Singer’s new documentary about the 1960s Laurel Canyon music scene shows why there is no substitute for creative collaboration
Bob Dylan’s son, the musician and performer Jakob Dylan, has urged young people to get together in person to make music and not to rely on technology, after fronting an elegiac film about how the ageing “giants” of rock gathered together to share ideas and refine their sounds.
Digital files now allow singers and musicians to hear each other across great distances, and even to collaborate on new songs, but it should never replace the habit of playing together, Dylan argues.
Continue reading...The band's influence can be heard in everything from art-rock and hip-hop to trance and house.
A Bandra boy is bringing back the music from the streets of Mumbai in a new avatar, with the debut of the ensemble Bombay Brass this Friday. And who better to combine the essence of Bombay and jazz than Rhys Sebastian, who was brought up by his musician mother Merlin D'Souza and grandfather, cello maestro Sebastian D'Souza? "It was inspiring to watch my mother work and provide for the family. The possibility of doing something apart from music — writing about football, for example — was there, but this is where I belong," the 30-year-old Manchester United fan shares.
Rhys Sebastian
His new ensemble, comprising Robin Fargose (trumpet), ID Rao (tenor sax), Ramon Ibrahim (trombone), Jehangir Jehangir (drums), Saurabh Suman (bass), Zohran Miranda (guitar) and Rahul Wadhwani (keys), is a result of his quest for his own sound and is more about experiencing the music than about just being a collective, Sebastian says. "It's about bringing the musical experience from the streets to the stage and giving it back to the audience. I love that energy and we tap into the same, making it inclusive for musicians as well as the audience," he adds.
In a way, their music will bring together Bombay and New Orleans, he points out. "I've always loved the hustle and bustle of Bombay, which I feel is a distant relative of New Orleans. Both have similar street music, with a lot of brass [like in wedding bands here]. I love the rawness of that sound. I love the freedom of expression in both these cities. What we are doing is not something that I have seen here," he adds.
Saurabh Suman
Besides doing Amy Winehouse and Stevie Wonder covers, the band will also have some Shankar Jaikishan songs that Sebastian's grandfather had originally rearranged. "I love Bollywood songs from the '60s and '70s, like Mera Naam Joker. I'm looking forward to bringing that back with a lot of brass," Sebastian informs. Their two originals for the evening promise to talk about the city, including about the traffic on the roads.
Sebastian is also working on a project called The Bartender with music director Mikey McLeary, where they will reinvent old songs from the '60s and '70s with a 10-piece band that will include three horn players and vocalists Shalmali Kholgade, Saba Azad, Rachel Varghese and Anjuli Sarvanaman.
ON March 15, 9 pm onwards
AT The Quarter, Royal Opera House, Mathew Road, Opera House, Girgaum.
LOG ON TO insider.in
CALL 83291 10638
COST Rs 749 onwards
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Music knows no boundaries. That's perhaps why when Talisman, a world music group at Stanford University, California, found similarities in the way The Sound Space (TSS), a Mumbai-based initiative, approaches music, all it took was a few email exchanges to bridge the 8,500-mile distance. This Sunday marks the group's India debut, Mumbai being their first stop as part of a 10-day tour.
The Mumbai performance, called Naad, will be an a cappella one where 15 students of TSS will open the show, which will be followed by a collaborative performance between them and Talisman singers. For the finale, eight Stanford students will present their repertoire, which includes songs from their 2019 selection as well as classics.
A Sound Space session with kids
"Talisman had been following what we do, and they contacted us for a collaboration because they know that we reach out to a range of people," says Kamakshi Khurana, who founded TSS with her sister Vishala 13 years ago, about the philosophy that binds them. Trained in Indian classical music from Lucknow University, it was their bachelor's degree in psychology, which afforded them the ability to understand the human mind and take the help of music to affect it.
Kamakshi and Vishala Khurana
"Our aim is to spread music education and therapy and music from different cultures, and use it as a catalyst to get through to people from diverse sections of society," she adds, referring to their work in old age homes, cancer care centres as well as the corporate sector, and their music education programmes in schools, which often culminate in concerts where children from international and NGO schools perform together. Talisman, on the other hand, was founded in 1990, in solidarity with the anti-Apartheid movement, to bring to light under-represented music and stories on campus. Its musicality thus has roots in the South African tradition, but the repertoire now includes well-loved compositions from the world over. A multicultural group — it currently includes students from India, Thailand, Zimbabwe and the US — its selection for this year features Aye Mere Watan ke Logon and Dil Diya Gallan.
The initial talks began in December, and through email exchanges and watching a few videos, the Talisman and TSS students have prepared parts of a popular Indian song, which they will present together. "Vishala and I believe that all kinds of music need to be appreciated and we want our students to be exposed to it. Which is why we have elements of western classical music as well as African folk rhythms in our sessions, but a cappella is a different style of music, which hasn't been explored extensively in India," shares Khurana. She adds that the Talisman group will also conduct a workshop for the children. "This will help us teach our kids to think in a cappella style, as the voice application is so different. When they see a performance of this level, it is a nudge for them to take their art form more seriously."
ON March 24, 6 pm
AT Shantivan Gardens, Malabar Hill.
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It was in March 2018 that we had first written in these pages about Awestrung, a monthly gig series held at a Lower Parel mall. But after that, all information about subsequent editions had dried up. The reason is that the organisers had temporarily shelved the property because they felt that they needed to refresh the format, and come back with something bigger and better. And that's exactly what's happening this weekend when Awestrung returns on an unprecedented scale, with 50 artistes from diverse genres sharing the stage.
This comeback was orchestrated after Artists Aloud — the indie wing of a major music company — approached the folks at High Street Phoenix, the mall where the concert is held, with a proposition. Soumini Sridhara Paul, VP of Artists Aloud, tells us, "When we started speaking [to the mall authorities], we told them that we have a format where, in 2012, we had brought in 50 artistes to perform together on stage. We said, 'Why not replicate that model for Awestrung?' They replied, 'Let's do this.' And that's how we came to be partners."
Soumini Sridhara Paul
She adds that the line-up is curated in such a way that the emphasis is on independent artistes making original music. So, you have a Hindi rock band like the Delhi-based Faridkot. There's local electro-rock act Laxmi Bomb. Manganiyar mainstay Mame Khan is on the bill, too, as is rapper ACE of the crew Mumbai's Finest. Then there are electronic producers, singer-songwriters and Sufi acts, among others who complete the list of performers. In short, name it and chances are that you will have an act playing a genre you like.
Each outfit will get a maximum of 10 minutes on stage so that things keep moving, with a compère, Mihir Joshi, keeping the audience entertained in the interim. Mame Khan is the penultimate performer, before Smokey, a Mumbai-based DJ, brings the show to an end. She tells us, "Imagine, I am closing the festival. So, all the focus will be on me and there's thus a bit of both, nervousness and excitement. But I'll keep my set chilled, so that it's a nice goodbye for everyone." Which is just as well, because after the gamut of music that will be on offer, a mellow note is possibly the best way to end this massive, eight-hour concert.
ON March 22, 2 pm
AT High Street Phoenix, Senapati Bapat Marg, Lower Parel
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For Celeste Cordo, growing up in Bandra was a lot about figuring out the right harmonies and vocal arrangements in her choir. But, when the neighbourhood children's choir became defunct about a decade ago, Celeste, now 60, decided to start her own music education avenue with Gleehive, spearheaded by a children's choir. "She wanted to start her own choir for the neighbourhood kids to learn and appreciate music," says Dawn Cordo, her 30-year-old daughter. And they will be bringing some of the magic and sense of belonging that comes with being part of a choir to Mumbaikars at their annual concert, The Gleehive Buzz, tomorrow.
It's their teaching style that makes this concert a tad different from others. "Our classes are not academically driven and we don't have any certification. So, it's not just meant for people who can sing, but anyone who appreciates music," says Dawn, who completed her degree in music education from Berkley College of Music and decided to come back to start an education programme, besides singing backing vocals in studios and doing vocal arrangements for artistic projects.
Dawn Cordo
The evening will go on to show their growth from being just a choir, as there will also be small instrumental ensembles with students playing string and woodwind instruments. The kids, aged between five and 15, will show their dancing skills as well as play different characters on stage. "The music won't just be classical or jazz, but also include songs from musicals like The Ugly Duckling. The theme is markets from around the world because we wanted to show that life is like a marketplace where you meet people from varied cultures, you get things and you lose things, and even when there's a disagreement, we always approach one another with kindness and love," adds Dawn.
The performers also include kids with autism and ADHD, who, Dawn says, have only benefited from pursuing their musical interests. "Music is therapeutic. There's a student who communicates better because of the feeling of being included. It's also important for kids who aren't exposed to those with special needs to mingle with them," shares Dawn.
ON March 20, 7 pm to 8.30 pm
AT St Andrew's Auditorium, St Dominic Road, Bandra West
CALL 26410926 (for passes)
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Xiaomi India on Wednesday announced the launch of "Mi Music" and "Mi Video" to offer value-added Internet services in India.
"With the launch of these two apps 'Mi Music' and 'Mi Video', we hope to serve millions of Xiaomi smartphone users with a better user experience through enhanced Internet services," Manu Jain, Vice President, Xiaomi and Managing Director, Xiaomi India, said in a statement.
"Mi Music" is a pre-installed music app which offers an integrated music streaming service along with the ability to store offline music and has nearly seven million daily active users in India, the statement said.
"Mi Video" is a pre-installed video app that provides integrated video streaming across platforms.
"Mi Video" content is currently powered by Hungama Play, SonyLiv and Voot. It offers more than 500,000 hours of content with nearly 80 per cent free content, the statement added.
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Accepting the futility of genres, of boxing songs into different compartments like stacked products in supermarket shelves, seems to be at the forefront of Rafiq Bhatia's musical endeavour. The 30-year-old American of Indian descent is the guitarist for a New York-based indie outfit called Son Lux. But it's his recent solo album, Breaking English, which makes the listener really question the need for musical boundaries, of sticking labels to a composition as if it's packaged meat.
The title track of the album, for instance, is not jazz, is not electronica, is not lounge, but all of these generic classifications rolled into one lush sound with a coherent narrative, where Bhatia's melancholic guitar plays the role of the protagonist. Each sonic detail in the track is well-defined, to the point where even though fellow Son Lux member Ian Chang's drum beats seem dissonant, they fit like a glove into the overall musical fabric. Bhatia describes this sensibility when he tells us over the phone from Berlin, where he's on tour, "Ryan (Lott, the vocalist for Son Lux) would say that instead of building a house, designing a room and then placing a chair in it, why don't we start with the chair first, and then design the room around it before building the house. There is a theory in poetry called organicism, where the poet lets each individual verse define the form that the poem will take. That is kind of similar to what I'm trying to do with my music."
He further explains his musical process when he narrates a story about one of his influences, Sam Rivers, the late American jazz great. "I've read that he would attend the concerts of all his peers, and purposely study their music to understand what they were trying to do. But this wasn't to replicate what they were playing. Instead, it was to consciously avoid it. Similarly, John Coltrane took the music of his predecessors and retooled the entire musical vocabulary keeping a similar underlying foundation, but with new pathways built on top of it," he says, giving us an indication of how he doesn't hesitate to flush rule books down the toilet.
Hybridity, in fact, lies at the core of Bhatia's creative evolution. The basis for this, he says, might well be his mixed identity. Born in North Carolina, he has never really fit in to any particular community. For, even though his parents are of Gujarati origin, they grew up in Tanzania, before moving to London and then finally to the US. So, while his brown skin stood out among the white kids in his school, he didn't feel completely at home among the Indian community either. "Everybody thinks that I am something else. So, my music is a result of a need to express my identity. It's a form of therapy at some level, because it's also a way of accepting who I am," he says.
He adds that this therapy started early. When he was about eight or nine, the older desi kids in Bhatia's neighbourhood would pick him up in a car and stop at a parking lot, listening to the hip-hop albums that became one of his earliest influences. Was he drawn to them because of the political overtones that such songs often embody? "Not really," he answers, adding, "I was only in the third grade at the time, and I couldn't even understand the words. So it was the musicality that I fell for. But the deeper question is, why were a bunch of brown kids sitting in a car in a parking lot and empathising with hip-hop music? What is it that was drawing them to the words? So you see, it's difficult to disentangle the politics from the music."
It follows thus that an intertwining of politics and music sometimes features in his own compositions. For example, Hoods Up, a complex instrumental piece, drew its inspiration from Trayvon Martin, a black teenager who was cruelly shot down because of a case of mistaken identity. The guitarist says, "I feel some amount of compulsion to express my [political] ideas. But sometimes, it's easy to get carried away with being overtly political because there is so much to be angry about, and often the responsibility falls on artistes to emphasise it. So I would say that politics is a general part of what inspires my music, because there are so many other facets of my personality that also make their way in."
Essentially, then, what Bhatia wants to keep doing is create genre-defying tracks where attention to detail is of paramount importance. "When you take the details and all the generalities of music for granted, that's when your songs start sounding more like other people's music. That doesn't mean you can't make great tracks. It's just that the less you consider those things, the less is the chance that you will make music that departs from convention. The flip side is that when you think actively about each decision, and each one comes from a place of individuality, it becomes hard to find a coherent logic that ties all those things together. And that ends up being the riddle that I am constantly trying to solve with my music."
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Haitham with Shah Rukh Khan on the sets of Dil Hai Hindustani where the two sang SRK’s chartbuster Jabra Fan
When we meet Haitham Mohammed Rafi inside the dimly-lit sets of a popular music reality show, he stands out from those sitting beside him. The white of his traditional dishdasha and the colourful turban — called the massar — make him look like an anomaly. The 23-year-old appears to be closely observing his fellow singer — a girl half his age — who is on stage and singing the famous DDLJ-towel song, 'Mere Khwabon Mein Jo Aaye,' when we raise our hand and call for his attention. There is instant recognition.
"Wallah!" he yells out in Arabic. "How come, you here?" he goes on, in his Middle-Eastern accent.
It has been three years since we first met Haitham. The last time it was in his hometown Muscat, the capital city of the Sultanate of Oman. "I will sing in Bollywood, someday, Inshallah!" he had then rapped, much to the amusement of this correspondent. At the time, we had wished him luck, without mocking his expectations or pointing out the risks.
Last week, when a video of filmmaker Karan Johar sitting in stunned silence after Haitham’s performance of Naina Thag Lenge, went viral on Arab social media, this writer was glad she had kept mum then.
Haitham, an Omani national, has just made it in the final 11 of the first season of music reality show Dil Hai Hindustani. Being an Arab, has only worked in his favour. For the judges, Johar, Badshah, Shalmali Kholgade and Shekhar Ravjiani (of Vishal-Shekhar fame), the first question on their mind was, “Can an Arab sing in Hindi?”
"Okay, maybe!" "But, that good!"
"I have Mohammed Rafi’s blessings," Haitham jokes. Not like, we hadn’t been meaning to ask him the story behind his namesake. Haitham al Balushi takes his middle name, Mohammed Rafi, from his father, who was surprisingly christened by the veteran Hindi singer himself. "Though Omani, my grandfather was a huge fan of Mohammed Rafi," he recounts. “When my father was born, Rafi saab was performing in Bahrain. My grandfather, who was working there, went for the show and managed to have a quick chat with him backstage," he says, adding, “He told Rafi saab, I want you to name my newborn.” The rest, as the Balushi family recalls, is history.
Until seven months ago, Haitham worked as a personal banker with a leading national bank in Muscat. “It was so boring. I hated going to work...it was suffocating," he says. Unable to take it anymore, Haitham put in his papers, and ferociously started looking for opportunities to sing. "I wanted to pursue my passion," he says. We ask him what that is? And, pat comes the reply, "I want to become the first Arab playback singer and composer in Bollywood." Haitham has been harbouring that dream since he was 11.
In Oman, Haitham says, there is no concept of vocal training. "If you're a good singer, you're a good singer." His only source of Bollywood music was audiocassettes and CDs as a child, and later YouTube. "So, when I told my Omani friends that I wanted to become a singer, they laughed. They said, 'You can’t make it big in India…it is so tough'."
On an Indian friend’s advise, he started listening to a lot of ghazals. "I was told that it would help me get my nuances and accent right," he says. His favourite ghazal singers are Jagjit Singh and Rahat Fateh Ali Khan. But, that's how Haitham’s Bollywood dreams first took flight.
In 2012, he became the first Omani to win Muscat Idol, which sees participants mostly from the Indian Diaspora. From there on, due to dearth of a great body of work, Haitham started composing music for Omani TV shows. “But, I realised that I wasn’t enjoying Arabic music. Each time, I sang in Hindi, I was happier,” he says. Of the 500 songs he has composed, 450 were in Hindi. “My mum knew I wasn’t meant for Oman. So, she kept pushing me to try my luck at Indian reality shows,” he says. He tried thrice and failed. The fourth time, he decided to think practically and opted for 'The Voice Ahla Sawt', the Arabic version of the international music show. “Even there, I could not fit in,” he says. This December, after five years of working towards his dream, he got the call. And, that too, from India.
Here, he is still just another contender at the show. But, back home, things have changed for Haitham. After a video of his performance went viral, Omanis in Muscat, who he claims love Hindi cinema, have gone into an overdrive. “I’ve already signed 13 shows in Muscat and Dubai,” he says. “My friends are buying the Indian digital channels, just to watch my show.”
"I think it's a proud moment for my country," Haitham says. Just as we end, he gets his cellphone out, and shows us a photograph of his, clicked with Shah Rukh Khan, where the two are facing each other, striking the latter's signature pose. “India has already opened its arms to me," he gushes.
South Dandies Swaraj rappers, TamizhâÂÂÂÂ(left) and SeanâÂÂÂÂYKV (centre) who are working on their debut album, recently performed with KadhalâÂÂÂÂJack (extreme right) of Kacheri Movement in the city. Pic/Sayyed Sameer Abedi
“I say what I want to say and do what I want to do. There’s no in between. People will either love you for it or hate you for it.” Eminem, the global Rap icon, had elucidated the fundamentals of the genre cogently, whose origins are in Africa and Jamaica. Owing to the free flow, it entered India on a blissful note.
Legendary actor Ashok Kumar offered its first glimpse with the song, Rail Gaadi (Aashirwad), in 1968. Within two decades, the genre found allies in AR Rahman and Ilaiyaraaja. South Dandies Swaraj — a Rap duo comprising Suresh Agailan Bose (Sean YKV) and Rahul Prasad (Tamizh) - are taking forward the legacy, albeit in the independent space. The Mumbai-based group raps in four languages, but their highlight is Tamil.
Message in music
Sean, the lead rapper, wants to bring about a change through an album, that’s in the making. “My motto is Rap for change and Hip-Hop for life. I try to convey a message through every song. I am looking for a producer,” says Sean. The name of the band is suggestive of their South Indian roots. Earlier, the group had more members. “We were a Hip-Hop Collective with nine people, including a miniature artiste and a graffiti artiste. We had to bid goodbye to some members,” he shares.
The 28-year-old from Tirunelveli (Tamil Nadu) resides in Mahim and believes that rapping in different languages will help him reach out to more people. “It helps me connect to more listeners who understand these languages. We want to take our regional languages abroad,” he adds. Sean also performed alongside Apache Indian and Shankar Mahadevan in his initial days. “I didn’t get any break after those shows. But kids would take my autograph while senior citizens would kiss my hand. They thought my Tamil was retro,” he says.
Society matters
“Our music talks about recycling, rape, terrorism, social media and other social issues,” says Sean, who can also rap in Marathi. His colleague, Tamizh, sticks to Tamil.
One of the singles from the Dandies’ kitty is Idli Vada, the traditional breakfast in South Indian households. “I observed Idli and Vada vendors and wrote a song around their daily struggle, and how they see the society through customers,” explains Sean. The track, Social Kadhal/Pyaar, dwells on the overuse of social networking sites. “The world has become dynamic with Facebook and Twitter. This song is about the youngsters who spend hours on it.” The group also has a track dedicated to the feminists, called Nari Meri Nari.
The Dandies also developed a brother culture, being close to Kacheri Movement, a Rap outfit from Dharavi. They are often seen playing gigs together.
Sean is hopeful about his music’s reach. “I am not a party person. I am interested in the social issues. We know how African Americans changed the face of Hip-Hop when they used music as a vehicle for their struggle. I will try to do the same,” he signs off.
RDâÂÂÂÂBurman composed for more than 300 films in a career spanning 30 years
This weekend, a group of music enthusiasts is going to deconstruct the thin line between imitation and inspiration at a talk on Hindi film music. The works of RD Burman, Shankar-Jaikishan and OP Nayyar will be discussed at the event.
Shankar-Jaikishan ruled from 1949 to 1986
“Many tried to imitate a sound that worked well with listeners in that period. In fact, film producers would encourage music directors to do so. The music of Laxmikant-Pyarelal and Kalyanji-Anandji was close to the sound created by Shankar-Jaikishan and Burman,” says Ramesh KV, one of the speakers. “If you listen to the orchestration of a song, you will think it belongs to Burman, but it actually is by someone else,” he adds.
The full panel includes R Balaji, Shankar Iyer, Archisman Mozumder and Subramanian Iyer.
On: April 15, 7.30 pm
At: Pitaara – The Art Box, Yashwant Nagar, Goregaon (W).
Call: 9820393001
Entry: Rs 250
With the cases of coronavirus continuing to surge in Mumbai, the Mumbai Police has been pulling all stops to ensure the safety of the people. The police department has been active not just in the public space but on social media with their public interest messages urging people to respect the lockdown and follow the precautions put in place by the government.
In their latest post on Twitter, the Mumbai Police has posted a series of posters used some of the famous musical bands’ names such as Backstreet Boys, Linkin Park, Oasis and U2 to make sure people follow the lockdown rules. The police department urged their followers through slogan coined with puns asking people not to visit Linkin Park, reminding ‘U2’ stay home and that your home is your ‘Oasis’.
The Mumbai Police said in the caption, “Stay indoors, for we are on the streets, playing your favourite safety tunes with our 'Band-o-bast'.
Stay indoors, for we are on the streets, playing your favourite safety tunes with our 'Band-o-bast'. #LockdownPerformance #TakingOnCorona pic.twitter.com/ejPW0Ofbfw
— Mumbai Police (@MumbaiPolice) May 7, 2020
The post shared on Thursday morning has garnered more than 1,900 likes and was retweeted 333 times. Users commenting on the post lauded the the police department’s creativity on their social media posts.
You guys have a great taste in music!
— Rudresh Solanki (@rudresh97) May 7, 2020
Huge respect to the person/group of people managing this account and showing his/their creativity even in this tough situation!!
— Rishabh ð®ð³ (@Rishabh4593) May 7, 2020
Kudos to the team guys.
More recognition to you all.@MumbaiPolice @OfficeofUT
You always amaze with something ð new.. it's a pride to b a Mumbaikar and to be safe with Mumbai police ðÂÂÂÂÂÂ
— roshan bangera (@roshbangera32) May 7, 2020
Creativity level genius ðÂÂÂÂ¥
— Karen P (@Head_in_d_cloud) May 7, 2020
What do you think about this post?
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Be ready to rock
9.30 pm Head to this busy venue for concerts to catch ethnic rockers Motherjane live, as they play the Mumbai leg of their three-city tour. The band’s originally from Kochi and has been around for two decades, watching a fledgling indie circuit grow bigger over the years. City-based singer-songwriter Ankit Dayal will open the proceedings.
On Today
At AntiSocial, Khar West.
Call 65226324
Cost Rs 400
Enjoy a DIY meal
Build your bowl using an array of options including jasmine or brown rice, grilled chicken, bulgogi, paneer and more. You can also choose from premium protein options at '350, along with toppings and sauces.
Till September 1
Time 11.30 am to 3 pm
At Bastian, New Kamal Building, Bandra West.
Call 26420145
Try interesting wines
8 pm K1 by Geoff Hardy is an award-winning wine from Australia that headed here only some time ago. Attend this dinner to try a selection of heady ‘grape juice’, which will be paired with a meal that’s curated by this Byculla eatery (in pic).
On August 30
At Magazine Street Kitchen, Byculla East.
Call 23726708
Cost Rs 3,815
Singer Sona Mohapatra, who is known to speak her mind, has come up with a new song, her own badass version of Raees' Zaalima. The singer's soulful voice is a perfect fit for love ballads, case in point Ambarsariya, Naina, Bolo Na and many of her hits. While, it wouldn't be wrong to say that, very few female solo songs are released nowadays in film soundtracks, it came as a pleasant surprise to see this reprise and refreshing version of the the Shah Rukh Khan's film, Raees' popular love song.
Sona has an unique ability to infuse newness in songs and her version of Zaalima is quite different from the original version, sung by Arijit Singh. As per her post, she had created this in-house video with some interesting 'gender-political' messaging about the state of the music industry some time ago and is all set to release it to spread cheer and even some laughs to drive away the lockdown blues, now!
Sona says, "Musicians have been hit the hardest in recent times. There are no residuals or royalties for creators here unlike the west and unless we step out to play concerts on stage we don't make money. It's only sweat labour in India. The lockdown and post COVID era will hit the musicians even harder with no stages to play in and the economy focusing on essentials. In these grim times, most artists in my community have been setting aside their own emotional state and performing online to spread joy and love and I am so proud of all of them! In these times you realise that it's mostly musicians who have the craft and talent to deliver without too many resources or people helping them. My DIY video should be taken with a pinch of salt although any good comedy does come from a truthful place; our film-music has completely sidelined the strong solo female voice in the last decade and it's time for all of us to notice."
"Few know that I had been called to sing the last few lines of the film version but couldn’t fathom why only the last few lines were reserved for the female voice considering it was a romantic duet!" - she wrote on her YouTube channel, while sharing the song.
A user commented - "I didn't know who's voice was this? Also, I was a huge fan of Sona Ma'am. But now I'm flat. And now after this rendition, I'm completely dead."
Another user commented: Thank goodness she didn't end up singing the actual song.
Tell us your views about the new version of Zaalima!
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You may know Jason Luv from his famous Instagram and Facebook page. While this promiscuous, All-American, do-it-yourself influencer is typically going viral for delivering motivational speeches and work out videos, recent times have afforded Jason the opportunity to pursue a new avenue to connect with his 133,000 (and counting) followers; music.
The Louisiana native and Miami resident has dedicated the past several months to the studio, exploring the Electronic Dance Music (EDM) genre. According to several sources associated with Jason's camp, he has several projects ready to release, leading off with his hit single; "Dance The Night Away." They also mentioned that he has already landed several meetings with labels who are interested in signing him to management and distribution deals. Jason's team has also reportedly been in several talks with multiple brands for 7-figure endorsement deals.
When asked to comment about the specifics of their current and business endeavors, Jason's team declined to offer any detailed information in response to their non-disclosure agreements established by their legal team. However, they did share their perspective on business negotiations as they look to establish brand recognition and equity among all partnerships while remaining independent.
Jason's passion for music began as a teen when he was growing up in Louisiana. He accredits his exposure to EDM music to his experiences on the nightlife scene in Miami.
Jason's team also stresses the importance of maintaining a solid presence in the EDM genre and collaborating with artists from other genres for more effective cross-promotion. One member of his management team added, "Jason has a unique image and we want his talent to reflect that. We chose EDM instead of Rap/Hip-Hop because we realize that EDM has a brighter outlook. We didn't enter the music industry to visit, we're here to stay."
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With the health crisis in the country, while PM Narendra Modi has extended the lockdown till May 3 and Indians are currently locked up inside their homes, there are several warriors who are fighting the battle for us. Whether it's the police force, doctors, nurses, soldiers or the NGOs feeding the needy ones, these Covid-19 warriors, as they are called, have been relentlessly working for us. Bobby Deol who appreciates their efforts has now paid a humble tribute to them in a music video where he's recited a poem - Chand Roz Ki Baat Hai Yaron - for the first time.
Interestingly, Bobby has never recited a poem on camera ever before but when Sanjay Masoomm came up with idea and approached him for it, he immediately agreed. The 2-minuter has been titled Chand Roz Ki Baat Hai and it not only salutes the bravado of every Indian Covid-19 warrior who are out there, protecting us from the deadly virus but is also a soul-stirring testament of the indomitable human spirit and the unity which binds Indians together. What's more interesting is while the video has been completely shot at home, it's Bobby's younger son Dharam Deol who has filmed him.
Bobby shares, "When Sanjay told me about this poem, I was taken in by the simplicity of his expression of gratitude towards the COVID warriors, i resonated with it. It makes me very happy to be associated with this positivity, and I appreciate the way this situation has made us all join hands and come together. Who knew that social distancing could bring people together, with all of us checking up on one another and being their for people emotionally, if not in person. Although these are tough times faced by everyone around the world, it is heart warming to see how this has brought us together to fight against a common enemy. We can all be a part of this noble fight by just staying at home and being supportive of our frontline warriors."
Sanjay Masoomm who has conceptualised the entire thing shares, "Chand Roz Ki Baat Hai Yaron is just our way of showing respect and lending hope and encouragement to all these Covid warriors who are working day and night to keep us safe, while we stay locked inside our houses. This time of crisis also highlights our biggest strength - unity in diversity - and it was important to underline it. When I wrote the lines, I wanted someone whose voice will add weight to them. I have worked with Bobby Deol in several films and I know he's not only got a powerful voice but also a heart of gold. He's a very emotional man and his voice will help this ode reach out to more people. Bobby has read it out wonderfully with all the feeling and emotions."
Chand Roz Ki Baat Hai Yaron, featuring Bobby Deol and conceptualised by Sanjay Masoomm.
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As she is spending time at home during the lockdown imposed to prevent the spread of coronavirus, actor Deepika Padukone on Wednesday took out a moment to thank "music" which has been a constant companion for many during the period.
The 'Piku' actor took to Instagram to share a picture of her piano and penned a caption dedicated to music and describing how life would have been incomplete without it.
"Thank you for the music, the songs I'm(NOT)singing... Thanks for all the joy they're bringing. Who can live without it? I ask in all honesty," she wrote in her caption.
"What would life be? Without a song or a dance, what are we? So I say thank you for the music, For giving it to me... #music," her caption further read.
The picture of Padukone's piano also featured her photographs kept on the top of the piano.
The 34-year-old actor has been sharing such insights from her daily life ever since the beginning of the lockdown.
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Several television celebrities will get together in a virtual music concert to pay a tribute to Rishi Kapoor and Irrfan Khan, who passed away last week. Titled Dard-e-Dil, the concert includes artistes like Bharati Singh, Maniesh Paul, Hina Khan, Arjun Bijlani, Devoleena Bhattacharjee, Sukhwinder Singh and Aditya Narayan among others.
"This tribute is a great chance for us to pay respects to these two legends of Bollywood. Both Rishi Kapoor ji and Irrfan Khan have given so much joy to us fans through their work. The last week was indeed the worst week for Indian Cinema as we lost two legends one after the other. They may have gone from the world but they will live in our hearts forever through the work they have done. I am honoured beyond words that I have been chosen to give them tribute to them through this concert. We will celebrate their unforgettable contribution to Bollywood and pay the tribute," Bharati said.
Irrfan breathed his last on April 29 at the age of 54. He was admitted to Mumbai's Kokilaben Dhirubhai Ambani hospital with a colon infection. However, unfortunately he succumbed to his ailment. Rishi Kapoor passed away a day later at Sir HN Reliance Foundation Hospital on April 30. He had been battling leukemia for the past two years.
The concert will be aired on Colors channel on Sunday, May 10.
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<strong>EXPECTATIONS</strong> There are very good expectations from the music of <em>Kabir Singh</em>. After all, there are hardly any out and out love stories that are made in the current times and <em>Kabir Singh</em> has the kind of premise that could well be an ideal follow up to <em>Aashiqui 2</em>. Moreover, the film features Shahid Kapoor in the lead and his films have traditionally boasted of good music. The soundtrack here is pretty loaded too with as many as nine songs out there and a team of composers, lyricists and singers coming together to deliver wholesome entertainment. <img class="aligncenter size-full wp-image-989846" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/06/Kabir-Singh-2.jpg" alt="" width="720" height="405" /> <strong>MUSIC</strong> The album kick-starts with <strong><em>'Bekhayali'</em></strong> and this is pretty much the romantic song of the year so far, what with the perfect combination of music and lyrics making this one really stand out from the crowd. Irshad Kamil brings in just the right kind of 'dard' in this heartfelt song about separation and his lyrics have to be heard to be experienced. Sachet-Parampara come up with an excellent composition here and what makes the song further become impressive is the manner in which it is sung. While Sachet Tandon brings himself on board as the lead singer for the first version, it is the Arijit Singh version that truly creates havoc. It is just a perfect Arijit Singh song and would go down amongst his Top-10 greatest numbers till date. Truly beautiful! Next to arrive is <strong><em>'Kaise Hua'</em></strong> which is composed as well as sung by Vishal Mishra. A song about falling in love and truly experiencing the emotion of it all, this is yet another well written number in <em>Kabir Singh</em>. Manoj Muntashir, who indeed has a knack of coming up with some fine lyrics, does well all over again and the manner in which Vishal sings this one further brings on the passion. Not that this one would turn out to be a major chartbuster in the long run but during the play of the film, it should indeed fetch audience attention. The one that should emerge as a chartbuster though is <strong><em>'Tujhe Kitna Chahne Lage'</em></strong> which is written and composed by Mithoon. The multi-faceted artist is known for coming up with soulful melodies and the song in question is not an exception either. A beautiful melody which is all heart and loads of love, it is made further special due to the arrival of Arijit Singh behind the mike. The man is magic all over again and while there is one more version as well with Jubin Nautiyal taking charge (who does well too), it is Arijit Singh whom you go back to repeatedly. Next to arrive is an Irshad Kamil written song that fits in well into the Bollywood scheme of things, something that reminds one of many such compositions that one has experienced in a Yash Raj or Dharma film at the kick-start of the millennium. The style works in 2019 as well with Sachet-Parampara not just composing <strong><em>'Mere Sohneya'</em></strong> but also rendering this one. Akhil Sachdeva is the composer and singer for <strong><em>'Tera Ban Jaunga'</em></strong> which has Kumaar coming up with simple lyrics all over again. In fact the words that stick with you are <strong><em>'Tujhpe Hee To Mera Haq Hai'</em></strong>, though the song has a different title. Tulsi Kumar kick-starts the proceedings and is soon joined by Akhil who ensures that you do give this one a close hearing. A situational number that should arrive at a good juncture of the film and make an impression. The most experienced singer roped in for the soundtrack makes a rather belated appearance with <strong><em>'Yeh Aaina'</em></strong> which is composed by Amaal Mallik. Starting with the sound of a piano, this is yet another romantic number. That said, the pace of the song is quite slow, which is fine but only as long as the overall composition manages to make an impact. This one in fact reminds one of the kind of music that one had heard in Hamari Adhuri Kahaani and though Irshad Kamil is the lyricist here, overall the song just about fits into the overall soundtrack but that's it. The feeling of first love is apparent in <strong><em>'Pehla Pyaar'</em></strong> which has sweet and youthful lyrics by Irshad Kamil with Vishal Mishra's music too complimenting the same mood. Armaan Malik sings this one which is expected to feature at the beginning of the film once Shahid Kapoor ends up falling in love with Kiara Advani. Just like the last couple of songs from the album, this one too is basically fit-into-the-proceedings song which may not be a chartbuster as a standalone track but would nonetheless keep the listener engaged. <strong>OVERALL</strong> The music of <em>Kabir Singh</em> has a certain consistent theme that runs rights through the soundtrack, hence making it a seamless listening experience. Though not all songs would end up finding a place in the charts, at least a couple of these are set to be huge in time to come. <strong>OUR PICK(S)</strong> <em>‘Bekhayali’</em>, <em>‘Tujhe Kitna Chahne Lage’</em>, <em>‘Kaise Hua’</em>, <em>‘Mere Sohneya’</em>
<strong>EXPECTATIONS</strong> <em>Malaal</em> is a love story coming from Sanjay Leela Bhansali who has produced the film. Though his directorial offerings have always boasted of at least two or three memorable songs, same can't be said about his productions. Considering that he has composed majority of songs in <em>Malaal</em> with Prashant Ingole writing the lyrics, one waits to see what the team has to offer. <img class="aligncenter size-full wp-image-980862" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/05/Malaal-Official-Trailer-Sharmin-Segal-Meezaan.jpg" alt="" width="720" height="405" /> <strong>MUSIC</strong> It is a 'dhinchaak' start that <em>Malaal</em> gets with Vishal Dadlani and Shreyas Puranik coming together for the 'tapori' number <strong><em>'Aila Re'</em></strong>. Vishal sounds quite different in this 'basti' and chawl number that has a good hook to it with beats that do catch your attention. Pritam has composed quite a few songs in this genre over the years and with Sanjay Leela Bhansali too following the 80s formula, you like what you hear here. With the core hook borrowed from <strong><em>'Apun Bola'</em></strong> [<em>Josh</em>], which was again based on Maharashtrian folk music, <em>'Udhal Ho'</em> too is attached to the roots with hard-core local flavour. Newcomer Adarsh Shinde is roped in for this number which is more Marathi than Hindi in its overall treatment and its styling too is such that it would have a restricted audience in only Maharashtra belt. Shreyas Puranik is the composer as well as singer of <strong><em>'Nadhkhula'</em></strong> and one only ends up wonders what exactly does the title of the song mean here. This one is a love song which is again set in an old fashion manner. Though unlike the first two songs in the album this one doesn't get into the Marathi zone, the lazy pace as well as an overall dull treatment doesn't help the cause. Another newcomer singer, Rutvik Talashilkar, is roped in for <strong><em>'Aai Shapat'</em></strong> and yet again the song gets into a Marathi zone. Right from the music to the lyrics as well as the manner in which the song is rendered, this one has a local Marathi feel to it. No wonder, you can't relate to the soundtrack here to have been created for a Hindi film as the overall treatment is too localized. Shreya Ghoshal, the most experienced of the lot and a top singer, makes a belated appearance in the soundtrack of <em>Malaal</em> with <strong><em>'Kathai Kathai'</em></strong>. Remember <em>'Kathai Aankhon Waali Ek Ladki'</em> [<em>Duplicate</em>]? Well, this time around the gender is reversed as the leading lady falls in love with her boy who boasts of 'kathai aankhen'. Not that this one goes ahead and makes one fall in love with the tune in the offering. Still, this A.M. Turaz and Prashant Ingole number is better than last few songs that one had heard so far and you can sit through the entire duration. Another newcomer singer, Aanandi Joshi, is the one to kick-start the proceedings for <strong><em>'Zara Suno'</em></strong>. A love song which has an Indi-pop contemporary feel to it, this Shail Hada composed tune may not be the one that you would fall in love with instantly; however it still makes for a decent enough listening. Rutvik Talashilkar is back in the fold after singing <em>'Aai Shapat'</em> and gives a different account of himself. Shail Hada steps in as a singer for the title song <strong><em>'Ek Malaal'</em></strong> which arrives right at the end of the soundtrack. Reminding one of the ghazals from the 80s, this one is really slow moving, sad in feel and overall dull in treatment, hence promising to make an impact on the pace of the film when it will appear. Hope this one has a short duration in the film's narrative. <strong>OVERALL</strong> The music of <em>Malaal</em> is barely passable with just a song or two managing to leave some kind of impression. <strong>OUR PICK(S)</strong> <em>‘Aila Re’</em>, <em>‘Kathai Kathai’</em>, <em>‘Zara Suno’</em>
<strong>EXPECTATIONS</strong> For a film which is a quirky comedy, you expect a trippy soundtrack. Moreover, it has to be something different instead of being quintessentially Bollywood as the stage, mood and theme is altogether different. With these kind of expectations in mind, you play on the soundtrack of <em>Judgementall Hai Kya</em> which has a different composers, lyricists and singers coming together to create five distinct songs. <img class="aligncenter size-full wp-image-996689" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/07/The-Wakhra-Song-Judgemental-Hai-Kya-Kangana-Ranaut-Rajkummar-Rao.jpg" alt="" width="720" height="405" /> <strong>MUSIC</strong> Well, first things first, despite the unique theme of the film, it is apparent that the makers wanted to bring on a quick-fire hit to kick-start the proceedings. That's the reason why Badshah and Navi Kamboz's non-film chartbuster <em>'Wakhra'</em> is presented in a 'filmy andaaz' as <strong><em>'The Wakhra Song'</em></strong>. The song stays on its chartbuster route with the man for the job, Tanishk Bagchi, getting it right all over again. As a composer-lyricist, he brings in his own 'tadka' to this Navv Inder, Lisa Mishra and Raja Kumari number which gets your feet tapping all over again. It's time to bring on some 60s/70s retro back with <strong><em>'Para Para'</em></strong> which has Rachita Arora and MuzikFactory (OmDixant) bring singer Arun Dev Yadav behind the mike. The entire team does an R.D. Burman piece here, reminding one of a similar experiment that Vishal-Shekhar had done for the title song of Jhankaar Beats many years back. A song which has Prakhar Varunendra pretty much introduce the character of Kangana Ranaut to the audiences, this one has a good situational appeal to it and may he aided by some quirky picturisation too. Next to arrive is the title song <strong><em>'Judgementall Hai Kya'</em></strong> which again has composer Rachita Arora pair up with lyricist Prakhar Varunendra, and together they carry forward the spirit of <em>'Para Para'</em>. This time around it is time to bring on a piece of the Hollywood musicals that step into this genre, and one has to admit that the core hook is quite intoxicating. Just an extended piece of this hook could well keep many a DJ happy, though for the Bollywood version it is the team of Jaspreet Jasz, Rachita Arora and Nivedita Padmanabhan who create a unique outing. The manner in which Surabhi Dashputra sings Kumaar written <strong><em>'Kis Raste Hai Jana'</em></strong>, you are reminded of quite a few songs that Jasleen Royal has sung in Hindi movies. Nonetheless, this one is a different set up and it has composer and singer Arjuna Harjai doing well to come up with an outing that should make a good situational appeal in the film. As is the case with such songs though, one just hopes that the song is aided by good picturisation so that it doesn't slow down the pace of the film's narrative. Last to arrive is <strong><em>'Kar Samna'</em></strong> which lasts just 80 seconds and appears to be a piece that may appear towards the film's pre-climax or climax. Daniel B. George comes up with a sound that briefly hints of Alfred Hitchcock's <em>Psycho</em>, though overall the song is so short that it ends before you actually hear much for it. A chorus track by Amir Khan, Brijesh Shandilya, Protijyoti Ghosh and Daniel B. George that could well appear at a situation in the film when Kangana Ranaut is all fired up and is out for revenge, it is put to words by Prakhar Vihaan. <strong>OVERALL</strong> As expected, the music of <em>Judgementall Hai Kya</em> is largely situational and is in line with the trippy theme of the film. When seen in context of the film's narrative, it could well hook your attention. <strong>OUR PICK(S)</strong> <em>‘The Wakhra Song’</em>, <em>‘Para Para’</em>, <em>‘Judgementall Hai Kya’</em>
<strong>EXPECTATIONS</strong> There are good expectations from the music of <em>Jabariya Jodi</em>. Films with Sidharth Malhotra in the lead have traditionally seen at least one major chartbuster and with <strong><em>'Khadke Glassy'</em></strong> out, you look forward to what more do producer Ekta Kapoor and her team have in store for the actor. Moreover, there are as many as eight songs in the album with different set of composers, lyricists and singers team up for that. <img class="aligncenter size-full wp-image-994691" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/07/Jabariya-Jodi-–-Official-Trailer-Sidharth-Malhotra-Parineeti-Chopra.jpg" alt="" width="720" height="405" /> <strong>MUSIC</strong> It is a winning start for <em>Jabariya Jodi</em> as Ashok Mastie's yesteryear chartbuster <em>'Khadke Glassy'</em> is heard all over again in this Tanishk Bagchi recreation. With Yo Yo Honey Singh teaming up for this one along with Jyotiga Tangri, <em>'Khadki Glassy'</em> turns out to be a foot tapping outing all over again. Tanishk Bagchi also steps in for additional lyrics along with Channi Rakhala and what you end up listening to it as a three minute musical piece that is set to add on to Sidharth Malhotra's repertoire of Punjabi chartbusters after <em>'Kaala Chashma'</em> [<em>Baar Baar Dekho</em>]. Later in the soundtrack, the song also arrives in a <strong><em>'Glassy 2.0'</em></strong> version which has Jyotica Tangri leading from the front. This version has Ramji Gulati stepping in as a composer with Kumaar writing some new lyrics altogether. That said, the core hook and rhythm remains just the same and what you end up hearing is a good version which brings in an altogether new flavour. Bhojpuri chartbuster <strong><em>'Zilla Hilela'</em></strong> is heard in <em>Jabariya Jodi</em> and it has the regional flavour intact. It makes sense as well since the film is set in that belt where such music is quite popular. Tanishk Bagchi is the man for the job and he steps in as a composer as well as co-lyricist with Shabbir Ahmed to deliver another catchy outing. An ensemble of singers come together in the form of Raja Hasan, Dev Negi, Pravesh Mallick and Monali Thakur to deliver a song that may just makes its way into celebratory occasions up North. After two back to back dance numbers arrives a soothing love song in the form of <strong><em>'Dhoonde Akhiyaan'</em></strong>. This time around Tanishk Bagchi comes up with an original number and does well to present to audience a song with a sufi touch to it. Yasser Desai and Altamash Faridi pair up for this Rashmi Virag number which has a smooth flow to it, though one wonders if a female voice in the song would have made it sound further complete. Sachet Tandon recently gave a massive chartbuster <em>'Bekhayali'</em> [<em>Kabir Singh</em>] and he along with co-composer Parampara Thakur pair up as singers too for <strong><em>'Khwabfaroshi'</em></strong>. While it is good to hear a new word altogether for a Bollywood song, courtesy lyricists Siddharth-Garima, overall too the song impresses quite well. You can sense Sachet-Parampara touch in this soft rock outing which can well turn out to be the one that enjoys a long run. The more you listen to this song, the more it hooks you on. This one is a potential chartbuster too. In a soundtrack like this, it was surprising not to hear Arijeet Singh's voice all this while. Well, the wait is over as composer Vishal Mishra and lyricist Raj Shekhar come together to set the stage for Arijit Singh's <strong><em>'Ki Honda Pyaar'</em></strong>. Now this is a kind of number that could well have fitted into the milieu of Kabir Singh due to its romantic appeal. The song takes a little while before you catch its sound but after a while you are happy to play this one on loop. Later the song is repeated where Neha Kakkar leads the show with Vishal Mishra and you enjoy it again. Last to arrive is <strong><em>'Macchardani'</em></strong> and its beginning is the kind that briefly reminds one of <em>'Sweetheart'</em> [<em>Kedarnath</em>]. However, the similarity just ends during the 'mukhda' piece as the song comes on its own with composer Vishal Mishra and lyricist Raj Shekhar take it forward. Brindani Mishra chips in with folk lyrics for this Vishal Mishra and Jyotica Tangri rendered number which is just about decent and should make for a situational outing at best. <strong>OVERALL</strong> The music of <em>Jabariya Jodi</em> delivers well as other than instant chartbusters like <em>'Khadke Glassy'</em> and <em>'Zilla Hilela'</em>, there are love songs like <em>'Khwabfaroshi'</em> and <em>'Ki Honda Pyaar'</em> as well which promise to play on for long in time to come. <strong>OUR PICK(S)</strong> <em>‘Khadke Glassy’</em>, <em>‘Zilla Hilela’</em>, <em>‘Khwabfaroshi’</em>, <em>‘Ki Honda Pyaar’</em>
<strong>EXPECTATIONS</strong> There are good expectations from the music of <em>Arjun Patiala</em>. After all, films coming from the house of Dinesh Vijan always result a chartbuster score, case in point being <em>Luka Chuppi</em>, <em>Stree</em>, <em>Raabta</em> and <em>Hindi Medium</em> to name a few. Moreover, <em>Arjun Patiala</em> has the kind of subject that promises peppy score and then there is Diljit Dosanjh as the main lead along with Kriti Sanon who further add on to the fun element. Sachin-Jigar are roped in as the composers for Arjun Patiala and this time around Dinesh Vijan decides to go for an out and out original soundtrack. <img class="aligncenter size-full wp-image-990995" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/06/Official-Trailer-Arjun-Patiala-Diljit-Dosanjh-Kriti-Sanon-Varun-Sharma1.jpg" alt="" width="720" height="405" /> <strong>MUSIC</strong> It is a Guru Randhawa show all the way as he sings, writes and co-composes <strong><em>'Main Deewana Tera'</em></strong> with Sachin-Jigar. The song reminds one of the kind of sound and rhythm associated with <em>'Badtameez Dil'</em> [<em>Ye Jawaani Hai Deewani</em>] and the good part is that it works quite well too. Credit it to the sound of trumpet which brings in the similarity but the fact remains that everyone attached to the song, including singer Nikhita Gandhi, truly have a blast with this fun-n-peppy party number which has all in it to set the dance floor on fire while it is played on. The song which arrives next, <strong><em>'Crazy Habibi vs Decent Munda'</em></strong>, is a major chartbuster in the making as well and rest assured it would find some good audience for itself in the long run. Yet another Guru Randhawa sung and written number, this one has Benny Dayal chipping in with Arabic vocals and lyrics. With a good rhythm to it that makes the song instantly catchy, this one has Sunny Leone pairing up with Diljit Dosanjh and Varun Dhawan for an 'item song' outing. Moreover, it is remarkable to see how Guru Randhawa's voice suits Diljit Dosanjh so very well. Soon enough, Diljit Dosanjh comes up with a song of his own as he croons <strong><em>'Dil Todeya'</em></strong>. Yet again, Guru Randhawa writes and co-composes this one with Sachin-Jigar and the team ensures that the soft romantic number does manage to find a place of its own in the proceedings. Yes, it is a bit difficult to adjust to the sudden change in mood as one is coming fresh from a couple of outright dance numbers. Still, one waits to see how does <em>'Dil Todeya'</em> grow in time to come and manage to find an audience. Sachet Tandon, who has been creating a good impression of late with <em>'Bekhayali'</em> [<em>Kabir Singh</em>] and <em>'Khwabfaroshi'</em> [<em>Jabariya Jodi</em>], gets into a different mood altogether with <strong><em>'Sachiya Mohabbatan'</em></strong>. This time around he gets into a Punjabi melody zone instead of soft rock mode that he typically explores, and the results are actually good. A beautifully composed number by Sachin-Jigar which has simple yet effective lyrics by Priya Saraiya, <em>'Sachiya Mohabbatan'</em> is the kind of number that would be picked by those who loved <em>'Duniya'</em> [<em>Luka Chuppi</em>]. It is back to fun, party and celebrations with <strong><em>'Sip Sip'</em></strong> and this time around Sachin-Jigar make way for Akash D who writes and composes <em>'Sip Sip'</em> that has Guru Bhullar coming behind the mike. Yet again, it is the hook of the song that manages to make an instant connect and it doesn't take much time before you find yourself grooving on it at the dance floor. The intermittent rap portion is also quite good and one just wonders why the song wasn't released much in advance itself. This has in it to emerge as a good chartbuster in time to come. <strong>OVERALL</strong> The music of <em>Arjun Patiala</em> is even better than what one expected out of it. While the three dance numbers are all potential chartbusters in the offering, a couple of love songs do make their presence felt as well. Considering that this soundtrack is made of original numbers instead of recreated versions, it may take some time for popularity to come but it will come eventually. <strong>OUR PICK(S)</strong> <em>‘Main Deewana Tera’</em>, <em>‘Crazy Habibi’</em>, <em>‘Sachiya Mohabbatan’</em>, <em>‘Sip Sip’</em>
<strong>EXPECTATIONS</strong> Considering that <em>Khandaani Shafakhana</em> is a Bollywood film, it has half a dozen songs in there. Otherwise a film with a subject revolving around 'let's talk about sex' hardly has the kind of premise which would warrant a music album. Nonetheless, this is indeed the case with this Sonakshi Sinha, Badshah and Varun Sharma film and one waits to hear what is in the offering. <img class="aligncenter size-full wp-image-999303" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/07/Khandaani-Shafakhana-Dil-Jaaniye-Sonakshi-Sinha.jpg" alt="" width="720" height="405" /> <strong>MUSIC</strong> As is the trend, a couple of recreated numbers - both courtesy composer and lyricist Tanishk Bagchi - open the soundtrack. First to arrive is Jasbir Jassi's <strong><em>'Koka'</em></strong> which is a good party number that has an immense foot tapping appeal to it. With Badshah and Dhvani Bhanushali joining the fun and Mellow D chipping in with additional lyrics, <em>'Koka'</em> has been a chartbuster over a period of time and would only consolidate its hit status in months to come as well. Next to arrive is <strong><em>'Sheher Ki Ladki'</em></strong> which was a rage back in time when seen in the film Rakshak. The song is recreated with Badshah and Tulsi Kumar, and the overall results are quite good all over again. The core hook of the song is what makes you revisit this one all over again, and there is someting intoxicating about <em>'Sheher Ki Ladki'</em> that it sounds as fresh as ever. After a couple of dance songs arrives a romantic track which is put to tune by Payal Dev and written by Shabbir Ahmed. Titled <strong><em>'Dil Jaaniye'</em></strong>, this one rendered by Jubin Nautiyal and Tulsi Kumar is a pleasant hear and stays well with you for its near five minute duration. With a bit of Punjabi in there, this one is fine while it lasts though, its heard-before feel means you don't quite carry it with you after you are through listening to it. It's back to party time with Badshah playing a triple role of composer, lyricist and singer for <strong><em>'Saans To Le Le'</em></strong>. As is the case with Badshah tracks, there is an inherent hook sound here as well and that's what sticks in your mind after you have heard it a couple of times. Though overall the song, which also has Rico chipping in as a singer, doesn't really give the impression of a major chartbuster in the first go, one waits to see how it is picturised. That could well make a difference to the overall popularity that it ends up gaining eventually. The song which arrives next actually turns out to be a soothing outing that makes one feel that it could well have appeared a bit earlier in the soundtrack. The manner in which Tochi Raina sings <strong><em>'Udd Jaa'</em></strong> is indeed quite impressive and the overall effort by composer Rochak Kohli and lyricist Kumaar is also something that you do notice. Yet again, this one isn't the kind that turns out to be an instant chartbuster. However, there is something soulful and serene about this situational number that you wouldn't mind playing it in loop and listening to it for long. Rochak Kohli concludes the album with Altamash Faridi sung <strong><em>'Bheege Mann'</em></strong> and this time around the end result is just about ordinary. A slow moving situational track written by Gautam G Sharma and Gurpreet Saini, it actually brings down the pace of the soundtrack. Had there been one of the three party numbers placed as the last song in <em>Khandaani Shafakhana</em>, it may just have made for a better end result. <strong>OVERALL</strong> The music of <em>Khandaani Shafakhana</em> turns out to be better than expected. One expected that most of the songs in there would be situational but this one actually turns out to be a good collage of songs with dance numbers, situational songs and a romantic number thrown in as well. <strong>OUR PICK(S)</strong> <em>‘Koka’</em>, <em>‘Sheher Ki Ladki’</em>, <em>‘Saans To Le Le’</em>, <em>‘Udd Jaa’</em>
<strong>EXPECTATIONS</strong> One isn't really sure of what to expect from the music of <em>Chhichhore</em>. Considering the fact that it is set as a campus entertainer, one expects situational music at best from this soundtrack that has been put together by Pritam and Amitabh Bhattacharya. That said, since the film is produced by Sajid Nadiadwala who has a keen ear for music, one expects some melodies too. <img class="aligncenter wp-image-1014368 size-full" title="Music Review Chhichhore" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/09/Music-Review-Chhichhore.jpg" alt="Music Review Chhichhore" width="720" height="450" /> <strong>MUSIC</strong> The soundtrack kick-starts with the sound of <strong><em>'Woh Din'</em></strong> and it is just the right kind of number that one expects at the beginning of a film with a campus setting. Had it been a romantic beginning, one may have felt a tad disappointed. Thankfully what one hears here is a beautiful rendition by Tushar Joshi who sings this heartfelt number with simple lyrics and beautiful melody. You are actually transported into the stage and setting of a college and later when the Arijit Singh version arrives, you lap up the song all the more. This one has a long shelf life. Surprisingly though, the song that follows just doesn't entertainer. Though set as a kind of number that could well have been an outcome of a jam session in the studio, <strong><em>'Control'</em></strong> tries to be all funny and entertainer but falls flat. There is a horde of singers in the form of Nakash Aziz, Manish J. Tipu, Geet Sagar, Sreerama Chandra and Amitabh Bhattacharya but the overall outcome fails to make any kind of impact despite repeated hearing. It may just manage to make some kind of an impact if picturised interestingly. Thankfully, the experiment of getting multiple singers together in yet another campus track, <strong><em>'Fikar Not'</em></strong>, works quite well. Reminding one of the kind of mood that Pritam had created for <em>'Galti Se Mistake'</em> [<em>Jagga Jasoos</em>], this one by Nakash Aziz, Amit Mishra, Dev Negi, Amitabh Bhattacharya, Sreerama Chandra and Antara Mitra is a fun track all the way. In fact it also carries a good message of thinking only about the current times rather than wasting one's time and energy in worrying about what future has in hold. This one could work well in a long run. A happy-sad song comes next in the form of <strong><em>'Kal Ki Hi Baat Hai'</em></strong> and it is after a while that one hears K.K. in a Pritam composition. A situational number about recollecting the good times gone by, it comes across as a track that would play on as a montage sequence. One just hopes that since this one has a slow pace composition wise, it doesn't slow down the film's narrative when it plays on screen. The song that is set to grow quite well in time to come though is <strong><em>'Khairiyat'</em></strong>, which is also the best of the soundtrack. This one appears in a couple of versions, one happy and one sad by Arijit Singh. A song which is about a lover wondering if the one whom he believes to be his life no less even thinks about him while being far away, <em>'Khairiyat'</em> boasts of a beautiful melody and deserves to be played in loop. Though it has been released recently, one just wonders about the kind of distance it would have already covered had it arrived a couple of weeks back. <strong>OVERALL</strong> The music of <em>Chhichhore</em> is the kind that grows on you and has the potential to make an even better impression when heard and experienced in the context of the film. This one has a classy feel to it. <strong>OUR PICK(S)</strong> <em>‘Khairiyat’</em>, <em>‘Fikar Not’</em>, <em>‘Woh Din’</em>
<strong>EXPECTATIONS</strong> A launch-pad is always special, especially so when it is that of a star son. Moreover, when the debut affair is a love story then you do expect soulful music as well. This is what makes one look forward to what does Sunny Deol has in store for the launch of his son Karan Deol along with newcomer Sahher Bambba. The good thing is that he brings on board hottest sensations Sachet-Parampara to put together the soundtrack with Siddharth-Garima doing the honours as the lyricists. Rishi Rich produces the music and his touch is quite visible in there. <img class="aligncenter size-full wp-image-1014370" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/09/Music-Review-Pal-Pal-Dil-Ke-Paas.jpg" alt="" width="720" height="450" /> <strong>MUSIC</strong> Newcomer Hansraj Raghuwanshi, who is known for his devotional songs, makes his Bollywood foray with <strong><em>'Aadha Bhi Zyaada'</em></strong>. A number about living life to the fullest, this one is a peppy outing and in fact reminds one of <em>'Sochna Kya Jo Bhi Hoga Dekha Jaayega'</em> from Sunny Deol's <em>Ghayal</em>. That song was rendered by Bappi Lahiri and incidentally Hansraj's voice pretty much sounds similar to that of the veteran composer-singer. Meanwhile, Karan Deol too makes an intermittent appearance as a rapper in this song which does carry the sound of <em>'Jai Bhole'</em>. The song that is set to become an anthem in time to come though is the title track <strong><em>'Pal Pal Dil Ke Paas'</em></strong>. An excellent number that is very high on melody and showcases the best side of composers Sachet-Parampara, it has poetic lyrics by Sidharth-Garima that makes a very strong impression. Meanwhile, the song is made special due to the voice of Arijit Singh who is superb all over again and also Parampara Thakur who shows once again that other than being an efficient composer, she is also a very good singer. No wonder, the song deserves to be heard in a repeat mode and that is evident in the kind of confidence that the makers have as well, what with <em>'Pal Pal Dil Ke Pass'</em> arriving in as many as three more versions. Whether it is the second version, the 'celebration' version or the one which goes by the title <strong><em>'Suun le Rabb'</em></strong>, the song is beautiful every time it is heard and one just can't let the melody go off from one's mind and heart. Composer Tanishk Bagchi makes a special appearance with a solitary number, <strong><em>'Ho Jaa Awara'</em></strong>. He too demonstrates once again that there is a lot more to him than the recreated versions that he is largely known for, what with this one turning out to be yet another beautiful number in <em>Pal Pal Dil Ke Paas</em>. Monali Thakur is the one who kick-starts the proceedings for the song and somewhere also reminds one of the kind of pitch that Hema Sardesai used to take in her songs back in the 90s. Ash King is her accompanying partner in this peppy-n-sweet outing. It is back to Sachet and Parampara and this time around other than being the composers, they are also the singers for three songs in a row. First to arrive is <strong><em>'Ishaq Chaliya'</em></strong> which has a good hook to it and makes one tap feet instantly. A Punjabi-Hindi number, this one has a good pace as well and lends a happy sound to the overall outing. A difficult song to sing, especially the manner in which Sachet brings on the hook words, this one takes a bit of time to grow on you but eventually you get a good hang of it. This is followed by <strong><em>'Dil Uda Patanga'</em></strong> which has Parampara Thakur taking the lead and Sachet Tandon joining her soon enough. A song which has a teenage feel to it with an Indi-pop flavour, there is certain innocence to it that should work with the teenagers if the film manages to strike a chord with the audiences. Play this one loop and you won't be disappointed at all. Third song that arrives in the voice of Sachet and Parampara is <strong><em>'Maa Ka Mann'</em></strong> and this one is a devotional piece with a difference. While the sound of 'Satnam Shri Waheguru' keeps playing in your mind during the track's duration, you like the manner in which there is a soulful feel being carried. This one should make for a good situational piece in the film's narrative. <strong>OVERALL</strong> The music of <em>Pal Pal Dil Ke Pass</em> was expected to be good but the soundtrack actually goes on to exceed expectations. Sahcet-Parampara, Sidharth-Garima and Richie Rich do quite well in their biggest album till date where they are entrusted to put together music for the two newcomers. There is certain consistency in the film's music and that is always on the cards as well when there is a single team put together in charge instead of multiple composers, lyricists and singers. This one is a winner. <strong>OUR PICK(S)</strong> <em>‘Pal Pal Dil Ke Paas’</em>, <em>‘Ishaq Chaliya’</em>, <em>‘Ho Jaa Awara’</em>
<strong>EXPECTATIONS</strong> Though Ayushmann Khurranna's upcoming release is titled <em>Dream Girl</em>, one doesn't expect a romantic soundtrack here. Reason being that even with Nushrath Bharucha as the leading lady, this Ekta Kapoor and Raaj Shandilyaa film isn't really a love story and instead a comedy about a man who mimics the voice of a woman. Hence, one expects a situational fun score by composers Meet Bros who are joined by lyricist Kumaar. <img class="aligncenter size-full wp-image-1008181" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/08/Dream-Girl-Radhe-Radhe-Ayushmann-Khurrana-Nushrat-Bharucha.jpg" alt="" width="720" height="405" /> <strong>MUSIC</strong> This is what one gets right at the onset too as Amit Gupta croons <strong><em>'Radhe Radhe'</em></strong> which turns out be a fun song about Radha-Krishna love story. Ayushmann Khurranna gets into a full-on fun mood with this song which is also his biggest when it comes to the stage, setting and the canvas. In fact the manner in which this song is composed and orchestrated, it also reminds one of the kind of music that Sajid-Wajid created at the turn of the millennium. A good foot tapping number that also sees a good remix version, courtesy DJ Harshit Shah. There is more fun in store with Jonita Gandhi and Nakash Aziz letting their hair down and coming together for <strong><em>'Dil Ka Telephone'</em></strong>. Yet again, there is 'masti' and 'mazaa' galore in this song that has a 50s style retro feel to it. A song where Ayushmann Khurrana gets into phone conversations with his various suitors, this one is a fun outing with a good hook to it that catches up with you instantly. In fact it would really add on to the film if portions of the song, which also has a remix version by DJ Himani Singh, appear at various junctures of the narrative. It is a hat-trick of fun songs with Mika Singh and Jyotica Tangri coming together for the legendary Marathi song <strong><em>'Dhagala Lagali'</em></strong>. A foot tapping song that has no dull moment whatsoever, this one is instantly catchy and would immediately find attention in the Maharashtra belt. A lively song with good music arrangements going for it, <em>'Dhagala Lagali'</em> could well find itself on the list of DJ's favourites also in quick time. The mood changes though with a sufi outing <strong><em>'Ik Mulaqaat'</em></strong>. On the same lines as <em>'Dekhte Dekhte'</em> [<em>Phata Poster Nikhla Hero</em>], this one has Altamash Faridi taking the lead and singing in a style similar to that of Nusrat Fateh Ali Khan. With guest lyricist Shabbir Ahmed pitching in, this romantic number has Palak Muchhal pairing up with Altamash. Meet Bros aim to give this one a contemporary touch by fusing it with rock elements as well. Though one doesn't expect this one to be covering a very long distance, as a part of the film it should fit in well. The soundtrack of <em>Dream Girl</em> concludes with a mandatory Punjabi 'desi' number <strong><em>'Gat Gat'</em></strong> which has Jass Zaildar and Khushboo Grewal coming together. Yet again, there is good foot tapping appeal that the song carries, hence ensuring that the celebratory mood continues. In fact this is one of those songs that could well have been unveiled a little earlier as well since it has in it to become popular in time to come if promoted aggressively. <strong>OVERALL</strong> <em>Dream Girl</em> boasts of a good soundtrack with Meet Bros and Kumaar doing well to create songs that work for the narrative and also have it in them to enjoy a longer run as well beyond the release of the film. Hear it for some entertaining times. <strong>OUR PICK(S)</strong> <em>‘Dhagala Lagali’</em>, <em>‘Dil Ka Telephone’</em>, <em>‘Radhe Radhe’</em>