Arzoo – what the hell is this annoying singing? If this really is a ‘traditional’ song like the CD says, I don’t know what to think anymore. The lyrics might be meaningful or whatever but I don’t wanted to be subjected to Mehrajuddin’s voice ever again. Not this way, not if it cracks after he’s crossed puberty – never again.

The ‘Upbeat Version’ of Gulon Mein is sung by KK and has music by Sandesh Shandilya. The lyrics here are the same as on the ‘Serene Version’ – a tribute to the great Pakistani poet Faiz Ahmed Faiz, and a good job by Neelesh Mishra. I’m quite pleased with both the versions of Gulon Mein… they’re very listenable.

Shilpa Rao takes on Manzaraat, written by Kumar. Justin-Uday’s effort here is just about okay – there was no need to add electric guitar distortion here.
Rating: 2.5/5

Source: buZZ18

According to director Zoya Akhtar, Baaware is “Rajasthan on acid.” For those who know about the ways of the psychedelic world, it is easy to figure out why. But for the uninitiated here’s the lowdown.

Baaware (Shankar, Ila Arun, Loy, Rajasthani Ensemble) is picturised on a circus, and features traditional Rajasthani mangangyar singers, who grab you by the scruff of your neck with the sheer intensity of their voice. Folk gets a twist later in the song, blurring the lines between acoustic and electronic, with a trance track merging with the folk beats and melody. If you like Baaware, you will be bowled over by the remix, at the end of the album by Midival Punditz. Definitely a must-have on all DJ consoles in the days to come.

Pyar Ki Daastaan (Mahalakshmi Iyer, Amit Paul) is the quintessential love song, the kind that invariably makes its way to any romantic sequence, with dholaks and lyrics that go, “Sapnon ka yeh mausam hai/Dil se dil ka sangam hai/sulge sulge hothon par/halki halki shabnam hai.” Chiffons on the Swiss Alps anyone?

Predictability flies out of the window with Pyaar Aaj Kya Ho Gaya. Sung by Sunidhi Chauhan, the song opens with a sunny, breezy, guitar riff, and bares a soul that is very southern-rock. In fact, with the delicious little guitar and keyboard solos, SEL sound unmistakably like the Allman Brothers Band, known to be the architects of Southern Rock in 70′s USA. One can safely predict this song doing the rounds of college campuses, with guitar-strumming young ‘uns and friends joining in the chorus parts.

Sapnon Se Bhare Naina sees Shankar Mahadevan delving deep into his classical roots. Based on Bhairavi, a poignant morning raga, this loungy song has been winning fans ever since its first airplay. And it is easy to see why. Shankar’s deft vocal maneuvers are set against a rich, deep drum and base rhythm track, which is hypnotic and clubby at the same time.

Up next, O Raahi re, is a poignant, philosophical song with a subtle sufi flavour. And what sounds like a 12-string guitar. A neat little guitar riff keeps pulling at your heartstrings every now and then, while Shankar’s mature rendition of the song makes it for a very pleasant listening.

Given the fantastic response to the music of Rock On (detractors be damned!), SEL could have been vulnerable to their own success. Instead, they seemed to have moved on, and happily so. With Luck… they seem to have got more adventurous, bettered their craft the process. The result is the kind of music that certainly raises the bar of motion picture soundtrack in Bollywood.

Verdict: The producers’ note says, “Luck By Chance is a contemporary tale set in a world desperate to escape its own reality.” The music of Luck by Chance is your ticket to escape-land. Enjoy!

Rating: 4/5

Label: Big Music

Toshi, whose early exit from a talent hunt show sparked off lot of debate few month back, lives up to all the promise he had shown. Toshi has the voice of a hero that’s powerful and doesn’t screech at higher notes. A couple of good songs could do wonders for this singer, who doesn’t sound uncomfortable with playback unlike Abhijeet Sawant and Rahul Vaidya.

Mahi sets the ball rolling as one moves onto the successive tracks with mounting expectations. And when it’s KK, chances are you wont be disappointed. O Jaana is a foot tapping club number that’s not blockbuster material but good as long as it lasts. O Jaana returns with a racier dance remix. And unlike Mahi this time the remix towers over the original. After a few listens the O Jaana Remix grows on you and you’ll soon find yourself humming the catchy hook.

Krishna and Sonu Niigaam-Neeraj Shreedhar sing two different version of Soniyo. A laidback love ballad, Krishna’s version of Soniyo is composed in the Life In A Metro mode. Sonu’s rendition on the other hand is more traditional Bollywood with a more Indian feel in the song. It’s nice to hear Sonu do a no nonsense romantic song after a long time.

For a so-called horror flick, the album’s packed with rather lively numbers. But Kaisa Yeh Raaz Hai fills the space of a haunting theme track. Sung once again by KK, this lavishly composed song could make a bigger impact on the screen. For KK fans it’s another opportunity to enjoy this versatile singer’s voice. Despite three songs, KK would however be missing a chartbuster in the league of Jannat.

Krishna gets one more song in Bandaa Re. The track has a loud orchestra with mantras being chanted constantly iby the chorus. Spiritual lyrics and a Sufi sound indicate that this Gourov Dasgupta composition could be a part of the movie’s dramatic finale.

The music of Golmaal Returns starts with Tha Kar Ke, which begins sounding like ’80s pop and then becomes Hindi hip-hop. The chorus is quite catchy, and the part after that is sung in a way that reminds me of a song by UK-based rapper/hip-hop artiste Badshah and Honey Singh.

Vacancy starts with the word ‘Golmaal’ being repeated 3-4 times in every sentence. It’s a very okay song, nothing you want to sing along with. Anushka Manchanda’s voice is quite nice, and they’ve taken parts of the title track of Golmaal Part 1. Somehow, the parts of the song seem to fall in place only when Anushka is singing, the rest of it sounds very half-hearted.

Tu Saala has clichéd lyrics for most part, except the chorus where Anushka sings ‘tu saala kaam se gaya’. The verse and chorus both are good, but a slight build-up to the chorus by adding a part before of after the chorus would’ve made this song a big dance hit.

Meow is the first good song in Golmaal Returns. It starts with guitar strumming, and it has, what I believe is the first blend of English and Hindi lyrics that actually sound good! Suzy Q and Monali sing really well, and I’m curious to know which other Hindi movies they’ve done the playback singing.

Meow is followed by the English version of Meow, which has a guy saying ‘This is a stupid dumb/dog mix’. Hey, this is proper music! The lyrics on this version of Meow are different in a lot of places, and so is the music. The basic structure of the song is the same, but some minor changes make Meow (English Version) a good listening experience.

After which comes the Kilogram Remix of Vacancy! But this version is a lot better than the previous Vacancy. I have to say Hindi hip-hop type lyrics are getting slightly better. But that’s not a compliment, for I’m not sure I want a woman calling me a ‘hunky, funky, junkie, monkey’, though. ‘Let’s carry on with Golmaal, Golmaal/ Life goes on with Golmaal, Golmaal’. Let’s carry on with the review, instead.

The Tha Kar Ke remix sounds like it’s building up a groove, and that any moment we’ll get some trance beats. Unfortunately, nothing of the sort happens and you wait for the next remix. Oh, well.

Another Meow remix. This version is by DJ Nikhil and DJ Naved and has been arranged by Zoheb. Gee, thanks guys.

Is remixing every song 3-4 times the latest Bollywood music trend? The people who decided what was going to be on this CD decided there was no way Tu Saala could be left out, so here’s the remix. No English version, no Kilogram remix, just plain remix.

Okay, here’s the song Golmaal, from Golmaal Part 1. Anushka has a strong voice, something that you enjoy listening to. Even if the composition is not great, you just wait to see how she sings what she sings next. I like her style.

Aage Peeche is the first song that has an Indian touch to it, probably for a wedding in the movie? Sneha Pant’s vocals are very welcome, I don’t think I’ve been so happy to hear old-song type singing before. Shekhar sings pretty well, and he can sound funny! I don’t think I’ve heard him sing before. This song has nice lyrics, too!

Another Golmaal remix, this time with three guys singing. The lyrics are simply terrible and this version is plain boring. Shaan, KK and Vishal Dadlani doing timepass, I think.

After this comes track 13, and you guessed it right. It’s yet another remix of Golmaal, as unexciting as the previous all-guy version. What a way of filling up a CD!

Oh, finally! Rehja Re has nice beats. My ears are so fed up of listening to three remixes of every song, that even something close to decent sounds like good. Javed Ali is a good singer, certainly better than the trio who assaulted my ears with two redundant remixes a few minutes ago. Sunidhi Chauhan and Javed both do a good job, Rehja Re is upbeat and has lyrics in Punjabi, English, Hindi. Good to dance to!

The last song is Golmaal and with Anushka’s infectious singing, it sounds great. The beat and vocal style is very catchy, I heard this song being played in cars when Golmaal Part 1 came out. I wish they had more good songs on the album, instead of unnecessary remixes.

Meow, Aage Peeche and Rehja Re is such good listening, the album would’ve been very good, had Vishal-Shekhar included more compositions, instead of subjecting the listener to remixes. Still, not bad at all.

RATING: 2/5

source:buzz18

But there is more to Ghanekar’s resume than just a few off-beat films. Alongwith Pathak, Dhruv has been producing commercial or jingle music under the Smoke Music label and today the duo (aka Ashu-Dhruv) is better known for Blue Frog, which is a production house, a live music club, sound lab and a record label to promote niche and non-mainstream music.

As you may have guessed by now, Ghanekar, an immensely talented guitar player (he was earlier with a popular band Chakravyuh, which finds mention in Rock On!!) is not really a regular choice for a Bollywood flick. Maybe that is why the makers of Drona, which is supposed to be a cutting-edge superhero film, chose him as the music composer.

True to his grain, Dhruv brings to the Drona soundtrack the shine and slick production values of jingle music tempered with very global pop, rock, electronic and even jazz sounds. Drona’s music in other words is extremely stylised, which also makes it somewhat unapproachable.

The title track, Drona, is receiving a fair amount of air play and has the potential to be a hit with the club-hopping crowd. Dhruv lends his voice and his guitar, to this track, which is fast, energetic and boasts of a neat arrangement, clutter-free and catchy. A lot of interesting sounds, loops and effects are layered upon each other, making it a fun track to explore and by far the most ineteresting song of the album with two very different versions.

Up next is a pop track Oop Cha, sung by Sunidhi Chauhan. Quite a trippy number, once again which has a nice beat that you would want to shake a leg to. Especially when it is remixed later on in the album.

The surprise number is Banda gi, a slow song performed soulfully by Sunidhi Chauhan and Roop Kumar Rathod. It is refreshing to hear Sunidhi in a soft, emotional number, bombarded as we are all the time with her overpowering dance numbers. Nice set of lyrics here by Vaibhav Modi.

A let down is the next, a lullaby by Sadhana Sargam. Nanhe Nanhe is so overtly stylised that you are left wondering why the composer has killed a nice melody with such excess of harmonies and elaborate arrangement.

By now, you will have noticed Rahman’s influence in the way Dhruv treats his songs. Which is a great point of reference really. But with Khushi, he treads the same path as Rahman’s in Jaane tu. Like the Jaane Tu jazz track, Khushi turns to big band jazz with a bang. Khushi begins with a lot of promise really, and you may find yourself swinging to the sound. But Shaan’s voice is not really cut out for such a true-blue jazz number. With a different voice, Khushi could have yielded happier results.

Verdict: Overall, the music of Drona is interesting, but not ‘exciting’ or ‘grand’ enough for a superhero/action flick. Dhruv Ghanekar does experiment a lot and the production values and arrangements are superb – he has included the best of contemporary musicians like Ranjit Barot and Sivamani and has recorded and mastered at the best of facilities. But Drona’s music fails to leave a lasting impression.

Rating: 2.5/5

source:buzz18.com

It requires gumption to take on Kishore Kumar and Laxmikant Pyarelal and it takes considerable guts to take on a once young, sensational Rishi Kapoor. But Himesh Reshammiya has done just that, with his characteristic nonchalance.

Karz is a classic that generations of cinefans still pay obeisance to. And we have been shocked, curious and worried (strictly in that order) ever since T-series announced its mega project, Karz revisited, with Himesh assuming the role of Monty (RK), Monty’s voice (KK) and Monty’s musical mastermind (Laxmikant Pyarelal).

It appears our apprehensions were not unfounded. Karzzzz, the movie soundtrack, is out. And it features 19 songs! Each song is more than five minutes long and the second CD features the club and lounge versions of the Disc One tracks.

Needless to say, the mammoth 2-CD album sees Himmesh at his prolific best. He composes, sings, howls and ensures that you do not, ever, forget how Himesh Bhai attained the demi-god status in the eyes of his fans – through his nose.

How To Kill a Classic

We will start with the last song of Disc One. Ek Haseena Thi is the iconic climax song in Karz, with the haunting guitar riff synonymous with the film. The new version, sung by Himesh and Shreya Ghoshal is like a Dummy’s Guide to Kill a Classic.

We cannot help but compare the same to a recent ‘revisitation’ of another Kishore Kumar-RD Burman-Rishi classic, Bachna Ae Haseeno (Vishal-Shekhar) where the results were far more aesthetic and smacked of respect for the original. Himesh crashes his way through the arrangement, with the sensitivity of a bull in a china shop, his voice and the reproduction ruining it for us.

Back to the title track, Lut Jaaon Lut Jaaon. If you have been to the theatres recently, you would have seen the shiny red disco ball (a recurring motif in this film as it appears!) and the track playing the background. The rhythm is extremely catchy, the singing is not. But you may want to forgive Himesh here as the song does have potential, even if the alaap in between makes it sound very similar to Karunesh’s Global Spirit tracks. But we will not say Himesh has ‘copied’ the song, he may have simply been ‘inspired’.

Next comes a song Hari Om Hari Om. Himesh makes it sound more like Hurry Ooom, Hurry Ooom! The chanting is decidedly funny and you will be rolling with laughter at the seriousness with which Himesh attempts to make it sound cool.

Hurry on to the next track, which we suspect is Himesh’s secret tribute to Bappi Lahiri. Of course, with a little help from his lyricist Sameer. Tandoori Nights is a song picturised on Urmila Matondkar and Himesh and has lyrics that go: Tak tana na na Tandoori Nights Tandoori Nights, Tak tana na Tandoori Nights Tandoori Nights… A close cousin of Bappida’s immortal gem: ‘You are my fish fry, You are my chicken fry…’

Not to be completely dismissive about Himesh’s effort, there are songs such as Soniye Je Tere (Himesh and Tulsi Kumar), which are certainly not bad. The song has a nice fusion feel to it and Himesh sings earnestly, at times even using his guts rather than his nose for desired effect.

In Dhoom Tere Ishq Ki, Himesh tries to do a Kailash Kher. The song is extremely earthy with a strong acoustic feel. The buildup is nice but Himesh comes crashing in with his version of “dh-o-o-o-o-o-o-m”, and that more or less spells the end of story.

It is a real pity because the song has some neat instrumental solos (harmonium and sarangi) and recreates the ambience of a mehfil rather well.

Up next is Sisak Sisak Ke, which is interesting with a fusion of styles and beats and a spot of rap thrown in. Very slickly packaged and could be a hit on the dance floor.

The 30-second howl

And now to one of the signature Himesh tracks from the collection: Tere Bin Chain Na Aave. As the lyrics booklet will also guide you, the song begins with an “O o o” that goes on for roughly 30 seconds (yes we counted). This too is more of an ‘acoustic’ song with tabla and sarangi that gives way to a slower number Masha Allah.

Disc 2 as we have said earlier, features the same songs in their lounge and club avatars, and there can be no doubt as to how the makers of this magnum opus are trying to position this one. T-series is a music and movie giant and it will surely leave no stone unturned to ensure that their biggest gamble till date (they have bought the remake rights for Rs 2 crore) pays off.

Many moons ago, during an interview with yours truly, Himesh had declared with a shrug of his shoulders: “At any given point in time I have thousands of tunes ready for my producers. Each tune has many versions. Can anyone match this record?” I am yet to find a suitable repartee to this statement, which sums up the spirit of Karzzzz.

Verdict: You like nasal? You get nasal. You like tempo? You get tempo…and all kinds of it too. Get the picture?

Rating: 1.5/ 5

Listen to music Of Karzz:

Taufiq Qureshi, percussionist par excellence has composed the music for Santosh Sivan’s Tahaan. He has composed the background score for several Hindi films like Damini, Black, Devdas and Dil Chahta Hai. Taufiq is even more famous for his guest appearances on albums like Remember Shakti, Masters Of Percussion and Global Drum Project.

When you get past the commercial songs on Tahaan’s soundtrack, what you have is Kashmiri folk music and a beautiful background score.

THE SONGS

The album opens with Jee Lo by Adnan Sami which is the most ‘commercial’ song on the soundtrack. It has decent lyrics but is nothing like the music Adnan is known for. Neither is it catchy like Lift Kara De nor does it have repeat value like Kabhi To Nazar Milao. It’s a song you forget the moment it gets over, and I’m surprised Adnan Sami contributed something so mediocre to the soundtrack.

The ‘modern’ version of Mastaan Mastaan has been composed by Kvanaa and has lyrics by Mehboob. It starts off in a very promising manner, and just when you think you’ve heard some good acoustic Hindi rock, the mood is ruined with unnecessary distortion. Sung by Ritesh Menon, the number is almost five minutes long, and you lose interest in it after it stretches past three-and-a-half minutes.

The folk version of Mastaan Mastaan is a welcome change in direction, and if you don’t know it’s Kashmiri folk, you’d think it was qawwali. This version of Mastaan Mastaan has been sung by Gulzar Ganai and the lyrics have been written by the late poet Fazil Kashmiri. The song changes pace midway, where the percussion gets faster for a bit and then slow again. One of the better songs in the album!

It’s one thing listening to assembly line tracks. But it’s a completely different ballgame listening to trash being sold under the name of original music.

The CD cover of Maan Gaye Mughal-E-Azam has Mallika Sherawat showing off her waxed legs, Rahul Bose holding a gun in one hand and a rose in another, Paresh Rawal dressed as a Mughal emperor and Kay Kay Menon trying to strum a guitar. And that is pretty much what is interesting about this music CD.

The album has seven songs of which two are remix versions. The first track, Pyar Kiya To Darna Kya is not a remix of the original in Mughal-E-Azam. It is instead a rehash of sorts, which bores you after the second minute. [On the sets of Mughal-E-Azam with Mallika]

This is pretty much the story with all the other numbers. But the worst of the lot is the Pankaj Udhas song – Ek to sharab kum. The guy groans, moans and has the harmonium for company. Things get worse when a couple of songs later there comes a ‘Part II’ to the song!

If you aren’t already suicidal, there’s Marmari baahen and its remix version and Ishqaiyaan and its remix version too. If these four numbers don’t drive you to the edge, frankly nothing else will. Sample the lyrics of Ishqaiyaan: Aaj mood hai Ishqaiyaan… dhadkan bole taa thaiyya dil me hoti gudgudiyan! Never mind the translations. Don’t bother translating these but written by Sanjay Chhel (who has also written and directed this movie) the lyrics rarely touch zero on the scale of minus one to ten.

Frankly after having heard all sorts of music albums in the recent past, it seems to me that I’d rather have an assembly line track, with hooks that make it catchy and saleable than have something as ‘original’ as this one.

Listen to Maan Gaye Mughal-E-Azam songs: