<strong>EXPECTATIONS</strong> There are good expectations from the music of <em>Dabangg 3</em>. After all, the music of both <em>Dabangg</em> and <em>Dabangg 2</em> had done quite well, and composer duo Sajid-Wajid is expected to score a hat-trick with this one. Danish Sabri is the prime lyricist with others pitching in as well. <img class="aligncenter size-full wp-image-1057746" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/12/Music-Review-Dabangg-3.jpg" alt="" width="750" height="450" /> <strong>MUSIC</strong> The album kick-starts with the title song <strong><em>'Hud Hud'</em></strong> which has seen a variation of sorts this time around with Jalees Sherwani coming together with Danish Sabri as the lyricist. Somehow, the punch is missing in this re-dux version. Though the song is in the same zone as the earlier version, something which makes the 'mukhda' interesting, the 'antara' portions don't quite work. Moreover, rendition by Shabab Sabri, Divya Kumar and Sajid doesn't carry much energy either which results in <strong><em>'Hud Hud'</em></strong> turning out to be rather ordinary. As is the tradition with <em>Dabangg</em> franchise, there is yet another 'naina' song coming in the form of <strong><em>'Naina Lade'</em></strong>. The song belongs to the kind which was popular around a decade back when Salman Khan had many such chartbusters to his name. Perhaps the makers wanted to retain a similar sound in order to stick to the ethos of <em>Dabangg</em> franchise. However, what one ends up listening to is a rehashed version of sorts that has been written by Danish Sabri and rendered by Javed Ali. There is some excitement that steps into the proceedings with Danish Sabri written <strong>'Yu Karke'</strong> that has naughty undertones to it. In the same zone as <strong><em>'Saree Ke Fall Sa'</em></strong> from Prabhu Dheva's own <em>R... Rajkumar</em>, this one caters to the gentry and is an out and out massy number. Surprisingly, even though Salman Khan has sung this track which boasts of some eye catchy choreography and picturisation as well, the song hasn't been promoted to the fullest. Payal Dev accompanies Salman Khan behind the mike and has her share of fun as well. Badshah joins Danish Sabri as the co-lyricist for <strong><em>'Munna Badnaam Hua'</em></strong> and in fact also opens the number with his rap portion. Considering the kind of set up that <em>Dabangg</em> has, it seems a bit odd to have Salman Khan lip synching to a rap outing here. One of his favorite singer Kamaal Khan takes the lead along with Mamta Sharma for this fun-n-celebration track that is doesn't really turn out to be another <strong><em>'Munni'</em></strong> [<em>Dabangg</em>] or <strong><em>'Fevicol'</em></strong> [<em>Dabangg 2</em>]. Still, it is a better recreated version when compared to <strong><em>'Hud Hud'</em></strong>. Veteran lyricist Sameer Anjaan along with Sajid write <strong><em>'Awara'</em></strong> that doesn't really impress even after a couple of listening. Newcomer Muskaan renders this song and one can't really say that she ends up making an instant impression. Moreover, the tune is way too old fashioned here; so much so that another newcomer singer Salman Ali isn't able to salvage the song much. Last to arrive is <strong><em>'Habibi Ke Nain'</em></strong> which has Jubin Nautiyal taking charge with Shreya Ghoshal soon after. A love song which is on the same lines as <strong><em>'Awara'</em></strong> or <strong><em>'Naina Lade'</em></strong>, it scores in maintaining consistency but in the process also ends up becoming yet another romantic track that doesn't really have in it to cover much of a distance. Irfan Kamal's lyrics try to be all poetic and soulful but somehow the impact is missing, just as is the case with majority of soundtrack. <strong>OVERALL</strong> While relatively speaking the music of <em>Dabangg 3</em> is not a patch on <em>Dabangg</em> or <em>Dabangg 2</em>, even on an absolute scale it doesn't have much in there to go a long way in time to come. <strong>OUR PICK(S)</strong> ‘<em>Munna Badnaam Hua’</em>, <em>‘Yu Karke’</em>

<strong>EXPECTATIONS</strong> When a biggie arrives from the house of Karan Johar with a massive starcast led by Akshay Kumar and Kareena Kapoor along with Diljit Dosanjh and Kiara Advani, you don't quite settle for something ordinary. Moreover, with the film also being titled <em>Good Newwz</em>, you expect the same flavor in the soundtrack as well. <img class="aligncenter size-full wp-image-1057786" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/12/Music-Review-Good-Newwz.jpg" alt="Music Review - Good Newwz" width="750" height="450" /> <strong>MUSIC</strong> Tanishk Bagchi, who is known more for his recreated versions, hits it out of the park with an original track <strong><em>'Chandigarh Mein'</em></strong>. A Hindi-Punjabi number that has an eclectic mix of singers in the form of Badshah, Harrdy Sandhu, Lisa Mishra and Asees Kaur, this one has Tanishk and Badshah coming together for the lyrics department as well. A dance number with a mega celebratory feel to it, 'Chandigarh Mein' has a really catchy hook to it which doesn't take time to get on you, so much so that you find yourself humming this one soon enough. Next to arrive is <strong><em>'Sauda Khara Khara'</em></strong> which has stayed on to be a major chartbuster for many years now. Originally rendered by Sukhbir, this one has Diljit Dosanjh taking over the center-stage this time around, and the actor-singer does a really good job all over again. With Kumaar stepping as the lyricist, this one has Lijo George-Dj Chetas as the composers while Dhvani Bhanushali is also the newest entrant behind the mike. A Punjabi dance number, it is now bound to have an even longer shelf life due to the presence of Diljit and Akshay in the video. The manner in which <strong><em>'Maana Dil'</em></strong> begins, it reminds one of <strong><em>'Fakira'</em></strong>. However, the similarity is just for a few seconds as soon enough B Praak makes a solid impression once again with his characteristic voice even as Tanishk Bagchi spins together a soulful tune for this beautifully written sad number by Rashmi Virag. While the 'mukhda' makes a good impression, it's the manner in which the 'antara' portions are put together that take the song, which has Farhad Bhiwandiwala as the additional singer, take it to the next level. Hear this one for sure. It is back to celebrations with RDB's <strong><em>'Laal Ghaghra'</em></strong> brought to fore once again by Tanishk Bagchi, Manj Musik and Herbie Sahara. A fast paced dance number that sets one feet tapping from the word go, this one is written by Tanishk Bagchi &amp; Herbie Sahara and sung with aplomb by Manj Musik, Herbie Sahara &amp; Neha Kakkar. The song's placement in the film is also apt as it adds on to the fun feel that director Raj Mehta has adopted for the first half of the narrative. With each of the four songs making a really impression, it is indeed 'good news' so far. A song with a core Western touch to it, <strong><em>'Dil Na Jaaneya'</em></strong> arrives next. Composed by Rochak Kohli and Lauv who also sing this one with Akasa leading the show, this one is a kind of song that one associates with an urban romcom entertainer by Karan Johar. A soft number which is soothing to the ear, it has a mix of Hindi and English lyrics, courtesy Gurpreet Saini, Ari Leff and Michael Pollack. Though one waits to see if the song gains as much as popularity as rest of the massy soundtrack, this one would go down as a classy outing which is also heard in an unplugged version with Arijit Singh leading the show. Dance and celebrations continue with <strong><em>'Zumba'</em></strong> which is based on Punjabi folk music that is commonly heard in weddings up north. Tanishk Bagchi does well to bring on core Punjabi flavor in this dance number that has a mix of contemporary and traditional lyrics by Vayu with Romy taking center-stage as the singer. This is a song that keeps the narrative of the film exciting. Last to arrive is the peppy theme music of the film<strong><em>, 'Good Newwz Theme'</em></strong>, which is just an apt finale for the soundtrack. KSHMR and Tanishk Bagchi are the creators for this fun track. <strong>OVERALL</strong> The music of <em>Good Newwz</em> is quite good and has already helped the film find ample attention coming its way. With the film doing quite well in theaters already and the music gaining further thumbs-up from the audiences, expect the songs to play on for many more months to come. <strong>OUR PICK(S)</strong> <em>Chandigarh Mein</em>, <em>Sauda Khara Khara</em>, <em>Laal Ghaghra</em>, <em>Maana Dil</em>

<strong>EXPECTATIONS</strong> Of late, music in films starring Kartik Aaryan has invariably turned out to be of chartbuster variety. It was seen earlier this year in <em>Luka Chuppi</em> as well and now 2019 is ending with a bang, what with each of the songs from <em> </em> turning out to be a chartbuster. <img class="aligncenter size-full wp-image-1057787" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/12/Music-Review-Pati-Patni-Aur-Woh.jpg" alt="Music Review - Pati Patni Aur Woh" width="750" height="450" /> <strong>MUSIC</strong> It is time to welcome yet another recreated version, this time that of Tony Kakkar's mega hit number <strong><em>'Dheeme</em> <em>Dheeme'</em></strong>. The man who has been getting it right for most of the times, Tanishk Bagchi, hits a six yet again with this version which has Tony Kakkar and Neha Kakkar coming together for this rollicking club track. A superb number that has a huge foot tapping appeal and is set to rock the show for many more months to come as well, <strong><em>'Dheeme</em></strong> <strong><em>Dheeme'</em></strong> has Tony Kakkar, Tanishk Bagchi &amp; Mellow D contributing towards the lyrics as well. A love song comes next in the form of <strong><em>'Tu Hi Yaar Mera'</em></strong> which has Neha Kakkar being heard in an altogether different avtar from her usual self. Instead of a fun-n-frolic outing, she becomes a part of a love song which has been beautifully composed by Rochak Kohli with Arijit Singh showing once again that he is the numero uno choice when it comes to singing his way right into the heart. Moreover, it is lyrics by Kumaar that make a good impact as well, hence ensuring that <strong><em>'Tu Hi Yaar Mera'</em></strong> turns out to be a song that would have a good shelf life. As for a love song that has certain depth to it, <strong><em>'Dilbara'</em></strong> couldn't have come at a better time, what with Sachet-Parampara doing well yet again after their superlative effort in <em>Kabir Singh</em> and then <em>Pal Pal Dil Ke Paas</em>. A Hindi-Punjabi song which has a trademark stamp of the composers-singers, <strong><em>'Dilbara'</em></strong> is pretty well written by Navi Ferozpurwala who gets the feel of 'dard-e-judaai' right. In fact it is surprising that the song hasn't been hammered to the fullest as this one carries good potential to find popularity amongst those mending a broken heart. Last to arrive is yet another recreated version, <strong><em>'Ankhiyon Se Goli Mare',</em></strong> which has stayed on to be a chartbuster even after a couple of decades since it was heard first in <em>Dulhe Raja</em>. The tune by Anand-Milind is given a good twist by Tanishk Bagchi who brings on board just the right singers in the form of Mika Singh and Tulsi Kumar to result in a song that sounds fresh till date. While the core peg <strong><em>'Ankhiyon Se Goli Mare'</em></strong> as well as the 'antara' by Sameer is retained as is, the 'mukhda' goes through a transformation albeit without hurting the originality much. <strong>OVERALL</strong> The music of <em>Pati Patni Aur Woh</em> is on expected lines as there is no dull moment whatsoever. A couple of recreated dance numbers and then a couple of love songs ensure that this one turns out to be a well-rounded affair. <strong>OUR PICK(S)</strong> <em>Dheeme Dheeme</em>, <em>Ankhiyon Se Goli Mare</em>, <em>Dilbara</em>

<strong>EXPECTATIONS</strong> When it comes to a film like <em>Tanhaji - The Unsung Warrior</em>, the expectation is that of a situational score. Moreover, since the core genre of the film is action-drama, all that is required too is three to four tracks that come at just the right points in the film. This is what the team of composers, lyricists and singers delivers as well. <img class="aligncenter size-full wp-image-1062213" src="https://www.bollywoodhungama.com/wp-content/uploads/2020/01/Tanhaji-5.jpg" alt="" width="750" height="450" /> <strong>MUSIC</strong> It's a euphoric beginning for <em>Tanhaji - The Unsung Warrior</em> as composer Mehul Vyas puts together a ferocious piece, <strong><em>'Shankara Re Shankara'</em></strong>. He sings this Anil Verma written track as well along with Adarsh Shinde and together the trio delivers a song which has a 70s and 80s feel to it in the way it is orchestrated and delivered. For the situational in the film, this one works. The experience of Sukhwinder Singh and Shreya Ghosal is apparent right at the beginning of <strong><em>'Maay Bhavani'</em></strong> which pretty much takes off from where <strong><em>'Shankara Re Shankara'</em></strong> left. With both the songs based on Indian Gods, one can sense the kind of feel that the team wanted to bring in the soundtrack here. Ajay - Atul bring in their characteristic style into play in this Swanand Kirkire written number, especially in the way 'mukhda' transitions to 'antara'. Yet another situational number, this one goes with the essence of the film. Sachet-Parampara, who are known most for their melodious songs, especially in last year's all time blockbuster Kabir Singh, showcase their versatility with <strong><em>'Ghamand Kar'.</em></strong> They compose as well as sing this Anil Verma written number which is ferocious in its appeal. Pretty much the theme track of the album, this one has a haunting sound of 'ra ra ra ra' which elevates the soundtrack to a great degree. Appearing at just the right juncture in the film, this one should actually have been the opening song of the soundtrack as well. Very well orchestrated. Last to arrive is <strong><em>'Tinak Tinak'</em></strong> and this too is a product of Sachet-Parampara and Anil Verma combo. Appearing during the end credit roll of the film and picturised on Kajol, this one has Harshdeep Kaur coming behind the mike. Though the styling of the song compliments the kind of set up that Tanhaji - The Unsung Warrior boasts of, somehow this one doesn't quite manage to make much of an impression. More so since the film as a whole doesn't really have any romantic undertones and hence this one comes across as rather misfit. <strong>OVERALL</strong> The soundtrack of <em>Tanhaji - The Unsung Warrior</em> delivers as expected. Though there aren't many memorable songs out there, they do well enough to keep the film's narrative engaging. <strong>OUR PICK(S)</strong> <em>‘Ghamand Kar’</em>, ‘<em>Shankara Re Shankara’</em> &nbsp;

<p dir="ltr"><strong>EXPECTATIONS</strong></p> <p dir="ltr">Well before Marjaavaan was gearing up for release, a lot was being spoken about the music that had been put together for the romantic action drama. With the soundtrack comprising of almost a dozen songs, it was further established loud and clear that music would play a major role in taking forward the narrative of this Milap Zaveri directed film. Multiple composers, lyricists and singers come together to put together music of Marjaavaan which has multiple recreated versions of the yesteryear hits as well.</p> <img class="aligncenter size-full wp-image-1059330" src="https://www.bollywoodhungama.com/wp-content/uploads/2020/01/Marjaavaan-Music-Review.jpg" alt="Marjaavaan Music Review" width="750" height="450" /> <p dir="ltr"><strong>MUSIC</strong></p> <p dir="ltr">As expected, it’s an out and out love song 'Tum Hi Aana' that opens the soundtrack of Marjaavaan. Payal Dev is the composer of this beautiful melody that should find its way into one of the most popular love songs of 2019. Pretty well written by Kunaal Vermaa whose lyrics are heart rendering to say the least, the strength of 'Tum Hi Aana' also lies in the manner Jubin Nautiyal sings this one. No wonder, as many as four versions of the song are heard with Jubin also going for a happy and sad version each and then pairing up with Dhvani Bhanushali for a duet too.</p> <p dir="ltr">The love song that takes the soundtrack forward is 'Thodi Jagah' which has really sentimental lyrics put together by Rashmi Virag. Moreover, with Arijit Singh taking over the center-stage, you know that the outcome would be straight from the heart, and that indeed turns out to be the case as well. Reminding one of the kind of music that was heard in Aashiqui 2, this one is an original composition by Tanishk Bagchi who does quite well here. Later, the song is heard in Tulsi Kumar's voice as well and she too is impressive with her rendition here.</p> <p dir="ltr">Tanishk Bagchi gets into a recreation mode soon after though with as many as two numbers to his credit, 'Ek Toh Kum Zindagani' and 'Haiya Ho'. Both songs are originally written by Indeevar and have late Firoz Khan as the director. While 'Ek Toh Kum Zindagani' is a Kalyanji-Anandji composition ['Pyar Do Pyar Lo'] from Janbaaz, 'Haiya Ho' is based on Laxmikant-Pyarelal's 'Chahe Meri Jaan Tu Le Le' from Dayavan.</p> <p dir="ltr">Though Neha Kakkar's rendition is just apt as she comes with an apt follow up to Sapna Mukherjee's voice, the male inclusion by Yash Narvekar in 'Ek Toh Kum Zindagani' could have been totally avoided. On the other hand Tulsi Kumar &amp; Jubin Nautiyal's rendition of 'Haiyaa Ho' [originally sung by Jolly Mukherjee and Sapna Mukherjee] turns out to be actually a better version and could well have been more aggressively promoted.</p> <p dir="ltr">Another recreated version that arrives next is 'Kinna Sona' which has Meet Bros and Kumaar coming up with their own take with Jubin Nautiyal &amp; Dhvani Bhanushali doing the honors behind the mike. This one in fact turns out to be rather mild in comparison to the versions that one has heard in the past and surprisingly also takes a lot of time to actually come to the point.</p> <p dir="ltr">Next to arrive are situational numbers that remind one of songs like these that were placed in the action packed narrative of the 70s and the 80s. As a matter of fact this genre of songs are still quote popular in films being made down South and it is apparent that Milap Zaveri was influenced by that style of filmmaking here. No wonder, he has Palak Muchhal lead from the front for 'Raghupati Raghav Raja Ram' which is composed by Tanishk Bagchi, written by Manoj Muntashir and appears just before the climax of the film. A passable track.</p> <p dir="ltr">The one that does lend goose bumps though is Aditya Dev composed 'Hasbi Rabbi' which has Altamash Faridi &amp; Kamaal Khan come up with the kind of rendition that has a haunting appeal. Based on traditional lyrics, this one too is old fashioned in style but goes well with the overall treatment of the film. The version that did elevate the proceedings of the film is 'Hasbi Rabbi Naat' which is composed by Sanjay Chaudhary and written and sung by Mujtaba Aziz Naza. This one lends a short and impactful closure to the soundtrack.</p> <p dir="ltr"><strong>OVERALL</strong></p> <p dir="ltr">The music of Marjaavaan is quite satisfying and is in fact even better than expected. A well rounded affair which has everything for everyone, be it the masses or the classes, Marjaavaan would be picked up by music lovers in time to come as well.</p> <p dir="ltr"><strong>OUR PICK(S)</strong></p> <p dir="ltr">'Tum Hi Aana', 'Thodi Jagah', 'Ek Toh Kum Zindagaani', 'Haiya Ho'</p>

<p dir="ltr"><strong>EXPECTATIONS</strong></p> <p dir="ltr">'Bala' did the trick! Time and again it has been said that even if there is just one blockbuster song in a film, it can elevate its fortunes in a big way. This is what happened with Housefull 4 as well which had 'Bala' turning out to be a rage en route the film's release. The other songs that were put together by Sohail Sen and Farhad Samji only turned out to be an added bonus.</p> <p dir="ltr"><img class="aligncenter size-full wp-image-1059332" src="https://www.bollywoodhungama.com/wp-content/uploads/2020/01/Housefull-4-Music-Review.jpg" alt="" width="750" height="450" /></p> <p dir="ltr"><strong>MUSIC</strong></p> <p dir="ltr">There is a signature Housefull feel to the manner in which 'Ek Chumma' kick-starts the proceedings for Housefull 4. When it comes to the franchise, the music is expected to be peppy, lively and catering to the masses. This is what is the case with this Sameer Anjaan written number as well which has composer Sohail Sen also come behind the mike along with Altamash Faridi and Jyotica Tangri. Together, the team ensures that there is a catchy number in the offering which is reminiscent to the kind of music that was popular back in the good part of the 80s and 90s.</p> <p dir="ltr">The song which brings the house down though is 'Shaitan Ka Saala' which has its hook based on Tony Montana's 'Bala'. However, Sohail Sen along with the film's director and lyricist Farhad Samji spins it in a big way to come up with an even more entertaining piece that turns out to be far better than the original. One of the biggest chartbusters of 2019, it was also notable for its unique dance step, something that led to hundreds of cover versions that are popular till date. A bonafide blockbuster song all the way.</p> <p dir="ltr">Another recreated song that arrives next is 'The Bhoot Song' which is based on Laxmikant-Pyarelal and Anand Bakshi's ‘Bhoot Raja Bahar Aaja’ from yesteryear film Chacha Bhatija. Farhad Samji and Sandeep Shirodkar come together to recreate their own version with Mika Singh taking over the center-stage and being his energetic best. In fact Farhad Samji plays a triple role here of being a composer, singer as well as lyricist (along with Vayu) with help also coming from Devi Sri Prasad who lends signature music to the track. A fun passable number.</p> <p dir="ltr">The song which turns out to be a good celebration track though is 'Chammo' and this could well have been the first to be promoted. A lavishly picturised song that reminds one of the kind of songs that filmmakers like Manmohan Desai and Raj Kumar Kohli used to have in their films back in the 70s and the 80s, 'Chammo' has Sohail Sen and Sameer Anjaan do well all over again. With a strong base in Hindustani classical music as well, this one has Sukhwinder Singh, Shreya Ghoshal and Shadab Faridi come together and give this one as a grand appeal.</p> <p dir="ltr">Last to arrive is Danish Sabri sung 'Badla' and this one turns out to be truly forgettable. Perhaps the core idea behind this Farhad Samji composed and written number was to ham it up, as is apparent in the lyrics as well as the music of this parody number. However, by and large this one actually turns out to be the weakest spot of the soundtrack as well as the film's narrative. This one can be conveniently skipped.</p> <p dir="ltr"><strong>OVERALL</strong></p> <p dir="ltr">The music of Housefull 4 is just the kind that one expects from Housefull franchise. By and large it's the kind that goes with the pace of the narrative and stays along as the accompanying partner.</p> <p dir="ltr"><strong>OUR PICK(S)</strong></p> <p dir="ltr">'Bala', 'Chammo', 'Ek Chumma'</p>

<p dir="ltr"><strong>EXPECTATIONS</strong></p> <p dir="ltr">When Hrithik Roshan and Tiger Shroff come together for a film, the music has to be special. This is what happens as well in this short-n-catchy soundtrack by Vishal-Shekhar which has just two songs, both written by Kumaar, with three theme tracks put together by Sanchit Balhara and Ankit Balhara.</p> <p dir="ltr"><img class="aligncenter size-full wp-image-1059333" src="https://www.bollywoodhungama.com/wp-content/uploads/2020/01/WAR-MUSIC-REVIEW.jpg" alt="" width="750" height="450" /></p> <p dir="ltr"><strong>MUSIC</strong></p> <p dir="ltr">It's 'Ghungroo' right at the beginning and has Vishal-Shekhar's stamp all over it. They put together the right team of singers as well, what with Arijit Singh modulating his voice in a major way to sound like Hrithik Roshan. A westernized tune with a 'desi' feel to it, 'Ghunghroo' goes to the next level with one of the most underrated female singers around, Shilpa Rao. The lady had made waves back in time with Vishal-Shekhar's 'Khuda Jaane' [Bacha Ae Haseeno] as well and she is on fire yet again in this rollicking track as well which is a huge chartbuster already.</p> <p dir="ltr">Next to arrive is 'Jai Jai Shivshankar' which features the dance face-off of last many years, what with Hrithik Roshan and Tiger Shroff bringing their best moves on screen. Yet again, Vishal-Shekhar do well to get the right vocals for both the actors, what with Vishal bringing himself on board for Hrithik even as Benny Dayal gets into a playful mode for Tiger. As is the case most of the times with Kumaar, the lyricist comes up with some unconventional words for 'Jai Jai Shivshankar' which has already gained huge popularity and would be played for months to come.</p> <p dir="ltr">From here on arrive three theme tracks by Sanchit Balhara &amp; Ankit Balhara. First up is the 'War Theme' which has just the kind of sound that one associates with a Bond, Mission Impossible or Bollywood's very own Don franchise. In fact this has a kind of punch to it which should make it integral to the next installments of the War franchise that would be unleashed in time to come.</p> <p dir="ltr">This is followed by 'Kabir’s Theme' and 'Khalid’s Theme', both of which have strong Western base to them, hence allowing the narrative of the film exciting, engaging and truly thrilling. In fact latter also has English lyrics by Vishal Dadlani who also comes behind the mike to croon these couple of lines, hence adding on further punch.</p> <p dir="ltr"><strong>OUR PICK(S)</strong></p> <p dir="ltr">'Ghunghroo', 'Jai Jai Shivshankar', 'War Theme'</p>

<strong>EXPECTATIONS</strong> When it comes to a concept film like <em>Chhapaak</em>, one expects a situational soundtrack at best. Moreover, director Meghna Gulzar has a certain style of music in her films and one is assured of that with Gulzar as the lyricist. Shankar - Ehsaan - Loy are the composers of <em>Chhapaak</em> which has just four songs. <img class="aligncenter size-full wp-image-1063057" src="https://www.bollywoodhungama.com/wp-content/uploads/2020/01/Chhapaak-18.jpg" alt="" width="750" height="450" /> <strong>MUSIC</strong> Arijit Singh gets to croon three out of four songs in Chh<em>a</em>paak and none of these is a romantic number. Title song <strong><em>'Chhapaak'</em></strong> comes next and it narrates the plight of how a few drops of acid can scar a person for life. This one in fact has the kind of sound that one associates with Vishal Bhardwaj, given the kind of collaborations that he has had with Gulzar over the years. Siddharth Mahadevan comes behind the mike for a love song <strong><em>'Nok Jhok'</em></strong> which is again situational in appeal. Not the kind of song that one would expect to have a chartbuster appeal, it in fact has the kind of sound that one heard back in the 90s as a part of Indi-pop albums. A decent number which is soothing to listen to, though not quite expected to cover a long distance. It is back to Arijit Singh as he begins from where he left in the title song <strong><em>'Chhapaak'</em></strong>. This time around the song in question is <strong><em>'Khulne Do'</em></strong> and the theme is that of hope and belief around something good about to happen. The song has an ordinary tune and doesn't really carry the kind of pull that would make a listener play it on repeatedly after listening to it once. There is a bit of a follow up version of the song though that comes in the form of <strong><em>'Sab Jhulas Gaya'</em></strong>, and the results are just the same. <strong>OVERALL</strong> As expected, the music of <em>Chhapaak</em> is strictly situational and the recollection is restricted to just its placement in the film's narrative. <strong>OUR PICK(S)</strong> <em>Chhapaak, Nok Jhok</em> &nbsp;

<strong>EXPECTATIONS</strong> Filmmaker Luv Ranjan has certain style when it comes to creating soundtrack for his films. His <em>Pyaar Ka Punchnama</em> series as well as <em>Sonu Ke Titu Ki Sweety</em> in particular have boasted of youthful peppy music. Now that his production <em>Jai Mummy Di</em> is releasing, one expects something similar from over half a dozen songs that appear in the soundtrack. <img class="aligncenter wp-image-1063485 size-full" title="Music Review: Jai Mummy Di" src="https://www.bollywoodhungama.com/wp-content/uploads/2020/01/Music-Review-Jai-Mummy-Di.jpg" alt="Music Review: Jai Mummy Di" width="720" height="450" /> <strong>MUSIC</strong> As is the trend, <em>Jai Mummy Di</em> too kick-starts with a couple of recreated songs. First to arrive is Sukh-E Muzical Doctorz composed and Jaani written <strong><em>'Mummy Nu Pasand'</em></strong> which has been recreated by Tanishk Bagchi who is also the man behind additional lyrics. Sunanda Sharma is the singer here and boasts of a distinct voice which is strikingly different from many of her ilk and hence lends quite a solid impression. The song has a catchy hook to it and is a chartbuster all the way. Even if you haven't heard this song before, you would like it this time around. Next to arrive is the chartbuster track <strong><em>'Lamborghini'</em></strong> which has a beautiful sound to it and has just the right mix of Punjabi mix and 'desi' feel with a slightly Western touch to it which gives it an edge. Written by Kumaar, this celebration track has a peppy presentation by Meet Bros who utilize the vocals of Neha Kakkar and Jassie Gill quite well to result in a number that would find a place amongst youth as well as elderly alike. The surprise though is <strong><em>'Dariyaganj'</em></strong> which is rendered by Arijit Singh. It is always so refreshing to hear a new team collaborate to create something melodious and this is where one would complement lyricist Siddhant Kaushal and composer Amartya Bobo Rahut. They put together an unconventional hook for the song's title while ensuring that the melody element remains intact. Rest is taken care of by Arijit who along with Dhvani Bhanushali makes sure that this romantic number finds itself in your playlist. Later Dhvani goes solo to make further impact. With a hat-trick of good songs, expectations soar further from <em>Jai Mummy Di</em>. Mika Singh is the man of the moment as his boisterous vocals kick-start the proceedings for <strong><em>'Ishq Da Band'</em></strong>. The manner in which the singing team (with Shilpa Surroch and Harjot K Dhillon as the other singers] comes together for this Gaurav Chatterji composed and Ginny Diwan written number, you get the feeling of one of those David Dhawan films from the 90s where 'masti' and 'dhamaal' ruled in many a Govinda or Salman Khan starrers. This one is fun while it lasts. Yet another new team joins forces for the title track <strong><em>'Jai Mummy Di'</em></strong>. Composer Parag Chhabra and lyricist Shellee join hands for this situational number. Though there isn't anything really memorable about this Nikhita Gandhi, Parag Chhabra, Vivek Hariharan and Devender Pal Singh sung track, expect this one to arrive at certain montage sequences in the film to lend entertainment to the narrative. Though Amartya Bobo Rahut and Siddhant Kaushal had done quite well in <em>'Dariyaganj'</em>, same can't be said about <strong><em>'Manney Ignore Kar Rahi'</em></strong> which comes across as a jamming session at best. Agreed that this Amitabh Bhattacharya rendered number aims to be all funny and has a parody flavour to it, the end result is the kind which can possibly be enjoyed only if accompanied by some really entertaining visuals. Last to arrive is <strong><em>'Ajaa Ajaa'</em></strong> which has a 50s style rock-n-roll feel to it and is yet another situational track. One in fact wonders at what situation of the film will this Divya Kumar sung number appear eventually as it comes across like a force fitment. Composed by Rishi Singh &amp; Siddharth Amit Bhavsar (who also lend additional lyrics), this one is written by Gautam G. Sharma and Gurpreet Saini who don't quite manage to come up with anything memorable. <strong>OVERALL</strong> The music of <em>Jai Mummy Di</em> starts well with a couple of recreated songs and then a couple of original songs making a mark. However, the impact tapers a bit as it progresses further. Nonetheless, it still manages to almost deliver what it promised with at least 2-3 songs expected to play on for some more time to come at least. <strong>OUR PICK(S)</strong> <em>‘Mummy Nu Pasand’</em>, <em>‘Daryaganj’</em>, <em>‘Lamborghini’</em>

<strong>EXPECTATIONS</strong> One expects situational soundtrack for <em>Panga</em>, considering the fact that it is a slice of life film with sports as the core theme. Though Shankar-Ehsaan-Loy and Javed Akhtar come together to create half a dozen songs for the film, one doesn't quite expect a chartbuster outing here since there has hardly been any promotion either for the music as the focus has been on the film. <img class="aligncenter wp-image-1068031 size-full" title="Music Review: Panga" src="https://www.bollywoodhungama.com/wp-content/uploads/2020/01/Music-Review-Panga.jpg" alt="Music Review: Panga" width="720" height="450" /> <strong>MUSIC</strong> Harshdeep Kaur, Divya Kumar and Siddharth Mahadevan come together to create the title song <strong><em>'Panga'</em></strong> which has a good hook to it. A feel good number with a catchy rhythm, this one has certain nicety to it, courtesy the manner in which the singers come together to croon this one. This one has an anthem feel to it and could have covered some distance with good promotion. Jassie Gill, the leading man of <em>Panga</em>, takes charge as a singer for <strong><em>'Dil Ne Kaha</em></strong>', which has the kind of sound that one associates with Salman Khan's Dabangg franchise. Reminding one of <strong><em>'Tere Mast</em></strong> <strong><em>Mast Do Nain'</em></strong> with a bit of 'Brathless' feel to it in the manner in which it begins, <strong><em>'Dil Ne Kaha'</em></strong> is a romantic track that comes in two versions with Jassie Gill and then Shahid Mallya taking charge. Asees Kaur is the common factor in both the songs and she does well as she has been over a period of time now. Next to arrive is <strong><em>'Bibby Song'</em></strong> and this one tries to be all funny. However, at best this one is a situational track with no real appeal outside the film. Annu Kapoor comes behind the mike for this one alongside Sherry and you don't really get hooked on it. As a matter of fact you move on to the next in line soon enough to check out what rest of the soundtrack has to offer. Shankar Mahadevan makes a belated entry as a singer with <strong><em>'Jugnu'</em></strong> and he has Sunny for company. Though he does well as a singer all over again due to his characteristic voice, overall the music - with a Sufi touch to it - stays on to be situational at best. A montage number which is about dreams and aspirations, it goes with the theme of the film but that's about it. Last to arrive is <strong><em>'Wahi Hai Raste'</em></strong> which has Mohan Kannan taking charge. This one brings with it the mood and feel which one associates with the kind that was heard in the non-mainstream films of the 70s. A little later in the album, Asees Kaur's voice is heard. With Bengali folk music base to it, <strong><em>'Wahi Hai</em></strong> <strong><em>Raste'</em></strong> is just about okay and doesn't quite warrant repeat hearing. <strong>OVERALL</strong> The music of <em>Panga</em> is largely situational with a couple of songs at the beginning making some sort of an impression. <strong>OUR PICK(S)</strong> <em>'Panga', 'Dil Ne Kaha'</em>

<strong>EXPECTATIONS</strong> With close to a dozen off songs in <em>Street Dancer 3D</em>, one expects an out and out musical in the offering from filmmaker Remo D'Souza. With Varun Dhawan, Shraddha Kapoor, Prabhudeva and Nora Fatehi as the principle cast members, there is a good visual appeal on the cards as well. Multiple composers, lyricists and singers come together to put together the soundtrack. <img class="aligncenter size-full wp-image-1073215" src="https://www.bollywoodhungama.com/wp-content/uploads/2020/01/Gann-Deva-Full-Song-Street-Dancer-3D-Varun-Dhawan-Shraddha-Kapoor.jpg" alt="Gann Deva Full Song Street Dancer 3D Varun Dhawan, Shraddha Kapoor" width="720" height="405" /> <strong>MUSIC</strong> A.R. Rahman's chartbuster <strong><em>'Muqabla'</em></strong>, which has regaled audiences for over two decades now, is back in the fold with - who else but Tanishk Bagchi - bringing on the recreation. The essence of the original, especially the passages, is kept intact even as Shabbir Ahmed and Tanishk Bagchi add on to the lyrics that had been originally written by Valee. Yash Narvekar and Parampara Thakur do well to bring on the energy and though the end result is satisfactory, all said and done one would rather go back to the original. Badshah continues to bring on the sound of seduction with <strong><em>'Garmi'</em></strong> where he plays the triple role of being the composer, lyricist as well as singer. He is joined by Neha Kakkar who is just the right voice for this track that has Nora Fatehi at her sizzling best and Varun Dhawan serenading her. Expect this one to play on in night clubs for quite some time to come. Tanishk Bagchi and Intense join hands for <strong><em>'Illegal Weapon 2.0'</em></strong> which is yet another recreated version. Written by Priya Saraiya and Garry Sandhu with latter pairing up with Jasmine Sandlas behind the mike, this Punjabi-Western combo number is just the kind that is made for the night clubs. That said, this one had the kind of set up to it which would have been propelled to a higher stage had it been more energetic. Sachin-Jigar have composed as many as five songs in the album and the first one to arrive is <strong><em>'Dua Karo'</em></strong>. A situational track written by Priya Saraiya with a sad undertone to it, this one is a 'sufi rock' number that is rendered by Arijit Singh. Bohemia chips in as well for an intermittent rap portion, something that makes an impression primarily along with the film's narrative. Guru Randhawa's chartbuster track <strong><em>'Lagdi Lahore Di'</em></strong> is brought to fore all over again with Sachin-Jigar taking charge and Tulsi Kumar stepping in as a female vocalist. The song has been a huge success across the country, especially up North and its re-entry in <em>Street Dancer</em> <em>3D</em> brings on an added shelf life. However, just as was the case with <strong><em>'Illegal Weapon 2.0'</em></strong>, this one too could have gained further from enhanced energy. Somehow this one appears to be rather subdued. Shankar-Ehsaan-Loy and Sameer's <strong><em>'Hindustani'</em></strong> [<em>Dus</em>] is recreated by Harsh Upadhyay and the results aren't really the kind that would have taken the song to the next level. As a matter of fact this one seems like a rather rushed job and even though the voices of Shankar Mahadevan and Udit Narayan are retained, the punch is clearly missing. <strong><em>'Bezubaan Kab Se'</em></strong>, which has a thematic appeal when it comes to the ABCD franchise set by Remo D'Souza, appears in a new version with Siddharth Basrur and Jubin Nautiyal crooning for Sachin-Jigar who compose as well as write this one along with Mayur Puri. While it does play a part in carrying forward the core spirit of <strong><em>'Bezubaan'</em></strong>, somehow it doesn't cover the distance. Next to arrive is Gurinder Seagal sung and composed <strong><em>'Pind'</em></strong> and somehow this sad song about returning to the motherland only slows down the soundtrack further. Kunaal Vermaa writes this Punjabi-Hindi number which has a very dull feel to it and just doesn't manage to make its presence felt or register any sort of impact whatsoever. It is back to some dance and fun with Neeti Mohan, Dhvani Bhanushali and Millind Gaba coming together for Sachin-Jigar created <strong><em>'Nachi Nachi'</em></strong>. Though the song has a good hook to it, somehow there hasn't been any promotion whatsoever which means this Millind Gaba and Asli Gold created track would largely go unannounced. This is followed by a devotional track comes next in the form of <strong><em>'Gann Deva'</em></strong> which is in praise of Lord Ganesha. Written by Bhargav Purohit, composed by Sachin-Jigar and sung by Divya Kumar, this one doesn't make an impact either. Garry Sandhu's <strong><em>'Sip Sip'</em></strong> finds a recreated version in <strong><em>'Sip Sip 2.0'</em></strong>, courtesy Tanishk Bagchi and Kumaar. Jasmine Sandlas comes behind the mike for this Punjabi-Hindi number which hasn't really been immensely popular at an all-India even as an original. The recreated version is the kind that could have covered some distance but since it hasn't been hammered all along, that won't really turn out to be the case. <strong>OVERALL</strong> The soundtrack of Street Dancer 3D starts off well but then as it proceeds, the impact starts getting lesser and lesser. The good thing is that this one is a music heavy album as a result of which around four to five songs do ultimately manage to make an impression. <strong>OUR PICK(S)</strong> ‘<em>Muqabla’</em>, ‘<em>Garmi’</em>, <em>‘Illegal Weapon 2.0’</em>, <em>‘Lagdi Lahore Di’</em>

<strong>EXPECTATIONS</strong> Back in 2009 when <em>Love Aaj Kal</em> had released, its music had turned out to be a roaring success. Yet again, it's the team of Pritam and Irshad Kamil coming together for Imtiaz Ali and one waits to see that after creating magic for Saif Ali Khan and Deepika Padukone a decade ago, whether they have repeated the same for Kartik Aaryan and Sara Ali Khan as well. <img class="aligncenter size-full wp-image-1074708" src="https://www.bollywoodhungama.com/wp-content/uploads/2020/02/Love-Aaj-Kal-16.jpg" alt="" width="720" height="450" /> <strong>MUSIC</strong> It is old world charm revisited with <strong><em>'Shayad'</em></strong> which has Arijit Singh taking center-stage. Just the kind of song that is made for hearts deeply in love, this one is for die hard romantics. Be it the lyrics, music or the manner in which Arijit Singh goes about rendering this one, <strong><em>'Shayad'</em></strong> is a winner all the way. No wonder, its 'reprise version' comes later in the soundtrack as well with newcomer Madhubanti  Bagchi giving Arijit coming. Had this song been promoted more aggressively, it could well have turned out to be a major chartbuster already. Next to arrive is <strong><em>'Mehrama'</em></strong> and the song just picks up from where <strong><em>'Shayad'</em></strong> left, hence turning out to be yet another beautiful melody that makes an entry right into your heart. Darshan Raval and Antara Mitra pair up for <strong><em>'Mehrama'</em></strong> which later also arrives in an 'extended version' and makes you long for the one you love. These two songs, coupled with an additional version each, set the 'sur' of <em>Love Aaj Kal</em> and one expects the romantic mood to continue right through. This is the reason why ‘<strong><em>Raftaar’</em></strong> rendered rap track <strong><em>'Parmeshwara'</em></strong> turns out to be nothing but a rude shock. A truly annoying piece which just doesn't manage to register itself and is a misfit both in the soundtrack as well as the film's narrative, it tries to be all cool and smart but fails big time. This one just didn't have a place in the music of <em>Love Aaj Kal</em>. Arijit Singh is back in the fold and he croons two back to back tracks, <strong><em>'Rahogi Meri'</em></strong> and <strong><em>'Haan Tum Ho'</em></strong>. Yet again, it's the usual romantic mood that is created in these love songs that are just the kind that one expects in an Imtiaz Ali film. Not that these songs are chartbusters in the making as they aren't really massy in their presentation and outlook. However if you just want to sit back, relax and think about the one whom you love the most, <strong><em>'Rahogi Meri</em></strong>' and <strong><em>'Haan Tum Ho'</em></strong> (which has Shipra Rao entering the fray as well) truly end up fitting the bill. Mohit Chauhan had rendered <strong><em>'Yeh Dooriyaan'</em></strong> in the first <em>Love Aaj Kal</em> and there is a new version of the song that arrives in the latest <em>Love Aaj Kal</em> with the same title. The singer brings all his experience into play with this heartfelt number that is just the kind which is to be heard with quietness and serenity all around. Carrying a good dose of pain with it, this one has the signature theme that went in the background of <strong><em>'Yeh Dooriyaan'</em></strong>, hence bringing on the nostalgia. The tonality of the soundtrack changes though with <strong><em>'Dhak Dhak'</em></strong> and though this one is at least somewhat better than <strong><em>'Parmeshwara'</em></strong>, yet again it is a misfit into the soundtrack. Trying to infuse 'pahadi' style into the contemporary sound, this Nikhita Gandhi and Akasa rendered track tries to bring in everything from Rumi to internet in one go but doesn't really make you play it in loop all over again. Thankfully, it is back to romantic zone with <strong><em>'Aur Tanha'</em></strong> which sees KK return after a hiatus. With a guitar in the background, this is yet another song which has a heart in love longing for the one closest to it. A soft rock number that goes well with the film's narrative, this one could well make it as a bonfire affair amongst youth. The soundtrack concludes with a bang though with Arijit Singh and Shashwat Singh coming together for <strong><em>'Haan Main Galat'</em></strong>. A new age version of <strong><em>'Twist'</em></strong> that had made huge waves in <em>Love Aaj Kal</em> [2009] more than a decade back, this one actually turns out to be a very good version of the original. Number of times one has complains around recreated versions not really matching up to the original but this one actually succeeds in taking it to the next level. Chartbuster. <strong>OVERALL</strong> The music of <em>Love Aaj Kal</em> has consistency written all over it, barring a couple of songs which are misfits. There may not be many chartbusters out there but if you are the one who is either truly in love with someone or is nursing a broken heart, <em>Love Aaj Kal</em> does well in rekindling those emotions well enough. <strong>OUR PICK(S)</strong> ‘Haan Main Galat’, ‘Shayad’, ‘Mehrama’, ‘Yeh Dooriyaan’

<strong>EXPECTATIONS</strong> As is the current trend with majority of Bollywood flicks, soundtrack of <em>Shubh Mangal Zyada Saavdhan</em> too has released alongside the arrival of the film in theatres. Though an early release of the jukebox can well help gain added popularity in days preceding to the film's release, one wonders if this trend would reverse in time to come. Moreover, yet again there are three recreated songs in this album which has over half a dozen numbers in there. <img class="aligncenter wp-image-1077562 size-full" title="Music Review: Shubh Mangal Zyada Saavdhan" src="https://www.bollywoodhungama.com/wp-content/uploads/2020/02/Music-Review-Shubh-Mangal-Zyada-Saavdhan.jpg" alt="Music Review: Shubh Mangal Zyada Saavdhan" width="720" height="450" /> <strong>MUSIC</strong> Yo Yo Honey Singh (composer), Kinder Deol (lyricist) and singer J-Star's <strong><em>'Gabru'</em> </strong>from the album International Villager is recreated by, who else but, Tanishk Bagchi as <strong><em>'Pyaar Tenu Karda Gabru'</em></strong>. A fun track all the way which is already quite popular, especially up North, this one is a celebratory outing with newer lyrics by Vayu. Singer Romy does quite well in rendering this hard-core Punjabi number that is set to be a chartbuster all over again. Tanishk - Vayu come together to create number of songs in <em>Shubh Mangal Zyada Saavdhan</em> and one of their first collaborations is <strong><em>'Mere Liye Tum Kaafi Ho'</em></strong>. Ayushmann Khurranna brings himself behind the mike for this Vayu written number and his voice actually comes across as quite different in here. A decent track which is easy on ears, it comes across as a situational number at best as it doesn't really have that punch in there to emerge as a chartbuster. Second recreated song in the album is <strong><em>'Arey Pyaar Kar Le'</em></strong> which is a take-off on Bappi Lahiri and Anjaan's <strong><em>'Yaar Bina Chain Kaha Re'</em></strong> from Anil Kapoor and Amrita Singh's <em>Saheb</em>. A good recreation by Tanishk Bagchi and Vayu, this one has Bappi Lahiri's voice been retained which actually works tremendously for the song. While Ayushmann Khurranna chips in as well, the real fun is to listen to Bappi Lahiri due to his unique vocals. A good take on 80s nostalgia. It's time for the Kakkar family to come together for <strong><em>'Ooh La La'</em></strong>. While Tony Kakkar writes and composes this one (along with Tanishk Bagchi), his sisters Sonu Kakkar and Neha Kakkar take centre-stage to let their hair down. A fun number all the way, its promotion surprisingly kick-started quite late in the film's campaign and it could well have been beneficial had this been earlier. Not that the song is a huge chartbuster in the making but still it has the kind of energy in there that would have pepped the film even further. Mika steps in soon after for Tanishk - Vayu created <strong><em>'Aisi Taisi'</em>.</strong> Though the fun element is intact this time around as well, as has been the case with most of the songs heard before, at the end of the day it only fits in the needs of being a situational outing. Same is the case with <strong><em>'Raakh'</em></strong> which is actually a melancholic outing and arrives out of nowhere. Though Arijit has sung for this Tanishk - Vayu creation, the punch is not really there and you don't quite crave to return and give this one a repeat hearing. There is some fun that comes to the proceedings though Anuradha Paudwal and Mohammad Aziz's <strong><em>‘Kya Karthe The Saajna’</em></strong> from Anand-Milind's <strong><em>'Lal Dupatta Malmal Ka'</em></strong> is sampled for <strong><em>'Kya Karte Thay'</em></strong> by Tanishk Bagchi and Vayu. Though Zara Khan tries to bring in something quirky to the proceedings, the fun element actually comes in when the original makes an appearance. <strong>OVERALL</strong> The music of <em>Shubh Mangal Zyada Saavdhan</em> turns out to be decent enough with a couple of songs making an impression, albeit both being recreations. Somehow the new songs that have been created for the film don't quite cover the distance and had there been a chartbuster ortwo there, it would have only helped the soundtrack further. <strong>OUR PICK(S)</strong> <em>‘Pyaar Tenu Karda Gabru’, ‘Arey Pyaar Kar Le’, ‘Ooh La La’</em>

<strong>EXPECTATIONS</strong> A big film always comes with major expectations when it comes to music. Moreover, with Tiger Shroff and Shraddha Kapoor coming together for a film which is produced by Sajid Nadiadwala, who has an ear for music, and directed by Ahmed Khan, who has been a choreographer for over two decades, it is a given that the music would turn out to be good. That said, as is the trend, most of the songs on <em>Baaghi 3 </em> are recreated versions and one waits to check out what does the soundtrack have to offer. <img class="aligncenter wp-image-1082518 size-full" title="Music Review Baaghi 3" src="https://www.bollywoodhungama.com/wp-content/uploads/2020/03/Music-Review-Baaghi-3.jpg" alt="Music Review Baaghi 3" width="720" height="405" /> <strong>MUSIC</strong> <em>Baaghi 3</em> kick-starts on a 'dhamakedaar' note as Vishal-Shekhar recreate their own chartbuster hit '<strong>Dus Bahane 2.0</strong>'. In the times when this is a job done by those who specialize in recreating hit songs of others, it is a pleasant surprise to see Vishal-Shekhar picking this up and doing complete justice to this Panchhi Jalonvi written track. While the beats are all there and the hook is thrilling as ever, one can well see the kind of maturity that comes on display with the experienced composers doing it themselves with singers KK, Shaan &amp; Tulsi Kumar. Well, this is where the originality around original composers recreating their own songs stops as Tanishk Bagchi, the specialist, is roped in for Bappi Lahiri's <strong>'Bhankas'</strong>. A recreation of Kishore Kumar and Asha Bhosle's <strong>'Ek Ankh Marun To</strong>' from <em>Tohfa</em>, this song (which as originally written by Indeevar) is given a pacy treatment by Tanishk Bagchi with Dev Negi and Jonita Gandhi doing the job along with lyricist Shabbir Ahmed. An out and out massy number which is aimed for the single screen audiences, this one does the job. The song which is picturised for the single screen audiences and has a tone and mood which is multiplex oriented is Nikhita Gandhi rendered '<strong>Do You Love Me</strong>'. Originally written, composed and sung by Lebanese artist Rene Bendali, this one has Disha Patani sizzling it up for screen. Let the fact be stated that the recreated version is actually better than the original. Moreover, the hook of <strong>'Do You Love Me'</strong> is impressive too. However, somewhere the energy of the song could have been better as it could well have complimented Disha's striking presence on screen. There is good energy on display though when Pranaay composed <strong>'Get Ready to Fight'</strong> returns from where it left in <em>Baaghi 2</em> after being heard first in <em>Baaghi</em>. There is something truly thematic about this track that always works and it could well act as a motivational and inspiring piece as well which isn't restricted just to the play of the film. Written by Ginny Diwan and composed by Siddharth Basrur, this one fits in quite well as a part of the film's thrilling action packed narrative. Sachet Tandon sung <strong>'Faaslon Mein'</strong> is actually the first original number, which is created only for <em>Baaghi 3</em>, to arrive in the soundtrack. Written by Shabbir Ahmed, this love song could well have managed to cover some sort of distance had it been released earlier and promoted more aggressively. In fact this Sachet-Parampara song has a melodic base to it and could well have found more popularity had it been a part of a romantic drama like<em> Kabir Singh</em> instead. Last to arrive is <strong>'Tujhe Rab Mana</strong>' which is about the bond between two brothers (played by Tiger Shroff and Riteish Deshmukh). This one features right at the beginning of the film and is inspired by<strong> 'Tere Jaisa Yaar Kahan'</strong> that was heard in Amitabh Bachchan's <em>Yaarana</em>. However, the buck stops at the hook line as the rest of the song has an entirely different tonality set by composer Rochak Kohli with new lyrics by Gurpreet Saini and Gautam G Sharma. It is good to hear Shaan in a new song here, though he did set the tone with '<strong>Dus Bahane 2.0</strong>' earlier on. <strong>OVERALL</strong> The music of <em>Baaghi 3</em> works for the 'masala' genre of the film. Though a couple of songs could have done better with added pace, tried and tested numbers like <strong>'Dus Bahane 2.0'</strong>, '<strong>Get Ready to Fight'</strong> and <strong>'Bhankas'</strong> make up for that.<strong> </strong> <strong>OUR PICK(S)</strong> 'Dus Bahane 2.0', 'Get Ready to Fight', 'Bhankas'

After sharing an interactive doodle featuring the 2017 ICC Champions Trophy and honouring celebrated pharmacist and researcher Wilbur Scoville, Google on Thursday shared a throwback game from 2017 thereby urging people to play musical games at home amid lockdown.

It’s day 9 of our throwback #GoogleDoodle series...

Today, boogie down with legendary beats & take our 2017 Doodle game celebrating the birth of Hip Hop for a spin! 🎚ï¸ÂðŸŽ¶#GoogleDoodle → https://t.co/sM4kky8Opq pic.twitter.com/Dct0hGa1ON

— Google Doodles (@GoogleDoodles) May 7, 2020

The latest doodle animation is part of Google's series that the giant search engine launched last week urging people to stay home and play games amid the COVID-19 crisis. A treat for music and especially hip hop fans, the 2017 game lets users mix music samples from legendary tracks on their interactive turntables.

While sharing the animated doodle with their followers on Twitter, Googel Doodle tweeted, "Today, boogie down with legendary beats & take our 2017 Doodle game celebrating the birth of Hip Hop for a spin!"

In order to play the game, one has to mix the beats with the help of the crossfader which can be operated with the help of the mouse. Once clicked on the animation, google plays a short animated film showcasing the history of Hip Hop music featuring the voiceover of Hip Hop icon Fab 5 Freddy.

A screengrab of the Hip Hop musicla game

Google also narrates the story of Jamaican-American DJ Kool Herc, who played an instrumental role in the birth of Hip Hop music. Since the last one week, Google has been sharing throwback pictures including Halloween, Loteria, Scoville and Fischinger among others. When one hovers over the final doodle, it shows the message, "Stay and play at home with popular past Google Doodles: Hip Hop (2017).

While launching the interactive series last week, Google said, "As Covid-19 continues to impact communities around the world, people and families everywhere are spending more time at home. In light of this, we're launching a throwback doodle series looking back at some of our popular interactive Google Doodle games!"

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Amid the lockdown due to the coronavirus pandemic, pop star Selena Gomez has set up a small studio at her home, and is working on new music. The singer took to Instagram to share a picture of her home recording studio, reports dailymail.co.uk.

 

 

 

View this post on Instagram

Makeshift studio so I can work from home 🎧🎼🎤

A post shared by Selena Gomez (@selenagomez) onMay 2, 2020 at 12:53pm PDT

In the picture, the 27-year-old is seen sitting on the floor next to her furry slippers in front of a studio, with a professional microphone, mic stand, and insulated walls. She is wearing a grey tee with a pair of dark blue pants, she also has a book with a sketch on one side and another book with notes kept in front of her.

"Makeshift studio so I can work from home" she captioned the image. Recently, during a conversation with Apple Music's Zane Lowe, Gomez revealed her plan to build a home studio.

"Currently I'm actually building this little studio situation and I'm doing it with the people that have been in my house," she said.

"So I'm creating a little station where I'm going to be able to FaceTime with my engineer and some of my producer friends and we're going to try to make some music, which I'm so excited about," she added.

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Arijit Datta hobbles into The Fatty Bao with a twisted ankle. Sidd Coutto bustles in 10 minutes later. The former's a music composer who's moved away from bands like Agni and Airport towards film and advertising, while the latter is probably the busiest musician in the city's indie circles. They first dive into starters — Crystal Dumpling, Spicy Mushroom Sushi Roll, Dancing Prawns and California Rolls — and then into conversation about their craft.

Sen: How do you switch seamlessly from making indie music to more commercial projects?
Datta: It's not a switch really. I think that for me and for Sidd also, wherever there is a mode of expression, we just go there and do our thing.
Coutto: Yeah, true. For commercial concerts, you just go up there and rock 'n' roll, dude. It's just a two-hour gig, where you're hanging with your buddies on stage and partying away.
Datta: It would be different when it comes to writing songs, which we both do, because if you have to mould yourself according to the audience, that's what you might call a switch.

Sidd Coutto (left) and Arijit Datta share a laugh at The Fatty Bao in Bandra. Pics/Pradeep Dhivar

Sen (to Datta): So when you were composing for the movie Filmistaan, did you have to keep the audience in mind?
Coutto (answering for both): See, performing is one thing and composing is another. When you're writing for films, you have to be clear that it's the director's baby. You are facilitating his vision. Yes, it's your baby at one level, but you're not both the mummy and the daddy.
Datta: The good part about Filmistaan was that the director let me interpret the film my own way. So I never had to break away from my own self, because the music came naturally to me. Plus, the movie had no market pressure as such, so I didn't really have a brief.
Coutto: ...Which by the way isn't the norm, so [singing to the tune of a Daft Punk Song] you got lucky.
Datta: Yeah, and for me, I think very cinematically. Even with my band's songs, if I just change the arrangements a bit, they can be in a film.
Coutto: Also, when most people come to you for work now, they come for what you make. It's not like the old days when it was like, 'Aisa banaa aur waisa banaa.' So you don't have to switch so much, since they want you for you.
Datta: I think there are newer minds. There are newer storytellers with a different language altogether, who go in search of newer sounds, voices and composers.

Sen: So it's not the era of Jatin-Lalit and Anand-Milind anymore?
Datta: No. But they also had their own sound. At that time, Jatin-Lalit were the kings, ya. Of course, they didn't move with the times.
Coutto: Or, the times moved away from them. But they did try. Infact, [Anand-Milind's] Qayamat Se Qayamat Tak is my favourite Hindi film album of all time.

Datta: Yeah, it's my favourite too. It was a complete album. Even the least-remembered song [sings a bar from Kaahe Sataye], even that I remember! So yeah, they did their time; they brought in their sound and gave us memorable tunes. But then our tastes started changing. MTV, Channel V and VH1 came in, and the world suddenly became bigger.

The mains, Asparagus Bacon Fried Rice and Exotic Mushroom Ramen, arrive. This is followed by moments of silence interspersed with appreciative sounds such as 'mmmm'.
Sen: What are some of your favourite places to eat at in Mumbai?
Coutto: Over the past couple of years, I've discovered that Social actually has awesome food. They have a vast variety of things, with small dishes included. Did you know that they have something on the menu called Staff Khaana? It's exactly what their staff eats and it's great, dude. But I don't end up ordering it as much because there are so many more things I like. But they have removed bheja from the menu, and I love bheja.
Datta: I can never have bheja, man.
Sen: So if you go to Bangkok you're never going to try cockroaches and locusts?
Datta: Never. I can't go in that direction. I know that people are adventurous with their food and everything. But I can't do that.
Coutto: For me, when it comes to food, I let my nose guide the way. Otherwise, I have no restrictions.
Datta: I love going to this place called National. It's a dhaba that a Sardar owns and it's been running since 1952, near Bandra Talao. It serves pure food, you know, the sort with less oil — makki roti with butter on top, rajma, bhindi — and you can even have their water and nothing will happen to you.
Coutto [Putting his fork down and rubbing his tummy]: Yeah, I'll go there with you sometime. But right now, I think I'll go home and play some slow blues songs.

Pollak with a bagpipe made with rubber gloves

"This is my first time in India, so I'm very excited. I don't know much about the country. I plan to travel to Udaipur after performing in Mumbai," says Australian musician and instrument maker Linsey Pollak, 66, who is one of the speakers at the eighth edition of TEDx Gateway, to be held on February 4 in the city. He speaks about his love for creating music from the unlikeliest of objects.

The carrot clarinet

How did the idea of creating musical instruments with vegetables and household objects come about?
It all started at a performance called Out Of The Frying Pan many years ago. I was 19 then, and I created 40 different musical instruments out of various things. I wanted to use food, so I used a watermelon, carrots, and potatoes. The carrot clarinet, which has become popular over the years, came about because of a friend, who was putting up a concert, asked, "Can you come up with something new for the performance?" I put on my thinking cap and the shape of a carrot popped up. Though it wasn't a tube, it was a potential tube.

You have recorded 34 albums. Did any of those feature music played on the instruments you created?
The 34 albums have all been of different types of music. But the one that features these instruments is called Mrs Curly And The Norwegian Smoking Pipe. It was recorded in 2014. I played 15 different pieces on instruments that I invented - the saxcello, guidanet, glass-based clarinet, carrot clarinet, and an instrument I call the aluminium narrow bow clarini.

Is there a deeper message that you wish to convey?
Yes, there is a strong philosophy to what I do. And that is: there is music all around us, and we are all musicians. By showing people how simple instruments are and how they can make their own instruments, I encourage them to be creators of music rather than consumers.

What is your most bizarre creation?
I have done quite a few. Mr Curly is a contra-based clarinet with a deep, funky sound, because it's an amplified, electro-acoustic instrument. I guess the various vegetable instruments could be considered bizarre. For example, a potato with bamboo skewers stuck into it to create a kind of bass piano or bass kalimba. I have also created a bagpipe out of a condom. Some people might find that outrageous, but the sound is not.

Have you ever failed on stage?
We were in Switzerland for a performance. At a bio-dynamic farm and restaurant there, they asked if I could make a sound from a bio-dynamically grown beetroot. It was spectacularly unsuccessful. Also, once I was putting a bamboo skewer through a carrot, but it went right through the carrot, and into my hand. So, I had this embarrassing situation of blood pouring everywhere. I had to go off stage to get rid of the blood. There were also a couple of times when my rubber glove bagpipe burst.

What was the first sound from a regular object that caught your attention? How does one find music in the mundane objects?
I can't remember what the first sound was. One needs to have a sense of curiosity, not take things for granted and let go of expectations. All these are related.

What advice do you have for those who dare to dream different ?
I'm lucky to be making a living from doing something I love. That's because I knew what I wanted to do and followed that over the years. My advice is: just follow your dream. It's the journey that is important and not the destination.

What are your plans for your performance in Mumbai?
I will be using six instruments made from household objects; everything from dustpans and brooms to A4 papers. These instruments will be turned into clarinets. Rubber gloves will be used to play the bagpipe and irrigation pipes will be turned into pan pipes. I'll be combining these instruments using a process called live looping, where I record what I am doing. For example, I'm going to have a bass line that is played with the dustpan and the paper clarinet will be playing melody lines.

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Ojas Adhiya, Nandini Shankar and Abhishek Borkar are poised to strike a chord with young urban listeners in Mumbai

For most youngsters, unfamiliar with Hindustani classical music, 'serious', 'formal' and 'boring' are popular adjectives used to define the genre. For as long as we can remember, Hindustani classical, that has given the world several legends, has been performed in sprawling auditoriums — there's not just discipline in the music, but in the attire and in environment as a whole. How would it be then, to see classical being performed in casuals? Turns out, that's not an outrageous thought anymore. First Edition Arts, a Mumbai-based performing arts company is poised to topple status quo with the sole aim of gathering more young, urban listeners. Under a musical series called Come Together, three young Hindustani classical musicians, will slip into casuals and perform for an audience gathered at Cafe Zoe. Starting June 10, this will be a regular series, one in every quarter. While the setting is all-new, the music won't take the fusion route. The first series will feature Abhishek Borkar on the sarod, Nandini Shankar on the violin and Ojas Adhiya on the tabla. The trio will present an instrumental concert in both solo and duet sets.

Catch them young
"When younger musicians try to strike a rapport with young listeners they take the fusion route. We are saying, you don't have to. This music is so exciting on its own, that the young can be hooked," says Devina Dutt, director, First Edition Arts. Six months ago, they had organised something similar at antiSOCIAL at Khar as an experiment, and they were sold out. "We weren't sure of what to expect. But it was a success." That gave them the impetus to take the idea on a larger scale. "The first two sets will be the sarod and tabla. In the third set, Abhishek will invite Nandini to jam with them on stage. The concert will span a little over an hour — not the standard two-and-a-half-hour performance. Young people haven't even heard classical music and they have discarded it. All we are trying to do, is give them a sense of how exciting and rigorous it is. But, in a short dose," Dutt says.

Abhishek Borkar

The protocols will be relaxed too. The bar will be open before and after the concert, and for 20 minutes during the interval. Food and drink services will be terminated during the performance, but, once served, guests can continue with their meal at their tables. "There was no sense in locating it in a space like this and sticking to the rigidity. But, at the same time the character of the music does require attention, it's not the kind that you can hear in the background," she adds.

Break the rules
Ever since the posters of the concert went out, a lot of Shankar's friends and followers on social media have shown interest. The posters, with their vibrant colours and friendly fonts, could well be mistaken for one for a standup gig. "Any new genre is an acquired taste. Over the last couple of years, I have noticed an increase in my young audience. Young listeners are always looking for something new and because most of them have not heard classical music, it is novel to them. If they are exposed to it, they will enjoy it," says the eighth generation violinist. The set-up, she believes, needs to change because "it is important that it appeals to you at first go. That's why the colourful posters. We need to speak the language they understand," adds the 25-year-old. After the concert, the audience can interact with the artists as well. "The milieu becomes more relatable, it's like hanging out with friends. That becomes easier when the age groups are similar. We want to connect on a personal level. In fact, that's the bit I am really looking forward to," adds Shankar.

Nandini Shankar

Tabla ace Adhiya would love to do a Q & A with the audience as well. "That way we can reach out to them and explain what classical music is all about. If they know a few things, they can enjoy it more. And it will all be done in an informal manner," says the 30-year-old who made it to the Limca Book of World Records as the youngest tabla player at the age of 4. Borkar points out that traditionally, Hindustani classical has always been somewhat "intimidating".

"It can appear too proper, rigid and posh, with its sherwanis and bandhgalas. Sometimes I feel even the artists themselves enjoy this air of exclusivity that further distances them from the audience," says the 25-year-old sarod player, adding that he was thrilled about the prospect of performing in casuals. "That's what I wear when I practice or record in a studio. So, why not at a concert? We are even thinking of getting some people to sit on stage if possible," he adds.

Distraction not a concern
The trio believes that the music will be enough to keep people from getting distracted. "It's a new thing for them too, to experience this kind of music in the given setup. And if someone is quietly eating and drinking at their table, that should not bother me. In the olden days, there would be baithaks in people's homes, where classical concerts would be performed. It's the same concept," Adhiya says. Spontaneity will be the key on D-day; the artists will reach the venue, gauge the crowd and accordingly choose the raagas. Borkar says, "I love getting people interested in an instrument they have not seen or heard before. The idea is that if they don't come to our concerts, why don't we go where they hang out? And just because it's unusual that doesn't mean it's wrong."

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The current lockdown has seen people restricted indoors and many are picking up new hobbies. Energetic India opener Shikhar Dhawan on Tuesday revealed he is trying his hand at playing a flute and honing his overall musical skills.

"Playing a musical instrument, the vibrations you can feel inside your body. Music gives you peace and everybody should try to learn how to play a musical instrument now especially because we have so much time to spend at home due to the lockdown," Dhawan said while chatting with India middle-order batsman Shreyas Iyer on Instagram Live.

The dashing southpaw also played the flute on Iyer's request.

Dhawan picked Dale Steyn as the most difficult bowler he has faced along with off-spinners on turning wickets.

Asked to pick his most special knock, Dhawan chose the match-winning hundred against Australia in the 2019 World Cup.

"Mardo walli feeling aayi (it was a big daddy innings)," Dhawan said.

Dhawan had slammed 117 off 109 balls against the defending champions at The Oval on June 10 as India won by 36 runs. That turned out to be the final tie he played as he was ruled out with a thumb fracture for the remainder of he competition.

India crashed out in the semi-finals, losing to New Zealand.

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Music is the most common language, and evokes 13 overwhelming emotions in people, say researchers who have mapped the most extensive array of emotions that are felt worldwide.

Here is how Vijay Deverakonda appeared at the Nuvve Hero Music Video Launch.