<strong>EXPECTATIONS</strong> When the very title of the film is based on a chartbuster from the 90s, you expect the overall soundtrack to be melodious. Thankfully, there is just one composer-lyricist team for this Vidhu Vinod Chopra and Fox Star Studios production and hence you expect certain consistency from Rochak Kohli and Gurpreet Saini. <img class="aligncenter wp-image-949396 size-full" title="Music Review: Ek Ladki Ko Dekha Toh Aisa Laga" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/02/Music-Review-Ek-Ladki-Ko-Dekha-Toh-Aisa-Laga.jpg" alt="Music Review: Ek Ladki Ko Dekha Toh Aisa Laga" width="720" height="450" /> <strong>MUSIC</strong> R.D. Burman and Javed Akhtar's '<em><strong>Ek Ladki Ko Dekha Toh Aisa Laga</strong></em>' is recreated with singer Darshan Raval and Rochak Kohli chips in as well. The very start of the song is quite different and catches your attention. Further to that the manner in which the recreation is done while using the beginning of the original base tune is done impressively as well. Had this song been promoted more aggressively, it could well have gone to a different level altogether since it is sung quite well and is very easy on ears too. The song that follows is a recreation too, this time of Punjabi track '<em><strong>Gud Naal Ishq Mitha</strong></em>'. Set in a 'shaadi-byaah ka mahaul', this one is kick-started by Harshdeep Kaur and soon enough Navraj Hans takes over. The song would be remembered primarily for the energetic moves on display by Anil Kapoor who makes this one his own. Overall, this one is decent enough and though one would still go for the original any time, as a recreation is passes muster too. The voice of Kanwar Grewal hasn't been heard much in a Hindi film song before and in case of this film, it is used for '<strong><em>Chitthiye</em></strong>'. A situational track that comes towards the second half of the film in the midst of a conflict situation, it does well to take the narrative forward but that's about it. With a sad and pensive touch to it, '<em>Chitthiye</em>' aids the storytelling to an extent. Next to arrive is a party song which is titled '<strong><em>House Party Song</em></strong>'. There isn't much recollection power that the song carries, though it does well in going with the situation for which it has been created. Sukhwinder Singh leads the show with Arjun Kanungo and Parry G joining in, and together they ensure that there is some kind of energy flowing when the song plays on. By this time you do get an idea that the music of <em>Ek Ladki Ko Dekha Toh Aisa Laga</em> is by and large situational and the last one to arrive, '<em><strong>Good Morning</strong></em>', pretty much reaffirms that. Vishal Dadlani is joined by newcomer Shannon Donald for this number which is set during that part of the film's narrative when the entire family is coming together for one big celebration. Again, as a part of the film it is okay, though there isn't much about it that you take home as a standalone number. <strong>OVERALL</strong> One expected an out and out melodic score from <em>Ek Ladki Ko Dekha Toh Aisa Laga</em> but barring the title song there isn't much to hum around. Overall, a fair soundtrack with largely situational numbers. <strong>OUR PICK(S)</strong> <em>‘Ek Ladki Ko Dekha’, ‘Gud Naal Ishq Mitha’</em>

<strong>EXPECTATIONS</strong> It is in fact surprising to find a soundtrack for <em>Sonchiriya</em>. Yes, director Abhishek Chaubey has incorporated music in his earlier films like <em>Ishqiya</em>, <em>Dedh Ishqiya</em> and <em>Udta Punjab</em>. Still, with the Chambal setting of <em>Sonchiriya</em>, you don't quite expect music in there. However, Abhishek has done that by bringing on board composer Vishal Bhardwaj and lyricist Varun Grover. <img class="aligncenter wp-image-956952 size-full" title="Music Review: Sonchiriya" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/02/Music-Review-Sonchiriya.jpg" alt="Music Review: Sonchiriya" width="720" height="405" /> <strong>MUSIC</strong> It is a Western country music beginning for <em>Sonchiriya</em> as Mame Khan brings on an 'alaap' for <strong><em>'Baaghi Re'</em></strong> even as a guitar plays in the background. This one has a haunting feel to it which goes well with the theme of the film. Moreover, there is this distinct Vishal Bhardwaj element that comes into play for <em>'Baaghi Re'</em> which sets it apart from the other soundtracks that you hear in Bollywood. Not that this one, or its 'remix version' that follows, would be a chartbuster but in the context of the film it plays its part well. Rekha Bhardwaj, who definitely comes up with a song or two whenever Vishal Bhardwaj is the composer, goes solo for the title song <strong><em>'Sonchiraiya'</em></strong> which is later heard in the 'reprise version' as well. This one is a slow moving soft number and has a vintage 70s feel to it which is in line with the kind of songs that were created by Gulzar back then. This time around though it is Varun Grover as the lyricist. While yet again there isn't any commercial value that the song comes with, it should play well as a part of the film. Arijit Singh comes on board for <strong><em>'Ruan Ruan'</em></strong> and pretty much sings this one in a style that is actually synonymous with that of Vishal Bhardwaj himself. The sound of the whistle that accompanies the song is again in line with the Western country music and you like the intoxicating feel that comes with the core of <em>‘Ruan Ruan'</em>. Had this song been promoted smartly and aggressively, it could well have covered some kind of distance. That said, despite Arijit on board, this one too is basically quite niche and for a select audience. Next to arrive is the traditional number <strong><em>'Naina Na Maar'</em></strong> which has its lyrics recreated by Ashok Mizaj Badr. First upbeat number of the soundtrack, this one has Sukhwinder Singh at the helm of affairs and his free flow mode of singing does aid in bringing good vibrancy into the proceedings. He is supported by Rekha Bhardwaj and while there is some kind of energy that comes in when the song is being played, one waits to see how it is picturised for the big screen. Last to arrive is an out and out situational number <strong><em>'Saanp Khavega'</em></strong> which is basically about the 'survival of the fittest'. A kind of number which is basically put together for the purpose of aiding the storytelling instead of playing a part where the commercial aspect of the soundtrack is enhanced, this Sukhwinder Singh sung number just about passes muster. <strong>OVERALL</strong> Strictly situational with no real commercial appeal. <strong>OUR PICK(S)</strong> <em>‘Ruan Ruan’</em>, <em>‘Baaghi Re’</em>

<strong>EXPECTATIONS</strong> With the film already running in theatres and each of the songs been out one after another, you are pretty much aware about what the music of <em>Total Dhamaal</em> has to offer. Gourov-Roshin are the composers for this soundtrack that is quite snazzy with just four songs in there. <img class="aligncenter wp-image-956955 size-full" title="Music Review Total Dhamaal" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/02/Music-Review-Total-Dhamaal.jpg" alt="Music Review Total Dhamaal" width="720" height="405" /> <strong>MUSIC</strong> It is a retro beginning for <em>Total Dhamaal</em> as Laxmikant-Pyaarelal, Anand Bakshi and Kishore Kumar's <strong><em>'Paisa Yeh Paisa'</em></strong> is recreated by Gourov-Roshin and lyricist Kunwar Juneja. The good part about this recreation is that the core essence of the song has been kept intact right from the 'mukhda' to the 'antara'. While Dev Negi and Subhro Ganguly do well to keep the playful element on, it is Arpita Chakraborty's vocals in the 'antara' portions that really elevate the song further. A good number to hear and enjoy all over again. The next track to follow is a recreation too with Gourov-Roshin and Kunwar Juneja putting together Rajesh Roshan and Usha Mangeshkar's <strong><em>'Mungda'</em></strong>. With Gourov Dasgupta bringing on rap into the song which has been picturised on Sonakshi Sinha, this one actually turns out to be a fast paced entertaining hear that works well even four decades after the original from <em>Inkaar</em> was heard first. Though the song has been slammed by a few, it actually turns out to be a good effort by Jyotica Tangri who is supported well by Shaan and Subhro Ganguly. The song which actually turns out to be the best of the lot is the original number <strong><em>'Speaker Phat Jaaye'</em></strong> that has been written by Kumaar. It is surprising that this one was not the first to be promoted as it actually has a good rhythm to it which places it well as a party anthem. Harrdy Sandhu takes the lead in this club track while being supported by Abuzar Akhtar. As for Aditi Singh Sharma and Jonita Gandhi, they chip in well too hence ensuring that there is no dull moment in there. Play this on in loop and you would be hooked for sure. Last to arrive is the <strong><em>'Theme song'</em></strong>, the sound of which has been heard in the promo of the film. Yet again, it would have actually helped had a music video been created around it and promoted as this one too is fast paced that goes with the film's theme. This one too has a lot of energy to it which is in line with the spirit of the film. Dev Negi takes centre-stage for this song which arrives briefly in the film's narrative and does make its presence felt. <strong>OVERALL</strong> The music of <em>Total Dhamaal</em> fits in quite well with the mood and spirit of the film. Moreover, with audiences appreciating the film, there is further recall on the cards for the music that would only make it further popular. This one is a mood booster. <strong>OUR PICK(S)</strong> <em>‘Speaker Phat Jaaye’</em>, <em>‘Paisa Yeh Paisa’</em>, <em>‘Mungda’</em>

<strong>EXPECTATIONS</strong> Well, this could be a record of sorts when an entire soundtrack of a film has been made out of recreated versions. However, this is what happens in case of <em>Luka Chuppi</em> which has five songs in there and each of these has been a hit in its original versions during the last few years gone by. Let's check these out. <img class="aligncenter wp-image-956950 size-full" title="Music Review Luka Chuppi" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/02/Music-Review-Luka-Chuppi.jpg" alt="Music Review Luka Chuppi" width="720" height="405" /> <strong>MUSIC</strong> The only song in the album which has been recreated from a Bollywood flick, <strong><em>'Poster Lagwa Do' </em></strong>is based on <em>'Ye Khabar Chapwado Akhbar Mein'</em> from Akshay Kumar and Urmila Matondkar starrer <em>Aflatoon</em>. This time around the singers at the helm of affairs are Mika Singh and Sunanda Sharma, and both come up with a very energetic outing. White Noise Studios is the force behind the new composition and lyrics, though this version could have done without the brief rap portion. Also the crescendo that picks around 'Ek Ladka Ek Ladki' is a bit odd and avoidable. Tanishk Bagchi, the man responsible for quite a few recreated versions during the last few weeks, picks Tony Kakkar's <strong><em>'Coca Cola'</em></strong> and gives it a new flavour, pun intended. This one is an instant party hit and you want to hit the dance floors while it is on. Tony Kakkar pairs up with Neha Kakkar for this song and also writes lyrics along with Mellow D with Young Desi stepping in for the rap portion, which actually works for this number. In the same mould as the kind of dance numbers that were last seen in Kartik Aaryan's <em>Sonu Ke Titu Ki Sweety</em>, this is a winner. Things turn sober after a couple of dance numbers with Tanishk Bagchi recreating Goldboy's <strong><em>'Photo'</em></strong>. A love song about remembering the one whom you love most, this one has beautiful and simple lyrics by Nirmaan that add on to the romantic appeal. Moreover, the manner in which Karan Sehmbi sings this one, it turns out to be instantly likeable too. The only regret? This one is way too short in duration as one would have wanted to hear more of it. Celebration number <strong><em>'Tu Laung Main Elaachi'</em></strong> comes in next and Tanishk Bagchi scores well yet again while recreating Gurmeet Singh's<em> 'Laung Laachi'</em> that was originally sung by Mannat Noor. Kunaal Vermaa is the lyricist for the new version that has Tulsi Kumar as the singer. She is just the right choice for this sweet and pleasant sounding number that is set to be a rage all over again up North, given its traditional flavour that is out and out 'desi'. When composer Bob and lyricist Raja came up with <em>'Khaab'</em> a few years back, even they wouldn't have imagined that it would emerge as a major chartbuster with a really good shelf life. This is what has happened now; what with the song finding a new version in the form of <strong><em>'Duniyaa'</em></strong> that indeed has a timeless appeal to it. Akhil, who had sung the original version, returns along with Dhvani Bhanushali and Bhrigu Parashar for this really beautiful love song that has new lyrics by Kunaal Vermaa and music put together by Abhijit Vaghani. A winner all over again! <strong>OVERALL</strong> The music of <em>Luka Chuppi</em> is a major winner with a wide variety to it that should appeal across segments. Agreed that there is no new original number in there but then the packaging of earlier chartbusters ensures that you are hooked right though the proceedings. <strong>OUR PICK(S)</strong> <em>‘Coca Cola’</em>, <em>‘Photo’</em>, <em>‘Duniyaa’</em>

<strong>EXPECTATIONS</strong> From a film like<em> Badla</em>, one expects a few theme songs that would be used for promotional purpose. Since this Sujoy Ghosh directed film is more of a conversational affair, there was never any scope for songs arriving in the course of the narrative. This is what happens too in this soundtrack which has five numbers, all of which are basically theme tracks. <img class="aligncenter size-full wp-image-961053" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/03/Music-Review-Badla.jpg" alt="" width="720" height="405" /> <strong>MUSIC</strong> It is a sad song that kick-starts the album, what with composer Amaal Mallik bringing on board his brother Armaan Malik for<strong><em> 'Kyun Rabba'</em></strong>. This is a kind of number where lyrics have an important role to play and from that perspective lyricist Kumaar doesn't disappoint. He brings in the right elements of pain, separation and regrets in the song which later arrives in the 'acoustic version' as well and does leave a decent impression. Clinton Cerejo, who has given the fantastic background score of <em>Badla</em>, is the man in charge for the rap track <strong><em>'Aukaat</em></strong>' which plays during the opening credit rolls of the film. Siddhanth Kaushal and Jizzy come together for writing this theme track that has Amitabh Bachchan trying his vocals at rap and actually doing rather well. He is joined by Clinton Cerejo along with Amit Mishra for this thumping number that does well in setting the mood for the film, though doesn't quite carry much of a shelf life. KK's voice is always special and hence when his name appears on the credits for <strong><em>'Tum Na Aaye'</em></strong>, you want to know what does composer Amaal Mallik have to offer. Yet another song about pain associated with separation, this one has sensitive lyrics by A.M.Turaz. That said, with the overall mood and setting being pretty sad and not much promotion to accompany the effort either, <strong><em>'Tum Na Aaye' </em></strong>would largely go unnoticed. Had it been picturised on someone like Emraan Hashmi for a quintessential romantic entertainer, it could have covered a distance. Last to arrive is<strong><em> 'Badla'</em></strong> and this one comes across as a rather weird effort, considering it gets into the zone of <em>'petrol ka daam badla'</em> and stuff alike, which has absolutely nothing to do with the core of the film. Moreover, this effort by composer/singer/lyricist Anupam Roy (who is supported by Manoj Yadav for the lyrics), is rather lazy and lukewarm, hence falling under the quick-skip variety. <strong>OVERALL</strong> The music of <em>Badla </em>doesn't really have much of a recall value, though <strong><em>'Kyun Rabba'</em></strong> may play on for a while. <strong>OUR PICK(S)</strong> <em>Kyun Rabba</em>

<strong>EXPECTATIONS</strong> The promo of <em>Mard Ko Dard Nahi Hota</em> candidly admits that it doesn't wish to be slotted as a festival film. That is pretty apparent when it comes to the soundtrack as well since there are as many as eight songs in there, albeit pretty offbeat in nature. Newcomer Karan Kulkarni puts together the entire album with Garima Obrah writing maximum songs. <img class="aligncenter wp-image-966210 size-full" title="Music Review Mard Ko Dard Nahi Hota" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/03/Music-Review-Mard-Ko-Dard-Nahi-Hota.jpg" alt="Music Review Mard Ko Dard Nahi Hota" width="720" height="450" /> <strong>MUSIC</strong> Benny Dayal goes all energetic in <strong><em>'Rappan Rappi Rap'</em></strong> which has quirky lyrics in there right through the song's four minute duration. A fun track that has a peppy appeal to it, this one is unique in its own way as you have never heard something like this before at least in the Bollywood scheme of things, courtesy lyricist Garima Obrah. Karan joins hands with lyricist Garima Obrah and also comes behind the mike for <strong><em>'Kitthon Da Tu Superstar'</em></strong> which has Sanj V taking the lead. A Punjabi number which has just the kind of musical ingredients that you expect in a song belonging to this genre and setting, this one has a foot tapping appeal to it. Before the album concludes though, there is a shorter <em>'Shooter Version'</em> too which is Sanj V show all the way with Dipanjan Guha joining Karan Kulkarni for the music. Guest composer Shantanu Ghatak comes up with <strong><em>'Tere Liye'</em></strong> which starts with the sound of a piano. This one has Vishal Mishra beginning the proceedings with newcomer Kamakshi Rai joining him behind the mike along with Karan Kulkarni himself. A song based in night, this one tries to be all serene and cool though eventually turns out to be just about decent. Karan Kulkarni takes lead as a singer along with Saba Azad for <strong><em>'Nakhrewaali'</em></strong>. This one has a different kind of a sound to it when compared with the kind of Bollywood numbers that one has been exposed to. That said, the final impact is not really the kind that makes you root for it. Written by Garima Obrah and Hussain Haidry, this one just about passes muster. What catches your attention at the very onset of the title of the song that goes as <strong><em>'Life Mein Fair Chance Kiska'</em></strong> (Jimmy Mani Song). The lead singer here is Suresh Triveni who sings in a style similar to that of S.P. Balasubramaniam, and that too rather intentionally. However, even though this Garima Obrah written number tries to be all cool and funny, it doesn't really manage to make much of an impression. Moreover, the manner in which Suresh Triveni sings this one along with Surya Ragunaathan and Veera Fauzia Saxena, you can hardly comprehend it. Kamakshi Rai returns, this time for an English number <strong><em>'Dreamtime'</em></strong>. Written by Karan Kulkarni, this one has an out and out Western base to it with a club setting to it. One waits to see how this one is picturized on screen and so is the case with <em>'Shaolin Sky'</em> which follows next. This one has Karan Kulkarni playing the triple role of composer, lyricist and singer, even as he tries to bring back the theme of <em>'Rappan Rappi Rap'</em> intermittently. <strong>OVERALL</strong> The music of <em>Mard Ko Dard Nahi Hota</em> is too niche and certain portions of some of the songs may probably make an impression during the film's storytelling, but that's about it. <strong>OUR PICK(S)</strong> <em>‘Rappan Rappi Rap’</em>, <em>‘Kitthon Da Tu Superstar’</em>

<strong>EXPECTATIONS</strong> An Akshay Kumar starrer always has scope for some good music, regardless of the genre that it belongs. <em>Kesari</em> is a battle drama and it is not surprising to actually see half a dozen songs in there. A couple of songs from the film have already become popular and it is time to check out what do the multiple composers and lyricists have to bring on the table for the soundtrack. <img class="aligncenter size-full wp-image-964866" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/03/Music-Review-Kesari.jpg" alt="" width="620" height="450" /> <strong>MUSIC</strong> <em>Kesari</em> kick-starts with Guru Gobind Singh Ji's shabd <strong><em>'Ek Onkaar'</em></strong>. There have been quite a few versions of the track that have been released during last many years and the most popular one has featured in <em>Rang De Basanti</em>. Now Jasbir Jassi comes up with his own rendition here and does manage to make a good impact. It is surprising to find a love song comes next in <em>Kesari</em> which is basically centred on a battle. <strong><em>'Ve Maahi'</em></strong> is a pleasant surprise though as Tanishk Bagchi, who is known most for number of recreated chartbusters that he has delivered, delivers a soulful romantic number which is also written by him. Though the song has been released late in the day, it is bound to find good popularity in long term, courtesy beautiful vocals by both Arijit Singh &amp; Asees Kaur who sing with their heart in. Next to arrive is <strong><em>'Teri Mitti'</em></strong> which is easily the best track in <em>Kesari</em>. In fact it is also one of the best compositions to have been unveiled in 2019 as it has the right thump to it. Right from Manoj Muntashir's high impact lyrics that bring in the right mix of patriotism and emotions to the manner in which Arko composes this one with minimal instruments in the background, <em>'Teri Mitti'</em> warrants a repeat hear. As for the man who makes it all possible, it is newcomer B Praak who impresses with his vocals and leaves a lasting impression. After a high intensity <em>'Teri Mitti'</em>, it is time for celebrations with Tanishk Bagchi bringing on 60s style music for <strong><em>'Sanu Kehndi'</em></strong>. Set in a retro mode, this one written by Kumaar has a good vintage feel to it in every department, be it composition or lyrics. Same holds true for the manner in which Romy and Brijesh Shandilya sing this one, hence making it an all-around effort. It is time to bring back intensity with Chirrantan Bhatt coming with <strong><em>'Ajj Singh Garjega'</em></strong>. This one hails the valour of Sikhs as there is pride written all over the lyrics, courtesy Kunwar Juneja. The manner in which Jazzy B sings this one, you are reminded of many a track like these that feature in Punjabi soundtracks, be it filmy or non-filmy. Yet another high energy song. Last to arrive is <strong><em>'Deh Shiva'</em></strong> which appears in a male and female version each, and has a different set of composers and singers for both. The male version rendered by Sukhwinder Singh is a high decibel version that should make for a good impact in the film's narrative. Put to tune by Gurmoh, it has a wide canvas feel to it. On the other hand Jasleen Royal composes as well as sings the female version in her characteristic voice and this one turns out to be a much sombre version. Based on the shabd by Guru Gobind Singh Ji, this one marks an apt finale to <em>Kesari</em>. <strong>OVERALL</strong> <em>Kesari</em> does well in packing as many as seven tracks in there and cuts across genres while still maintaining a consistent sound. The music is the kind that should earn longevity for itself once the film has a long run in theatres. <strong>OUR PICK(S)</strong> <em>‘Teri Mitti’</em>, <em>‘Ve Maahi’</em>, <em>‘Sanu Kehndi’</em>, <em>‘Ajj Singh Garjega’</em>

<strong>EXPECTATIONS</strong> Most of the times when newcomers are launched, the film belongs to the romantic genre. Of course when it is a love story in the offering then music has to be a strong point as well. Moreover, <em>Notebook</em> is a Salman Khan production and hence you do expect composer Vishal Mishra to deliver goods along with his team of lyricists who come together for five tracks. <img class="aligncenter wp-image-966217 size-full" title="Music Review: Notebook" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/03/Music-Review-Notebook.jpg" alt="Music Review: Notebook" width="720" height="450" /> <strong>MUSIC</strong> The manner in which <strong><em>'Safar'</em></strong> begins, you are reminded of <em>'Ilahi'</em> [<em>Yeh Jawaani Hai Deewani</em>]. Moreover, Mohit Chauhan is the common element as well which further enhances the appeal of this Kaushal Kishore written number. Composer Vishal Mishra does well to create the kind of music that is set in the hills and brings in the right serenity that you associate with such milieu. Based on Kashmiri folk music, lyricist Kaushal Kishore spins <strong><em>'Bumro'</em></strong>, the core theme of which was also heard in Hrithik Roshan's <em>Mission Kashmir</em> almost two decades back. This time around it is Kamaal Khan who renders <em>'Bumro'</em> and while the impact is decent enough, you still want to go back to the Shankar-Ehsaan-Loy composition that had made waves back in year 2000. It's the sound of piano that kick-starts the proceedings for the first romantic number in <em>Notebook</em>, <strong><em>'Nai Lagda'</em></strong>. Vishal Mishra brings himself behind the mike for this soothing love song that is based on melody with Akshay Tripathi coming up with quintessential filmy lyrics. A song about pain associated with separation, this one has Asees Kaur as Vishal's companion and is fair. Vishal Mishra steps in as a lyricist too along with Abhendra Upadhyay for <strong><em>'Laila'</em></strong>, another love song, which is led by Dhvani Bhanushali. A soft sounding number which has a core situational appeal, it has orchestra playing a major role as there is a variety of instruments coming into play. With a Western influence to it, this one starts seeping into mind after repeated hearing. Last to arrive is <strong><em>'The Notebook Symphony'</em></strong> and can well be expected to be a part of the film's background score. An elaborate piece which is made to accentuate the soundtrack's big screen appeal, this one should make an impression along with the film's narrative. <strong>OVERALL</strong> The music of <em>Notebook</em> is decent and though there aren't any major chartbusters out there, as a group of songs there is certain consistency coming into play. If the film does well in theatres, the music should find added traction. <strong>OUR PICK(S)</strong> <em>‘Safar’</em>, <em>‘Nai Lagda’</em>

<strong>EXPECTATIONS</strong> With the soundtrack of <em>Junglee</em> arriving on the day of the film's release, there has hardly been any awareness around the music. Moreover, the film is a jungle adventure and hence at best one expects composer Sameer Uddin to have come up with situational numbers. <img class="aligncenter size-full wp-image-967442" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/04/Junglee-2.jpg" alt="" width="720" height="450" /> <strong>MUSIC</strong> There are only three songs in the album, and the first one is written by Anvita Dutt. Titled <strong><em>'Fakeera Ghar Aaja'</em></strong>, this one is about a man's homecoming and makes for a situational setting. With a decent sound to it, it has some functional rendition by Jubin Nautiyal and just about passes muster. Next to arrive is Kumar Suryavanshi written <strong><em>'Garje Gajraj Hamare'</em></strong> and this one is an ode to elephants. It tries to be all cute and nice with a child accompanying Vidyut as they go around the village. However, the end result is hardly the kind that would make you feel like playing this Navraj Hans, Hamsika Iyer, Abhishek Nailwal and Gulshan Kumar sung number on loop. Kumar Suryavanshi is also the lyricist for last number in the album, <strong><em>'Dosti'</em></strong>. This one actually turns out to be better of the lot with Mohan Kannan's vocals adding to the song's appeal. This one has a kind of setting that Pritam puts together for many a Mohit Chauhan numbers and actually makes for a pleasant hear. <strong>OVERALL</strong> The music of Junglee is by and large forgettable. <strong>OUR PICK(S)</strong> <em>‘Dosti’</em>

<strong>EXPECTATIONS</strong> The film <em>PM Narendra Modi</em> is set for release this Friday and the soundtrack has been unveiled too. Given the fact that the film is a biopic, one expects patriotic flavour in this music of <em>PM Narendra Modi</em> which has multiple composers and lyricists collaborating to bring together half a dozen songs. <img class="aligncenter size-full wp-image-968004" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/04/PMNM.jpg" alt="" width="720" height="405" /> <strong>MUSIC</strong> Prasoon Joshi is the lyricist of the opening number <strong><em>'Saugandh Mujhe Iss Mitti Ki'</em></strong> that is composed by Shashi - Khushi and has Shashi Suman singing in a manner that is reminiscent of Sonu Nigam. He is joined by Sukhwinder Singh behind the mike and together they actually come up with a decent outing that reminds one of the kind of music that A.R. Rahman's <em>Lagaan</em> carried. <strong><em>'Namo Namo'</em></strong> has been a prominent slogan for last half a decade and that turns out to be the hook-line of the song. A rap number that is written and rendered by Parry G, this Hitesh Modak composed track is high on intensity and aims at being a power packed outing. Producer Sandip Ssingh too debuts as a singer with this theme song that has Lavaraj as the lyricist as well. Shankar-Ehsaan-Loy and Sameer's <strong><em>'Hindustani'</em></strong> was a huge hit when released back in time for Salman Khan and Sanjay Dutt's unreleased <em>Dus</em>. The song is presented in a new avtar with Parry G's rap kick-starting the proceedings and Sardaana writing added lyrics. This time around it is Shankar Mahadevan's son Siddharth Mahadevan who takes over the mantle and is joined by Shashi Suman as the singer. The overall impact is lacklustre though, as is the case with most of the recreations that are heard first. Shashi-Khushi and Sadaraa come together for <strong><em>'Fakeera'</em></strong> which turns out to be a rather dull outing. Very old fashioned and just not the kind of number that can be expected to make an impression amongst today's audiences, this Raja Hasan and Shashi Suman rendered track belongs to the quick-skip variety. The song which follows next turns out to be even duller, what with composer Hitesh Modak and lyricist Lavraj not really managing to entice any patriotic reactions. Based on Indian classical music, <strong><em>'Junoon'</em></strong> is sung by Javed Ali and though the singer does try, the ordinary tune and the arrangements that accompany it don't really help the cause. The soundtrack concludes with Suvarna Tiwari rendering <strong><em>'Ishwar Allah'</em></strong> which had featured in A.R. Rahman and Javed Akhtar's <em>1947 Earth</em>. Hitesh Modak recreates the song along with lyricist Lavraj and though the 'sur' is in synch with the mood of rest of the album, it doesn't quite entice you much to go for a repeat hearing. <strong>OVERALL</strong> Core situational and thematic. <strong>OUR PICK(S)</strong> <em>‘Saugandh Mujhe Iss Mitti Ki’</em>, <em>‘Namo Namo’</em>

<strong>EXPECTATIONS</strong> Since <em>Romeo Akbar Walter</em> is basically a spy thriller, music is expected to be primarily an added accessory and not necessary an integral part of the film's narrative. Hence, even though there are five tracks in the John Abraham starrer, one expects a situational score at best. <img class="aligncenter size-full wp-image-969148" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/04/Romeo-Akbar-Walter-3-1.jpg" alt="" width="720" height="450" /> <strong>MUSIC</strong> First to arrive is a patriotic number <strong><em>'Vande Mataram'</em></strong> which has Shabbir Ahmed composing and writing it. This one has an old fashioned feel to it and goes all the way into the 60s style. Sonu Nigam leads the show as a singer with Ekta Kapoor (not to be confused with the namesake film and TV producer) in this song that is just about okay and doesn't cover the distance. The one that turns out to be quite good though is <strong><em>'Bulleya'</em></strong>. In fact it is surprising that the song wasn't really pumped all over since it had the potential to emerge as one of the major chartbusters of this year. Rendered by Rabbi Shergill (of <em>'Bulla Ki Jaana Mein Kaun'</em> fame), it has Shahid Mallya as his singing partner. A well written number by Ashok Punjabi, it has a very catchy tune by Sohail Sen that belongs to Sufi genre but has been presented in a Bollywood avtar, hence turning out to be an all-around effort. Next to arrive is a romantic number <strong><em>'Jee Len De'</em></strong> which is put to tune by Raaj Aashoo and is written by Murali Agarwal &amp; Shabbir Ahmed. This one has the kind of tune which reminds one of many Emraan Hashmi numbers that were composed a decade back. As a matter of fact the beginning of the song reminds one of Mohd. Rafi's <em>'Teri Pyaari Pyaari Surat Ko'</em> that was picturised on Rajendra Kumar in <em>Sasural</em> [1961]. However, the similarity just stops at the opening line as rest of this Mohit Chauhan rendered track maintains its own identity. <strong><em>'Allah Hoo Allah'</em></strong> comes next and just like <em>'Bulleya'</em>, even this one had the potential to cover some sort of distance. Composed and written by Shabbir Ahmed, this one is crooned by Sameer Khan and is a good qawalli in the offering. In fact it also appears at a good juncture of the film's narrative and is actually one of the few songs in there that really fits in well. Last to arrive is <strong><em>'Maa'</em></strong> which is written by debutant Prince Dubey. An ordinary piece by composer and singer Ankit Tiwari, it has a slow start and stays that way right through its three minute odd duration. An ode to the mother, it is about the protagonist remembering her in the times of pain and sorrow. Though this is a situational number, it actually brings down the film's pace. <strong>OVERALL</strong> With the current trend of number of soundtracks releasing just a day or two before the film's release, it takes time for the music to grow. However, one can expect <em>'Bulleya'</em> and <em>'Jee Len De'</em> to find an audience in the long run. <strong>OUR PICK(S)</strong> <em>‘Bulleya’</em>, <em>‘Jee Len De’</em>

<strong>EXPECTATIONS</strong> There are huge expectations from the music of <em>Kalank</em>. After it, it sees Karan Johar and Sajid Nadiadwala join hands who bring on board composer Pritam along with lyricist Amitabh Bhattacharya. Moreover, with a stellar cast at its disposal and Varun Dhawan along with Alia Bhatt leading the show, you do expect fireworks. <img class="aligncenter size-full wp-image-971649" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/04/Kalank-4-2.jpg" alt="" width="720" height="450" /> <strong>MUSIC</strong> First to arrive is <strong><em>'Ghar More Pardesiya'</em></strong> which is set during the Dusshehra sequence in the film. The song helps take the narrative forward for the film as Alia Bhatt meets Madhuri Dixit and then Varun Dhawan for the first time. The well written number has a good metaphorical reference too and Pritam brings a new dimension of his to the fore by putting together this semi-classical track that is very well rendered by Shreya Ghoshal. Later in the soundtrack, a 'radio edit' version appears which has Vaishali Mhade joining Shreya. This one adds to the recall value. Next to arrive is <strong><em>'First Class'</em></strong> and this is also the best song of the soundtrack, what with a peppy tune, catchy lyrics and some 'masti se bharpoor' singing by Arijit Singh and Neeti Mohan. In fact one wonders why this wasn't the first song to be promoted and placed right at the top of the soundtrack. With a start that reminds one of Pritam's own <em>'Afghan Jalebi'</em> [<em>Phantom</em>] and the flow that is on the same lines as <em>'Saree Ke Fall Sa'</em> [<em>R... Rajkumar</em>], <em>'First Class'</em> is a chartbuster with cool rhythm accompanied by the dance moves that have become quite popular. Arijit Singh gets into an altogether different 'avtar' with the title song <strong><em>'Kalank'</em></strong>. This one only adds further class to this album that keeps the fire igniting with every passing number. A heartfelt number with sadness all over it, <em>'Kalank'</em> has brilliant lyrics by Amitabh Bhattacharya that stay with you long after it has been heard first. Moreover, Arijit's rendition is truly the kind that is for a heart which is in pain and that's something which turns out to be the hallmark of the song. There is a duet version too with Shilpa Rao but it's the solo version that stays. Shreya Ghoshal is back as the voice of Madhuri Dixit and she sings <strong><em>'Tabaah Ho Gaye'</em></strong> in a manner that only she can. In fact Pritam too composes this one in a style that is reminiscent of the kind of music that Sanjay Leela Bhansali has in his own films. Musically, this one is on the same lines as <em>'Maar Daala'</em> [<em>Devdas</em>] though this one does manage to bring in its own individuality as well, hence lending a good impression. There is certain sadness and pain in Shreya's voice which compliments the situation that Madhuri Dixit finds herself in the film, and that works. <strong><em>'Aira Gaira'</em></strong> comes next a couple of times and this is the much talked about song-n-dance appearance of Kriti Sanon. Sung by Antara Mitra, this one actually reminds one of the kind of songs that Rekha Bhardwaj has sung in quite a few films. A high on energy number, this one actually reaches its crescendo when Javed Ali and Tushar Joshi pair up to provide vocals for Varun Dhawan and Aditya Roy Kapur in the film. In a style that has its base in the 40s and the 50s, this one needed more time for promotion in order to reach out to the audiences much quicker. The album concludes with Jonita Gandhi going solo for <strong><em>'Rajvaadi Odhni'</em></strong>. This one too has its base in Sanjay Leela Bhansali style of music and again it is surprising that the song wasn't promoted much in advance. A song which actually kick-starts the film and introduces Alia Bhatt to the audience, this one is picturised as well as placed well in the film. A catchy number that has the feet tapping. <strong>OVERALL</strong> Pritam comes up with a very good soundtrack for <em>Kalank</em> and is helped a great deal by lyricist Amitabh Bhattacharya. Moreover, there is a consistency of sound right through half a dozen odd songs that feature in the soundtrack. Even though the film is set in the 40s and the music compliments that era as well, even today's audience can well be entertained. <strong>OUR PICK(S)</strong> <em>‘First Class’</em>, <em>‘Kalank’</em>, <em>‘Tabaah Ho Gaye’</em>, <em>‘Rajvaadi Odhni’</em>

<strong>EXPECTATIONS</strong> When a film is set as a high school musical, expectations are obviously there for a youthful and vibrant score in the offering. Vishal-Shekhar return from Student of the Year to the second instalment of the franchise and this time around they have multiple lyricists for company. Considering the fact that the mantle of direction has moved on from Karan Johar to Punit Malhotra, one waits to see how the soundtrack turns out to be. <img class="aligncenter size-full wp-image-973392" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/04/Mumbai-Dilli-Di-Kudiyaan-Student-Of-The-Year-2-Tiger-Shroff-Tara-Sutaria-Ananya-Pandey.jpg" alt="" width="720" height="405" /> <strong>MUSIC</strong> First to arrive is the recreated version of 70s chartbuster <em>'Yeh Jawaani Hai Deewani'</em> which has been presented as <strong><em>'The Jawaani Song'</em></strong>. While the combo of R.D. Burman, Anand Bakshi and Kishore Kumar had created magic back then, the new team of Vishal-Shekhar, Anvita Dutt and Vishal Dadlani-Payal Dev chip in well to amalgamate the original with the new version. This one is an experiment on the same lines as Vishal-Shekhar's <em>'Bachna Ae Haseeno'</em> where both new as well as old world had integrated quite seamlessly. The one that actually turns out to be the best song of the album though is <strong><em>'Mumbai Dilli Di Kudiyaan'</em></strong>. Vishal Dadlani chips in with his rap portion for this fun number that has an intoxicating hook is pretty much on the lines of several chartbusters that Vishal-Shekhar had delivered around a decade ago. Dev Negi and Payal Dev do well behind the mike for this fun celebration number written by vayu that has the trio of Tiger Shroff, Tara Sutaria and Ananya Pandey come together on screen and dance away to glory. A chartbuster track. Yet again, it's the hook that makes an instant impact, what with Vishal-Shekhar getting the youthful feel right again. It is always so delightful to hear Shekhar Ravjiani's voice, especially considering the fact that the composer sings quite rarely. He does quite well though in Kumaar written <strong><em>'The Hook Up Song'</em></strong> which has Alia Bhatt making a special appearance alongside Tiger Shroff. Neha Kakkar is the singing partner of Shekhar here and together they ensure that the album so far has three out of three songs working quite well. Sanam Puri, who had shot to fame with <em>'Dhat Tere Ki' </em>In Punit Malhotra's <em>Gori Tere Pyaar Mein</em> is back for the filmmaker's <em>Student of the Year 2</em>. The song he renders this time around is <strong><em>'Fakira'</em></strong> which has Neeti Mohan giving him company behind the mike. A 'desi' number with a hint of 'sufi' to it, this one written by Anvita Dutt is the kind that needs time to grow and hence should be unveiled pronto if it has to reach out to the audience. Next to arrive is <strong><em>'Main Bhi Nahin Soya'</em></strong> and yet again it is Anvita Dutt who is the lyricist here. A Punjabi-Hindi track by Arijit Singh, this one is a sad number and surprisingly doesn't quite fetch your attention even after repeated hearing. Agreed that the feel had to be sober right through its playing time considering its sad theme, one just hopes that it doesn't slow down the proceedings of the film's narrative, especially if it arrives in the second half. The album concludes on a high though with Vishal Dadlani and Payal Dev pairing up for Anvita Dutt written <strong><em>'Jat Ludhiyane Da'</em></strong>. On the same lines as <em>'Mumbai Dilli Di Kudiyaan'</em> and <em>'The Hook Up Song'</em> when it comes to the fun youthful quotient, this one may not go on to emerge as a huge chartbuster but still should do its job well to keep the film's proceedings entertaining. Moreover, it is sung quite well too, especially by Payal Dev who has bagged good opportunity to feature in as many as three songs and has made a good impression each time around. <strong>OVERALL</strong> One expected the music of <em>Student of the Year 2</em> to be largely fun and youthful, and in that aspect the soundtrack does well. There are half a dozen songs in there and while a couple of these are set to be chartbusters, another couple is set to grow in days to come. <strong>OUR PICK(S)</strong> <em>‘Mumbai Dilli Di Kudiyaan’</em>, <em>‘The Jawaani Song’</em>, <em>‘The Hook Up Song’</em>

<strong>EXPECTATIONS</strong> There are good expectations from the music of <em>De De Pyaar De</em>. After all, it's the <em>Sonu Ke Titu Ki Sweety</em> team of Bhushan Kumar and Luv Ranjan coming together, and that by itself sets the platform for an entertaining score. Moreover with Ajay Devgn and Rakul Preet Singh coming together, it turns out to be a unique combination that further adds on to enhanced interest. <img class="aligncenter wp-image-981143 size-full" title="Music Review De De Pyaar De" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/05/Music-Review-De-De-Pyaar-De.jpg" alt="Music Review De De Pyaar De" width="750" height="450" /> <strong>MUSIC</strong> Multiple composers, lyricists and singers come together to create half a dozen songs for <em>De De Pyaar De</em> and the first to arrive is <strong><em>'Vaddi Sharaban'</em></strong>. A song about getting intoxicated and celebrating hard, this song written by Kumaar is put to foot tapping tune by Vipin Patwa. Moreover, with Sunidhi Chauhan leading the show as a singer, it adds further credibility. She is at her vivacious best in this song which has a catchy hook to it and Navraj Hans gives her good company too behind the mike. Later, it also arrives in a 'talli mix' which brings in recall value. A romantic number comes next in the form of <strong><em>'Tu Mila To Haina'</em></strong> and this one is the kind that could well have been seen and heard in a Ranbir Kapoor or a Saif Ali Khan starrer. Amaal Mallik comes up with a soulful tune here which has Arijit Singh delivering his best. A soothing number that has some beautiful lyrics by Kunaal Vermaa, <em>'Tu Mila To Haina'</em> is the kind of song that should have a good shelf life in time to come. Next to arrive is a dance number <strong><em>'Hauli Hauli'</em></strong> and if one was missing Neha Kakkar all this while then well, the wait is over as she gets into her mischievous best with this one. This is the best song to arrive in the album so far as the entire team of composer/lyricist Tanishk Bagchi along with Neha and co-singer Garry Sandhu (who also chips in with the lyrics) does really well to make this one a cracker affair. Mellow D brings on the rap portions in this song which plays in the end credits and ensures that you take this song home and play it all over again. The soundtrack continues to oscillate between a party number and a love song, and it is time for latter to arrive this time around in the form of <strong><em>'Chale Aana'</em></strong>. A happy-sad number which has the team of Amaal Mallik and Kunaal Vermaa pairing up again, this is yet another winner number which is sung beautifully by Armaan Malik. With a soothing tone to it, the song comes at just the right time in the film's narrative and the accompanying visuals further help in making sure that it manages to make a good impact. Moreover, the lyrics stay with you as well. A Punjabi-Hindi number comes up next in the form of Kumaar written <strong><em>'Mukhda Vekh Ke'</em></strong> which is the recreated version of the song that was originally put together by composer Atul Sharma and lyricist Shamsher Sandhu. A celebration number by Manj Musik that has a fun element to it, it may not the kind that would stay on for long amongst the audience but does manage to leave a good impression while it plays on. Mika Singh and Dhvani Bhanushali pair up well to keep good energy flowing right through the song's duration. Last to arrive is Rochak Kohli composed <strong><em>'Dil Royi Jaye'</em></strong> and this one turns out to be one of those sad numbers that actually end up making you feel so sad that you don't quite aim for repeated hearing. In fact the core hook of this Kumaar written song turns out to be way too sad and the song too arrives at that juncture of the film where it only ends up bringing down the film's pace. Arijit Singh is the singer here but somehow you don't quite take this song back home. <strong>OVERALL</strong> The music of <em>De De Pyaar De</em> by and large ends up working quite well with most of the soundtrack actually keeping you pretty much engaged and entertaining. Be it a couple of party numbers or the love songs, they fit in well into the film's narrative as well, hence lending an overall good experience. <strong>OUR PICK(S)</strong> <em>‘Hauli Hauli’</em>, <em>‘Chale Aana’</em>, <em>‘Vaddi Sharaban’</em>, <em>‘Tu Mila To Haina’</em>

<strong>EXPECTATIONS</strong> Salman Khan. Katrina Kaif. Ali Abbas Zafar. Bhushan Kumar. Vishal-Shekhar. Irshad Kamil - When the credentials are as huge as that, you expect the music to be of the next level. Moreover, considering the fact that the film transitions Salman Khan's journey from being a youngster to an old man as he lives his life along with the rise of <em>Bharat</em>, the music needs to be big too. <img class="aligncenter wp-image-981138 size-full" title="Music Review: Bharat" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/05/Bharat-14.jpg" alt="Music Review: Bharat" width="720" height="405" /> <strong>MUSIC</strong> First to arrive is <strong><em>'Slow Motion'</em></strong> and the song is anything but slow motion at play here. A fast paced number that is just the kind which goes with Salman Khan's image, it reminds one of the kind of numbers that were heard in his earlier films like Ready and Bodyguard. Nakash Aziz gets the 'sur' right when it comes to singing for a Salman Khan number and Shreya Ghoshal is a surprise choice as a situation like this could well have been a ready stage for Neha Kakkar to step in. Nonetheless, a foot tapping number that takes time to grow but does eventually. As is expected, a love song comes next in the form of <strong><em>'Chashni'</em></strong>. A couple of versions are heard here with newcomer Abhijeet Srivastava and Neha Bhasin getting a solo track each. While one has to give it to lyricist Irshad Kamil for coming up with a new word for a song, somehow <em>'Chashni'</em> doesn't manage to make an impact. It turns out to be way too full and though the singers do try their best, the final outcome is just not the kind that stays with you for the entire duration. An ordinary track. A fun track comes next, what with newcomer Akasa Singh pairing up with Neeti Mohan and Kamaal Khan for <strong><em>'Aithey Aa'</em></strong>. A song with a North Indian setting to it, <em>'Aithey Aa'</em> has Salman Khan and Katrina Kaif coming together and while their presence does elevate the proceedings to some degree, the overall outcome is not the kind that would make you jive along. Later in the album there is a 'dance version' of the song that comes in as well with Nakash Aziz and Neeti Mohan pairing up. This eventually turns out to be one of those songs that make some sort of an impression after repeated hearing, but that's about it. Theme track of Bharat comes next and this time around director Ali Abbas Zafar steps in as a lyricist as well. In fact he also composes it along with Julius Packiam, and together they come up with <strong><em>'Zinda'</em></strong> which can well be expected to play at number of important junctures of the film. Vishal Dadlani comes behind the mike for this inspirational number that is about confidence in one's abilities and to fight for what's right. This one is an out and out situational number and it would all boil down to the kind of visuals at display once it plays on. The three songs that arrive next are all situational and the first that is heard is <strong><em>'Turpeya'</em></strong>. Sukhwinder Singh is the lead singer here for this number that has a Punjabi base to it and reminds one of many such songs like these that have been heard in the past with a folk feel to them. Expect this one to aid in the film's storytelling. Jyoti Nooran renders <strong><em>'Aaya Na Tu'</em></strong> and the manner in which she sings this one, you are reminded of Kailash Kher. A sad song, this one is quite ordinary and one hopes it doesn't slow down the film's pace. Thankfully, <strong><em>'Thap Thap'</em></strong> turns out to be a relatively better outing, though this too is again there to aid the film's narrative instead of being the kind of number that would emerge as a chartbuster and bring audiences in theaters. Sukhwinder Singh, as always, gets the right energy in for <em>'Thap Thap'</em> and one waits to see the kind of situation for which it has been composed. <strong>OVERALL</strong> One had terrific expectations from Bharat though the music here doesn't turn out to be the kind that was heard in earlier Vishal-Shekhar-Salman Khan-Irshad Kamil-Ali Abbas Zafar collaboration like <em>Tiger Zinda Hai</em>. A couple of songs do make an impact though and for the rest one waits to see how they are integrated into the film. <strong>OUR PICK(S)</strong> <em>‘Slow Motion’</em>, <em>‘Aithey Aa’</em>, <em>‘Zinda’</em>

A rock-and-roll artist who overcame misfortune and became a key US cultural figure

Over a four-decade career, his enduring hit songs brought global fame

Lewis Library - ML196.P67 2019

Lewis Library - ML174.R26 2018

Lewis Library - ML3917.I8 S8 2018

Lewis Library - ML410.M9 G648 2018

Lewis Library - ML172.H4 2019

Lewis Library - ML172.D47 2018

Lewis Library - ML430.R67 2019

Lewis Library - ML422.M83 B87 2019

Rotch Library - ML189.M87 2019

Lewis Library - ML3917.U33 K34 2018

Lewis Library - ML410.B8 S42 2018

Lewis Library - ML3917.L27 C85 2018

Lewis Library - ML423.L252 H57 2019

Lewis Library - ML3917.G7 M88 2019

Lewis Library - ML200.R46 2019

Lewis Library - ML410.S283 B66 2019

Lewis Library - ML3917.A78 M35 2018

The web is alive with the sounds of music! As lockdown isolates us, lilting songs with positive lyrics are hitting a chord with many, forming powerful

thank u, next husband.

Filed under: Europe, Austria, News

No. It's all wrong. Those fake mountains.The captain is a vampire. And there's only one Julie Andrews. Two minutes was enough #SoundofMusic

- Paola (@Paopalinaa) December 6, 2013

Continue reading And the Winner of Sound of Music Live Is...

And the Winner of Sound of Music Live Is... originally appeared on Gadling on Fri, 06 Dec 2013 14:30:00 EST. Please see our terms for use of feeds.

Drummer Owen Clark, 81, said in the 1950s, Manitoba teenagers would dance to Little Richard all night long. The 87-year-old rock pioneer died on Saturday morning.

Amid lockdown crisis, Guwahati NGO lends helping hand to musicians  Northeast Now

Gurus of classical music, dance go digital  Times of India

From watching Ramayan to dancing to Bollywood music, Nurvi's quarantine time looks fun! - entertainment  Mid-Day

Music: A little rhythm when blue  Jamaica Observer

A children’s music programme helps Syrian mothers identify their skills and how to use them for Christ, even before they become believers.

NEW YORK (AP) — Andre Harrell, the Uptown Records founder who shaped the sound of hip hop and R&B in the late 80s and 90s with acts such as Mary J Blige and Heavy D, and who also launched the career of mogul Sean “Diddy” Combs, has died. He was 59.Diddy's REVOLT company confirmed the death Saturday but no other details were immediately available. Harrell was the vice chairman at REVOLT.

Wise words

Source: www.inquisitr.com - Saturday, May 09, 2020
Little Richard, real name Richard Wayne Penniman, has died at the age of 87, per Rolling Stone . The performer’s cause of death is unknown. Little Richard Dead, Legendary Musician Dies At 87 is an article from: The Inquisitr Click here to continue and read more...

Source: www.sohh.com - Friday, May 08, 2020
Canadian hip-hop artist NAV isn’t letting quarantine stop him from having fun. The rap star has linked up with Young Thug for their new “No Debate” music video premiere. Watch and comment below! The post Watch: NAV Teams Up W/ Young Thug For New No Debate Music Video appeared first on .

Offering concerts in private settings in Tienen, Belgium, proves effective in connecting with youth.

Cartagena, Colombia :: An orchestra, bands and a choir join Logos Hope's crew to tell the story of creation in a special musical event.