The firm's CEO Sameer Nigam speaks about turning profitable, synergies with Flipkart and operations during pandemic.

The post India: PhonePe aims to be profitable by 2022, go public in 2023 appeared first on DealStreetAsia.

Dalio sees societies being torn by conflicts over wealth and power in the aftermath of the disruption.

The post Billionaire investor Ray Dalio says pandemic to usher in new world order with China on top appeared first on DealStreetAsia.

Startups will be judged by what they are doing rather than what they might accomplish in a starry future.

The post How unicorns can no longer expand in perpetuity with others’ money appeared first on DealStreetAsia.

The warning came as HK-based companies are expected to show the scars of the protests that forced businesses to shut over the next few weeks.

The post Hong Kong exchange chief warns of economic ‘devastation’ from protests appeared first on DealStreetAsia.

At 24 per cent of Indonesia’s GDP, the country’s logistics costs are among the highest in Southeast Asia.

The post Current challenges in Indonesian logistics sector throw up opportunities appeared first on DealStreetAsia.

Modi has launched India’s biggest-ever asset sale, a $29 billion privatization drive that would help prop up the economy.

The post India up for sale as PM Modi offers national icons to plug deficit appeared first on DealStreetAsia.

Eddie Thai, a Partner at 500 Startups, lists out specific tips for surviving in these tough times.

The post Guest Post: How to help your startup survive a pandemic appeared first on DealStreetAsia.

As the Jiomart platform takes off and increases in scale, there could be interesting possibilities that may emerge.

The post Guest Post | Implications and second-order effects of Jio-Facebook deal appeared first on DealStreetAsia.

What we need is actually abundant exit opportunities for startups, not unicorns, writes Beacon VC investment manager Nat Wittayatanaseth.

The post Guest post: We don’t need a unicorn in Thailand. We need a medium-sized IPO. appeared first on DealStreetAsia.

The offices were shut for five days of cleaning after a Singapore employee, who previously visited the Bangkok office, tested positive for the coronavirus.

The post Grab shuts Singapore, Thailand offices after coronavirus infection appeared first on DealStreetAsia.

Demand for delivery services is skyrocketing across Asia as travel curbs keep more people at home.

The post Delivery services in SEA face game-changing moment amid virus scare appeared first on DealStreetAsia.

The Thai firm expects to generate IRRs of around 17% from these projects over a period of 20 years.

The post Thai Super Energy to pick controlling stake in Vietnamese assets for $457m appeared first on DealStreetAsia.

Sri Trang Gloves Thailand is seeking to raise funds to increase production capacity.

The post Top Thai medical gloves maker files IPO as pandemic spurs demand appeared first on DealStreetAsia.

The pandemic could cast a long shadow, permanently changing how companies spend money, sell goods and run their businesses.

The Covid-19 lockdown has given the midfielder the chance to show his acting skills outside the Southampton changing room

Nathan Redmond hustles towards the camera, suited up, fedora jauntily perched and when he starts to lip-sync, the voice is that of Carter – the character played by Chris Tucker in Rush Hour 3. It is the scene involving him, Master Yu and Mi and, for those who have not seen it, has Carter getting into a word-play tangle as he questions Yu and Mi. “Who are you? Yu. No, not me, you. Yes, I am Yu.” It goes from there.

Related: 'People's lives depend on it': the sacked English defender left in limbo | Sid Lowe

Prime force of rock’n’roll who made an explosive impact with songs such as Tutti Frutti, Good Golly, Miss Molly, Lucille and Long Tall Sally

Little Richard, who has died aged 87, was the self-proclaimed king of rock’n’roll. Such was his explosive impact that many of the baby boom generation will vividly recall the moment when they first encountered his assault on melody.

Awopbopaloobop alopbamboom! That first hit, Tutti Frutti, released in October 1955, was wild, delicious gibberish from a human voice as no other, roaring and blathering above a band like a fire-engine run amok in the night. We glimpsed a new universe. The Sinatra-sophisticats were slain with a shout. Enter glorious barbarity, chaos and sex. With a few others – Fats Domino, Bill Haley, Elvis Presley, Chuck Berry, Jerry Lee Lewis and Buddy Holly – Little Richard laid down what rock’n’roll was to be like, and he was the loudest, hottest and most exhibitionist of them all.

Like man buns on scooters and ukulele busking, Covid-19 has now spread to the north from London – inspiring a coronavirus soapcom from our self-isolating comedy-writer

Up here in the north-west, we’re used to living in the slipstream of London’s sleek urban shenanigans. Whatever the cultural breakthrough – man buns on scooters, cashless ukulele busking, emotional support bees – it takes a while to reach the Lancaster and Morecambe Non-Metropolitan Area. If it ever does.

A Street Stranger Watch leads to a death and the appearance at midnight of the street’s original Victorian inhabitants

As he tussled with John Humphrys on Radio 4, the Labour leadership challenger sounded confident, articulate and human

Listening to the radio this morning I had an experience I realised I’d almost forgotten. It was the sound of a Labour politician being combatively quizzed on Radio 4 by Today’s John Humphrys in the key 8.10 spot and giving confident, articulate answers in return. When did I last hear that, I wondered?

What follows here isn’t a party political broadcast for Owen Smith. For the first time since Labour’s glittering leadership contest to succeed Harold Wilson in 1976 – Callaghan versus Healey, Foot, Crosland, Jenkins and Benn – he’s a leadership contender whom OAP Mike doesn’t really know.

The candidate’s excesses appeal to voters who feel marginalised and for whom the temptation is to blur reality and illusion

Whenever I think about the dysfunctional horror of the looming presidential election in America – so weird that Nigel Farage can pop up in Mississippi on the Trump campaign – I can’t get Susan Sarandon or Plato out of my mind. Let’s talk first about the actor. When did Plato make a decent movie, eh?

A few weeks ago Sarandon gave a magazine interview to an overawed writer in which she set out her well-known political stall as a radical feminist who backed Bernie Sanders and doesn’t think much of Hillary Clinton. “There’s nothing about her I find feminist except that she’s a woman,” she said.

Bad sportsmanship is not confined to either camp. Let’s have more signs of mutual respect across the divide

I’m trying to cure this summer’s unattractive impulse before it turns into a bad habit. Whenever I see someone doing something stupid or self-harming like jumping an orange light on a bike or getting tattooed from neck to ankle, I want to shout: “Brexit voter.”

It’s not nice and it’s not fair. I’m trying to stop. As Theresa May’s divided cabinet meets to decide where to go next, ministers and demoralised Whitehall officials should refrain from recrimination too. The “phoney war” lull before the negotiation storm is about to end.

As the former political editor and columnist retires, he considers his career at the paper and the greatest scoop he never wrote

Michael White, the Guardian’s assistant editor, retired last week after almost 45 years at the paper as a reporter, foreign correspondent and columnist. He was political editor from 1990-2006, Washington correspondent (1984-88) and parliamentary sketch writer (1977-84). Here he reflects on his Guardian career.

When did you first know you wanted to be a journalist?
I was never a student journalist but, after failing a few interviews for industry in my final student year, I decided – correctly – that I am by nature an observer, not a doer. I was lucky in my timing: 1966 was a very good time to embark on a career in journalism.

30 June 1972: The much-maligned Alice Cooper band is about to perform at the Empire Pool, Wembley. At the weekend their bandwagon rolled into Pittsburgh and Michael White flew over to hear them

Ladies and Gentleman, I give you a great American success story. If not from log cabin to White House, then at least from modest beginnings in Phoenix, Arizona, whence also sprang Jenny Jerome and Barry Goldwater, to Greenwich, Connecticut, home of some of the Republic’s super-rich. Ladies and gentlemen I give you the Alice Cooper rock band.

There’s no point in pretending it’s a conventional success story, not on the surface anyway. Media penetration in the United States reached what must have been a high point last week with an Alice Cooper item in the Wall Street Journal. Over here there’s a feeling among the cognoscenti that what Billboard has described as “the best theatrical rock ‘n’ roll show since the Stones” needs more than the one previous live airing it got at the Rainbow Theatre last year to make its full impact. Hence Alice’s concert at the Empire Pool, Wembley, this evening.

Related: Alice Cooper: 'Rock music was looking for a villain'

Related: How to access the Guardian and Observer digital archive

Jessica Elgot is joined by Michael White, Katy Balls and John Crace to discuss Theresa May’s future. Also this week: Jonathan Holslag explains how patterns in history can help us predict today’s political upheavals

After a week in which anonymous Tory MPs briefed violent rhetoric to the Sunday papers, and rumours once again swirled around Westminster about a confidence vote, Theresa May faced down her critics at the Conservative party’s 1922 Committee.

She emerged looking stronger than she has for weeks, but for how long can she continue to survive in her own hostile environment?

The Guardian’s former political editor revisits humiliating prime ministerial resignations from Robert Peel to David Cameron

Both Brexit camps claim Sir Robert Peel, the Tory moderniser whose 1846 resignation crisis most resembles May’s. But he had succeeded where she failed. Determined to cut food prices for industrial workers, Peel pushed through repeal of protectionist Corn Laws with opposition help. In retaliation, rightwing enemies defeated his Irish Coercion bill. Peel resisted Queen Victoria’s appeal to stay, but grateful crowds cheered him as he walked to the Commons to resign. He slipped out by a side door, but was spotted and cheered home. Divided Tories lost office for 20 years.

Фестиваль Comic-Con Сан-Диего пройдет «на дому».

Организаторы крупнейшего фанатского фестиваля Comic-Con анонсировали, что в этом году мероприятие состоится в онлайн-формате из-за пандемии коронавируса.

Зрителям обещают несколько эксклюзивных материалов о предстоящих проектах в кино и на ТВ.

Традиционно Comic-Con проводится в конце июля в городе Сан-Диего. Точная дата пока не сообщается.

Состоится ли российский Comic-Con, который запланирован на октябрь месяц пока не известно.

• Jazz
• Funk
• Soul

Actor Dipika Chikhlia, who was seen playing the role of Sita in Ramayan, was introduced to an unmatched popularity that has not faded even today. In an earlier interview, she had revealed how people in the villages would still refer to her as Sita and would even try touching her feet! However, given a choice today, Sita would not be the character she would like to play.

In a recent conversation, Dipika revealed she had evolved as an actor, and would rather be interested to play Kaikeyi, lord Ram's stepmother who insisted her husband Dashratha to send Ram, Lakshman and Sita to an exile for 14 years. Dipika added that playing a negative career was an entirely different experience and she was fond of playing roles that let her explore herself as an artist.

Actor Sunil Lahiri, who played Lakshman's character, said he'd still pick the same role, but if he had another choice, he would like to get into the shoes of Ravana as the character had many shades and would give an actor many varieties to perform.

As the nationwide lock-down began, Doordarshan started re-airing some of its most popular TV shows, Ramayan being the first one. On April 16, it became the world's most watched TV show, with 7.7 crore viewers.

<strong>EXPECTATIONS</strong> One look at the title <em>The Dark Side of Life - Mumbai City</em> and it seems more apt for a book than a feature film. Nonetheless, that is indeed the case for this film which has a mix of newcomers and experienced actors with Mahesh Bhatt being seen in a crucial part as well. While Azeem Shirazi is the biggest contributor as the lyricist, several composers come together to create half a dozen songs in the film. <img class="aligncenter size-full wp-image-925603" src="https://www.bollywoodhungama.com/wp-content/uploads/2018/11/T4.jpg" alt="" width="620" height="450" /> <strong>MUSIC</strong> The kind of sound that kick-starts <strong><em>'Aawargi'</em></strong> reminds one of the kind of music that Vikram Bhatt time and again brings in his films. Jubin Nautiyal is effective as the singer in this Sabir Khan composition which is put together by Azeem Shirazi. The trouble though is that the song sounds dated by at least a decade. Hence, even though it has a soft feel to it, the overall impact is not the kind that makes you revisit it again on loop. The song that follows next is titled <strong><em>'Tu Mujhse Nikalta Nahi'</em></strong> and has the kind of hook-line which is indeed catchy. In a bigger film with a larger setup, this Prakash Prabhakar composed and heard song may well have found good traction. Again, the song is not exceptional but still has that quintessential Bhatt touch to it which makes it stand out. Moreover, Tanveer Gazi puts together a good spin of words, especially the title. Remember <em>'Manali Trance'</em> from <em>The Shaukeens</em>? The song which follows, <strong><em>'Saanp Seedhi Wala Saanp'</em></strong>, is on the same lines and belongs to the trance genre. As a matter of fact Tripty Sinha sings this one too in the same style as that of Neha Kakkar and does manage to make an impact too. It is a new team of composer Sandeep Batraa and lyricists Azeem Shirazi and Ozil Dalal who pair up for this promotional song which is expected to bring in good entertainment quotient. However, a little impact that had been created so far is diluted to a major extent by Rashid Khan composed <strong><em>'Ae Zindagi'</em></strong> which is as sad as it gets. From the composition, writing (Nisar Akhtar) as well as the singing (Altamash Faridi Brothers) perspective, the song is really depressing and just doesn't make you root for it all. A slow moving number that is all about pathos, separation and the fact that life doesn't have much to offer to the protagonists, this one belongs to the quick-skip variety. Another newcomer, Shaan Asif Raj, is the composer for <strong><em>'Muddaton'</em></strong> which starts with the sound of guitar. Seemingly a concert number, this Azeem Shirazi written song is rendered by Amit Mishra. A soft rock number, <em>'Muddaton'</em> tries to bring in the kind of mood that was created by <em>'Sun Raha Hai'</em> [<em>Aashiqui 2</em>]. Though it does fall short, it still makes for a decent hear after all. Had it carried more punch to it, this one could well have found itself a better audience. <strong><em>'Aawargi Deewangi'</em></strong> is the song that concludes the album and its depressing notes do not really help the cause. On the same lines as <em>'Ae Zindagi'</em>, this one is written by Aslam Sani with music by Ahsan Ahmed. There is just nothing in there which arrests your attention and even though Mohammed Irfan is the singer here, you don't really find much entertainment quotient in there. <strong>OVERALL</strong> The music of <em>The Dark Side of Life - Mumbai City</em> is a mixed bag and though there is no real chartbuster out there, two-three songs at least hold your attention while at play. <strong>OUR PICK(S)</strong> <em>‘Tu Mujhse Nikalta Nahi’</em>, <em>‘Saanp Seedhi Wala Saanp’</em>, <em>‘Muddaton’</em>

<strong>EXPECTATIONS</strong> Films directed by Abhishek Kapoor have traditionally carried good music. From <em>Rock On</em> to <em>Fitoor</em>, the music has been consistently impressive and has been as per the theme and setting of the film. Now that he is bringing on <em>Kedarnath</em> that marks the launch of Sara Ali Khan opposite Sushant Singh Rajput, one waits to hear what do composer Amit Trivedi and lyricist Amitabh Bhattacharya have to offer. <img class="aligncenter size-full wp-image-926514" src="https://www.bollywoodhungama.com/wp-content/uploads/2018/11/Petition-filed-in-Gujarat-High-Court-seeking-ban-on-Sushant-Singh-Rajput-Sara-Ali-Khan-starrer-Kedarnath.jpg" alt="" width="620" height="450" /> <strong>MUSIC</strong> There is something truly divine about the manner in which <strong><em>‘Namo Namo’</em></strong> begins. A devotional number which is truly devoid of any forced Bollywood inspirations, this one is a well rendered number by Amit Trivedi and makes an instant impression. A smooth sailing song that has a peaceful feel to it and is further accentuated due to the striking visuals that go alongside, ‘<em>Namo Namo’</em> can well be assured of a long shelf life amongst those who want to hear a devotional number first thing in the morning. A love song arrives next in the form of <strong><em>‘Qaafirana’</em></strong> and the mood and feel remains consistent with the kind of set up that Abhishek wanted to put together for <em>Kedarnath</em>. Moreover, there is certain director’s touch that is apparent in the way the tune has been composed, words have been written and especially the manner in which Arijit Singh has rendered this one. There are minimum instruments in the background as primarily it’s the voice and the core composition that takes centre stage which ensures that <em>‘Qaafirana’</em> turns out to be a soulful number that can be heard for a serene experience. What further adds to the beautiful melody is the manner in which Nikhita Gandhi makes a very good impression as a singer despite making a late entry. Things take a celebratory turn as Dev Negi enters the scene and croons <strong><em>‘Sweetheart’</em></strong>. A fun number which is just the kind that one could expect from a Karan Johar, Imtiaz Ali or Aditya Chopra film, this one is as Bollywood as it gets. As a matter of fact it also faintly reminds one of <em>‘Butterfly’</em> [<em>Jab Harry Met Sejal</em>] due to the kind of desi stage and setting that goes with the situation in which the song is set. This one could well have been picked up by Shah Rukh Khan, Ranbir Kapoor or Shahid Kapoor with glee and in that aspect Sushant Singh Rajput can well be happy about the fact that he bagged ‘Sweetheart’ which is a potential chartbuster. Arijit Singh returns on the scene, this time with <strong><em>‘Jaan ‘Nisaar’</em></strong> which appears in a couple of versions. A situational number where the male protagonist is trying to understand why his ladylove is unhappy with him and is trying to woo her all the way back, this one has a smooth flow to it which sees Indian melody being supported by Western instruments. That said the consistency of sound stays in the mood set so far in <em>Kedarnath</em>. Asees Kaur is the voice of the female version and this one somehow appears to be even slower. This is the kind of number that is good when heard in a stand-alone fashion though one can’t expect it to emerge as a chartbuster of sorts. <strong>OVERALL</strong> The music of <em>Kedarnath</em> is good and though it doesn’t have too many songs to result in a complete package affair, it is fine till it lasts. This one has the kind of music that could well grow on the basis of the success of the film. <strong>OUR PICK(S)</strong> <em>‘Namo Namo’</em>, <em>‘Qaafirana’</em>, <em>‘Sweetheart’</em>

<strong>EXPECTATIONS</strong> After Sunny Deol's delayed releases <em>Mohalla Assi</em> and <em>Bhaiyaji Superhit</em>, it is now time for Sunny Leone's long pending <em>Tina &amp; Lolo</em> to finally see the light of the day. Announced five years back, the film was originally supposed to feature Minissha Lamba with Sunny Leone. However, Karishma Tanna came in place of Minissha, though the film continued to get delayed. Now that it is gearing up for arrival, one waits to see how does the film's music turn out to be. <img class="aligncenter size-full wp-image-930160" src="https://www.bollywoodhungama.com/wp-content/uploads/2018/12/Music-Review-Tina-Lolo.jpg" alt="" width="620" height="450" /> <strong> MUSIC</strong> Enbee and Ikka (who is also the lyricist) come together as composers and singers for <strong><em>'Dirty Girl'</em></strong>. A fun-n-naughty number that is just in the kind of territory that one expects from a Sunny Leone dance number, this one with Shivangi Bhayana as the female singer has the kind of hook-line which is catchy but that's about it. Otherwise whether it is the beginning or the end of the intermittent rap portion, there isn't much striking about 'Dirty Girl'. On the same lines as <strong><em>'Aaj Blue Hai Paani Paani</em></strong>' [Yaariyaan], <strong><em>'Tension Waali Raat'</em></strong> does fetch your attention. An Arko written and composed song, this one has Neha Kakkar in her element as she goes about singing this one in her own naughty 'andaaz'. Though the choreography and picturisation of the song with Farhad Bhiwandiwala as the other vocalist leaves much to be desired, as a standalone number it does make you play it again. Had the number been released at the time when Sunny Leone was in her prime, this one could well have covered a distance. Last to arrive is the song of seduction, <strong><em>'Raat Ke Saaye Tale</em></strong>', which is rendered by Aakanksha Sharma. A lazy number that has standard lyrics by Rohit Sharma, it also has ordinary music by Raghav Sachar that hardly leaves much of an impression. This one may just about make heads turn if supported by the kind of picturisation that the genre, stage and setting desires. Otherwise as just a musical piece it makes for a one time hear and that's about it

<strong>EXPECTATIONS</strong> First things first, it is extremely surprising that the entire soundtrack of <em>Zero</em> released on the same day as the film's arrival in theatres. Even though <strong><em>'Mere Naam Tu'</em></strong>, <strong><em>'Issaqbaazi' </em></strong>as well as <strong><em>'Husn Parcham'</em></strong> had been received quite well, somehow the makers didn't unveil the entire soundtrack with four more songs. What's further surprising is that these songs have been quite well composed as well and hence one wonders why the jukebox release was delayed. Nonetheless, let's check out what Ajay-Atul and Tanishk Bagchi along with Irshad Kamil have to offer. <img class="aligncenter wp-image-936677 size-full" title="Music Review: Zero" src="https://www.bollywoodhungama.com/wp-content/uploads/2018/12/Music-Review-Zero-005.jpg" alt="Music Review: Zero" width="720" height="405" /> <strong> MUSIC</strong> <em>Zero</em> sees a fantastic start for itself, what with <strong><em>'Mere Naam Tu'</em></strong> turning out to be the love ballad of the year. A marvellous composition by Ajay-Atul with some beautiful poetic lyrics by Irshad Kamil, <em>'Mere Naam Tu'</em> has been sung brilliantly by Abhay Jodhpurkar. In fact his voice suits Shah Rukh Khan to the T and one now waits for their further collaborations. An all-rounder of a tune which makes one play this romantic number in loop<strong>, </strong><em>'Mere Naam Tu'</em> has a grand feel to it, especially the orchestra and the chorus that emerges at the end. Chartbuster. The combo of Ajay-Atul and Irshad Kamil continues with further offering in the form of<strong><em> 'Issaqbaazi'</em></strong>. This was meant to be a huge inclusion in<em> Zero</em> considering the fact that it features Shah Rukh Khan and Salman Khan together. However, Salman has limited appearance in this song which is rendered by Sukhwinder Singh and Divya Kumar. A catchy number with a foot tapping appeal, this one has a 80s feel to it with a UP-Bihar set up. Somehow the song doesn't cover an extra distance to emerge as a huge success and just about fits into the proceedings. As for Katrina Kaif, she does get a special song indeed; what with <strong><em>'Husn Parcham'</em></strong> pretty much paying homage to her <em>'husn'</em>. Think Katrina Kaif and you expect a song like this which takes her into <em>'Sheila Ki Jawaani'</em> zone. Of course, this one with Bhoomi Trivedi as the lead singer and Raja Kumari adding with her rap is more class oriented but it a chartbuster number nonetheless. As a matter of fact after you have heard this one a couple of times, <em>'Husn Parcham'</em> comes across as a tune that Vishal-Shekhar would have composed with ease. Yet again, it is huge orchestra at play as Ajay-Atul brings on the kind of canvas that is expected out of them. A song about separation and pining heart that is rooting for true love, <strong><em>'Ann Bann' </em></strong>is a very well written number that is sung quite well too by Kunal Ganjawala. It is after a long time that one hears the singer in a biggie and he does complete justice to <em>'Ann Bann'</em> which comes as a crucial juncture in the film's narrative and adds good weight to the proceedings. A well composed, tunes and sung situational number. Tanishk Bagchi takes over from this point on and is associated with as many as three songs. First to arrive is Nusrat Fateh Ali Khan's <strong><em>'Tanha Hua'</em></strong> which is recreated by Tanishk with Jyoti Nooran and Rahat Fateh Ali Khan coming together. An excellent number which has Irshad Kamil adding on to Khwaja Parvaiz's words, <em>'Tanha Hua'</em> is a heartfelt number of pain and intensity about loneliness in love. This is the kind of number that should have been promoted long ago as it has the adequate depth and is also in Shah Rukh zone. Hope it finds its audience soon. The soundtrack only continues to get better, what with <strong><em>'Heer Badnam'</em></strong> coming next. A superb song that is sung brilliantly by Romy, it has just the kind of lyrics that one would have expected from guest lyricist Kumaar. He pours in all the pain that one feels in love and it is remarkable to hear how Romy goes about rendering this one with Tanishk Bagchi coming up with a composition that is instantly catchy and impressive. Any regrets? Well, the song is just 140 seconds long when it could have just been apt had it been much longer. Altamash Faridi concludes <em>Zero </em>on a satisfactory note with the traditional <strong><em>'Duma Dam Mast Kalandar'</em></strong>. There is something magical about this sufi outing that you are entertained each time it is played. There may have been close to half a dozen filmy outings that the song has already witnessed in last few years but you never get tired of it. Same is the case here too in Zero. <strong> OVERALL</strong> <em> Zero</em> is a complete album and is one of the best that 2018 had to offer. Had the promotion of the entire soundtrack been intensive during last couple of months, the songs may well have reached a different level altogether. Nonetheless, now that the soundtrack is out, do give it a hear for sure. <strong>OUR PICK(S)</strong> <em> Mere Naam Tu, Husn Parhcham, Tanha Hua, Heer Badnaam</em>

<strong>EXPECTATIONS</strong> This one actually throws a pleasant surprise. Typically when it comes to independent films one can't really be sure of the kind of music that they would offer. However in case of <em>Bombairiya</em> there is some effort that has actually been put into creating some pleasant music. Arko is brought on board along with guest composers Amjad-Nadeem and the results are satisfactory. <img class="aligncenter wp-image-936675 size-full" title="Music Review Bombairiya" src="https://www.bollywoodhungama.com/wp-content/uploads/2018/12/Music-Review-Bombairiya.jpg" alt="Music Review Bombairiya" width="720" height="405" /> <strong>MUSIC</strong> Arko plays the triple role of composer, lyricist and singer for <strong><em>'Sanki',</em></strong> a Punjabi-Hindi number that is just the kind that on expects from a Punjabi hip-hop album. With a catchy tune to it, <em>'Sanki' </em>turns out to be instantly catchy and makes one look forward to how it is placed in the film. Producer Michael E Ward chips in too with lyrics for this fun number that has a hook playing right through which makes one nod in appreciation. Next to arrive is <strong><em>'Bairiya'</em></strong>, the word which also forms the base for the film's title <em>Bombairiya.</em> The song arrives in two versions, one which is a Navraj Hans solo and another that has Akriti Kakar joining as well. A sufi outing which has a melodic base to it, <em>'Bairiya</em>' is composed as well as written quite well by Arko. As a matter of fact one could well have expected a song like to feature in an Akshay Kumar film since the superstar is known for including such music for a soothing love song situation. This one deserves to cover good distance in both the versions. Amjad-Nadeem chip in for <strong><em>'Sajde Karoon'</em></strong>. They write as well as compose this number which is spearheaded by Yasser Desai with Warsi brothers (Meraj Warsi, Riyaz Warsi, Faraz Warsi) adding on well in the background. A 'qawalli' that manages to establish an identity of its own and adds on to the genre that it belongs to; <em>'Sajde Karoon'</em> could well be utilized for a devotional as well as romantic outing. This one makes it three out of three for <em>Bombairiya</em>. <strong>OVERALL</strong> Music of <em>Bombairiya</em> is good and it would have covered some distance had it been promoted well. One just hopes that the soundtrack doesn't go unnoticed due to lack of awareness. <strong> OUR PICK(S)</strong> Sanki, Bairiya, Sajde Karoon &nbsp;

<strong>EXPECTATIONS</strong> Rohit Shetty films are traditionally not known for their music. At best, the soundtrack of his action-comedy entertainers are functional and they solve the purpose of keeping the narrative going. Hence, one expects the same from <em>Simmba</em> as well which has Tanishk Bagchi getting his biggest break when it comes to composing most of the songs, with multiple lyricists coming together to pen their pieces. <img class="aligncenter wp-image-928962 size-full" title="Music Review: Simmba" src="https://www.bollywoodhungama.com/wp-content/uploads/2018/12/Aankh-Marey-Simmba.jpg" alt="Music Review: Simmba" width="720" height="405" /> <strong>MUSIC</strong> Chartbuster song <strong><em>'Aankh Marey'</em></strong> from <em>Tere Mere Sapne</em> is recreated for the Ranveer Singh-Sara Ali Khan starrer and it turns out to be a massive chartbuster from the word go. It is always heartening when a recreation is done well and Tanishk Bagchi deserves full credit for getting it fantastically right with this Kumar Sanu original that is now sung by Mika Singh. The singer comes together with Neha Kakkar behind the mike and together they have loads of fun while Shabbir Ahmed comes up with new lyrics. The song is set to be played right into 2019. Nusrat Fateh Ali Khan's legendary number <strong><em>'Tere Bin Nahi Lagda Dil'</em></strong> is recreated as well by Tanishk Bagchi and the end result is melodious again. Rashmi Virag writes new lyrics for <em>'Tere Bin'</em> which has Rahat Fateh Ali Khan taking the lead and Tanishk Bagchi along with Asees Kaur chipping in. A beautiful number that has stayed on to be immortal for over the decades, this one is a shift from <em>'Aankh Merey'</em>, hence adding on to variety in <em>Simmba</em>. It is back to 'masti' and celebrations with Tanishk Bagchi and Shabbir Ahmed coming together for <strong><em>'Aala Re Aala'</em></strong>. A 'tapori' number, this one has a 80s feel to it and sung with aplomb by Dev Negi. An introduction song of Ranveer Singh in the film, this one has Goldi as the additional singer and together the team comes up with a functional track which suits the film's purpose. Lijo George-DjChetas pair up for <strong><em>'Mera Wala Dance'</em></strong> and one wonders why was this song not promoted earlier on. With a fantastic hook to it, courtesy Kunaal Vermaa, this could well have turned into an instant chartbuster had it been unveiled earlier on. Nonetheless, this one carries a lot more fun when compared to the song before [<em>‘Aala Re Aala’</em>] and it could well have been Ranveer Singh's entry number as well. With Kumaar as the writer and Nakash Aziz as the lead singer, it also lends Neha Kakkar yet another good platform to go and have fun. A situational number comes in next with Tanishk Bagchi spinning together <strong><em>'Bandeya Rey Bandeya'</em></strong>. Even though Arijit Singh is known for his romantic number, this one which is written by Rashmi Virag is far away from being set into a love zone. Instead, it comes in the middle of the film's second half and though it has Asses Kaur contributing too along with Altamash Faridi as Arijit Singh's singing partner, at best this one just about passes muster and can't be expected to have a long run. The soundtrack concludes with a couple of theme tracks. While Simmba Theme 1 is composed by Tanishk Bagchi, Simmba Theme 2 has Thaman S spinning it together. Both have an addictive element to them and as the film turns out to be a massive success, these pieces too would find good traction amongst the masses in order to generate good recall value. Moreover, there is distinct South feel to both the pieces which could well be seen as homage to Temper on which <em>Simmba</em> is based. <strong>OVERALL</strong> Music of <em>Simmba</em> is better than what one expected from it. Other than situational songs (most of which work), the soundtrack also boasts of songs like <em>'Aankh Marey'</em> and <em>'Mere Wala Dance'</em> which have it in them to cover a much larger distance. <strong>OUR PICK(S)</strong> <em>‘Aankh Maare’</em>, <em>‘Mere Wala Dance’</em>, <em>‘Tere Bin’</em>, <em>‘Simmba Theme 2’</em>

<strong>EXPECTATIONS</strong> There was a time when a Rajshri film was special and its music was much awaited as well. However, of late the production house has slowed down its operations, at least when it comes to feature films. Their last biggie was <em>Prem Ratan Dhan Payo</em> and now they are coming up with <em>Hum Chaar</em> which features four newcomers. Though Barjatyas have traditionally worked with a single composer for music of their films, they bring on board a horde of composers for <em>Hum Chaar</em>. Shabbir Ahmed writes. <img class="aligncenter wp-image-941754 size-full" title="Music Review: Hum Chaar" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/01/Music-review-–-Hum-Chaar.jpg" alt="Music Review: Hum Chaar" width="720" height="405" /> <strong>MUSIC</strong> George Joseph is the composer for <strong><em>'Friends Bhi Family Hain'</em></strong> which has night club music feel to it. That said, somehow the music overpowers lyrics (by Abhishek Dixit) and hence somehow the rendition by Aaman Trikha and Rajiv Sundaresan is lost in the middle of it all. Moreover, the core hook of the song is the kind that sounds more like an ad jingle than a film song. Team SARA gets to compose maximum number of songs in <em>Hum Chaar</em> with three of these to their credit. First to arrive is <strong><em>'Tum Aisi Kyun Ho'</em></strong> which is rendered by newcomer Sameer Khan. A romantic song which is set in a style that was prevalent 20 years back, this one has an Indi-pop feel to it. That said, it is still better than the opening number and is somehow ok at least. <strong><em>'Duffermasti'</em></strong> is the second offering by Team SARA and the first question that comes to mind is what exactly is the meaning of the song's title here. As it turns out though, this one tries to be all fun and peppy but doesn't really cover much of a distance. It has a feel of certain songs that have been created by Pritam in the past [<em>‘Ullu Ka Patha’</em>, <em>‘Pungi’</em>] but that's about it. Sameer Khan and Asees Kaur come together for Team SARA's third number <strong><em>'Gussa Tera Jayaz Hai'</em></strong>. A situational number where the protagonist is trying to pacify the girl in question who is a bit upset, it goes around in multiple directions before arriving at the key line. A slow moving number, one doesn't expect this one to cover much of a distance. With the name Atif Aslam attached to <strong><em>'Auliya'</em></strong>, one has good expectations from the song. That said, since the four songs so far haven't made much of an impression, there are doubts too about how would this Vipin Patwa composition play out. Well, this one too turns out to be just about okay. Though Atif does sing well, the composition doesn't cover much of a distance. Raaj Aashoo is the composer of <strong><em>'Manmeet Mere'</em></strong> and again one has some sorts of hope since Mohit Chauhan is the singer. As it turns out, this one turns out to be the best of the lot that <em>Hum Chaar</em> had to offer in this soundtrack. The song has good rhythm to it and though one does feel that a bit more energy would have made this a more pleasant outing, it is still fine. <strong>OVERALL</strong> There isn't much to celebrate about the music of <em>Hum Chaar</em> which is only fair and that's about it. <strong>OUR PICK(S)</strong> <em>‘Manmeet Mere’</em>, <em>‘Tum Aisi Kyun Ho’</em>

<strong>EXPECTATIONS</strong> <em>Manikarnika - The Queen of Jhansi</em> is a dream project of Kangana Ranaut and she has given more than a year into making this happen. While it is expected that the film would have the much required scale, canvas and grandeur that the subject necessitates, the same is expected from music as well which is put together by Shankar-Ehsaan-Loy and lyricist Prasoon Joshi. <img class="aligncenter wp-image-941752 size-full" title="Music Review: Manikarnika - The Queen Of Jhansi" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/01/Music-review-–-Manikarnika-The-Queen-of-Jhansi.jpg" alt="Music Review: Manikarnika - The Queen Of Jhansi" width="720" height="405" /> <strong>MUSIC</strong> Shankar Mahadevan is the lead singer for <strong><em>‘Bharat’</em></strong>, a patriotic number which is about bringing the country first before your own self. One wonders if the song is primarily for end credits roll since its theme and tonality suggests a sober conclusion to the war drama that Kangana is bringing on screen. The soundtrack in fact concludes with another version which has Prasoon Joshi narrating (and not singing) it for the audiences. Meanwhile, Shankar Mahadevan is back with <strong><em>'Vijayi Bhava'</em></strong>, yet another theme track which is about moving ahead in the right direction and aim for victory. This is the song that should well have been positioned right at the beginning of the album since it comes with just the right kind of passion and energy that one expects from <em>Manikarnika - The Queen of Jhansi</em>. Reminding of the kind of soundtrack that <em>Baahubali</em> series boasted of, <em>'Vijayi Bhava'</em> should make for a good impression if picturised well on screen. Next to arrive is <strong><em>'Bolo Kab Pratikar Karoge'</em></strong> which has Sukhwinder Singh at the helm of affairs. Yet another song which is high on energy and should arrive at a crucial juncture of the film's narrative when the protagonist is gearing up for the battle, it has a thump to it that should make an impression when experienced in theatres. For the first time in the soundtrack a female voice is heard, what with Pratibha Singh Baghel coming behind the mike for <strong><em>'Rajaji'</em></strong>. A romantic number that should play between Manikarnika and her beau, this one has a sweet sound to it and should bring on some light moments on screen. Pratibha does well as the voice of Kangana and she is joined by Ravi Mishra who arrives in the later part of the song. Yet again, one can't expect the song to emerge as a chartbuster here but should fit in well into the film's narrative. It is back to theme songs in <em>Manikarnika - The Queen of Jhansi</em>, what with Shankar Mahadevan coming up with <strong><em>'Shiv Tandav'</em></strong>. As is expected in a song belonging to this genre, this one too stays on to be strictly situational and one waits to see how it is picturised for the big screen experience. Rest assured, one can expect Kangana Ranaut in a fiery avtar here. A song about waiting for the love of your life to be back soon, <strong><em>'Tak Taki'</em></strong> is yet another song that is rendered by Pratibha Singh Baghel. This too is a situational number and at best should aid in taking the story forward. With a period feel to it, this one does well though in staying well within the mood and ambience of the era gone by. The soundtrack concludes with <strong><em>'Dankila'</em></strong> which has a horde of singers coming together in the form of Prajakta Shukre, Shrinidhi Ghatate, Siddharth Mahadevan and Arunaja. A celebration number that should be set in the happier times of Manikarnika's life, <em>'Dankila'</em> should have arrived much earlier in the film's soundtrack. This one has the right energy to it with a peppy feel. <strong>OVERALL</strong> The music of <em>Manikarnika - The Queen of Jhansi</em> is in line with what the film's subject and narrative warranted. Though one doesn't foresee any chartbusters here, the songs should do well to aid the film's narrative. <strong>OUR PICK(S)</strong> <em>‘Dankila’</em>, <em>‘Vijayi Bhava’</em>, <em>‘Rajaji’</em>

<strong>EXPECTATIONS</strong> Music of an Emraan Hashmi has to be special. However, since <em>Why Cheat India</em> is more of a concept based film that deals with education nexus, one doesn't really have much of an idea around what to expect from the entire soundtrack. Multiple composers, lyricists and singers come together to create half a dozen songs for <em>Why Cheat India</em>. <img class="aligncenter wp-image-941751 size-full" title="Music Review: Why Cheat India" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/01/Music-review-–-Why-Cheat-India.jpg" alt="Music Review: Why Cheat India" width="720" height="405" /> <strong>MUSIC</strong> There is a surprise in store right at the beginning though with a Punjabi club number kick-starting the proceedings. This isn't something that one expected from <em>Why Cheat India</em> and hence a rollicking start like this is much welcome. An all-around Guru Randhawa show in terms of composition, lyrics and rendition, <strong><em>'Daaru Wargi'</em></strong> is a fun number that should find itself as a hot favourite amongst the DJs at the clubs and the dance floors. Chartbuster material. Punjabi mood continues in <em>Why Cheat India</em> with newcomer singer Prabhjee Kaur giving a good account of herself in her major Bollywood outing. A celebration number that is well composed by Krsna Solo, <strong><em>'Stupid Saiyaan'</em></strong> is as 'desi' as it comes and gets your foot tapping right away. Lyricist Kumaar delivers once again with this catchy number that should find good traction. Finally arrives a theme song in the form of <strong><em>'Kaamyaab'</em></strong>. An Agnee composition that has been put to words by Juhi Saklani, this one is a complete departure from what one had heard so far. Coming across as a non-film number, it is sung by Mohan Kannan who narrates the tale of a student who has to do well in life while taking the route of right education. Bappi Lahiri's chartbuster composition <em>'Dil Mein Ho Tum'</em> [<em>Satyameva Jayate</em>] is recreated by Rochak Kohli and he does a really good job with lyricist Manoj Muntashir who adds on to original words of Farooq Qaiser. A soothing number that makes the transition from 80s to the current times rather seamlessly, it is sung quite well by Armaan Malik who makes sure that the current generation would be enticed too with this romantic outing. It's the sound of the harmonium that kick-starts the proceedings for <strong><em>'Phir Mulaqat'</em></strong>. A love song which doesn't quite come across as a 'ghazal' outing that it is supposed to depict, this one could well have made an even better impression had it been picturised as a quintessential Emraan Hashmi number. Instead, a solo stage setting visually dilutes the impact that this Kunaal-Rangon composed number could have created. Kunaal writes the lyrics too and first Jubin Nautiyal and later a female singer who goes by the name RII. In fact she does even better. Last to arrive is Juhi Saklani written <strong><em>'Taiyaari'</em></strong> which is sung and composed by director Soumik Sen himself. This one in fact turns out to be a rather boring outing and comes across as a dull piece. It tries to narrate the plight of students who are studying hard to clear their entrance exams. However, it depresses more instead of making you really feel engaged with the kids. <strong>OVERALL</strong> Barring a couple of songs, the music of <em>Why Cheat India</em> works with a couple of these promising to be chartbusters as well. If the film does well at the Box Office, one can well expect the music to grow further as well. <strong>OUR PICK(S)</strong> <em>‘Daaru Wargi’</em>, <em>‘Dil Mein Ho Tum’</em>, <em>‘Phir Mulaqat’</em> (female version), <em>‘Stupid Saiyaan’</em>

<strong>EXPECTATIONS</strong> Since <em>Thackeray</em> is a biopic, one basically expects situational soundtrack for the film which would basically glorify the subject in question, Balasaheb Thackeray. Composers Rohan-Rohan [Rohan Pradhan and Rohan Gokhale], who had earlier composed a couple of songs for <em>Sanju</em> [<em>‘Main Badhiya Tu Bhi Badhiya’</em>, <em>‘Bhopu Baj Raha Hai’</em>] are the composers for <em>Thackeray</em>. <img class="aligncenter size-full wp-image-944480" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/01/Music-Review-Thackeray.jpg" alt="" width="720" height="405" /> <strong>MUSIC</strong> It is a grand beginning for <strong><em>'Saheb Tu Sarkar Tu'</em></strong> and one does get an impression of a biggie outing for the big screen with the kind of orchestra that is put up. Moreover, the lead singer is just apt too, what with Sukhwinder Singh crooning the words written by Manoj Yadav. As expected, the song is all about glorifying Thackeray as the 'messiah' of the masses. Expect the song to arrive at a crucial juncture of the film's narrative and bring on the dramatic appeal. Next in line is <strong><em>'Aaple Saheb Thackeray'</em></strong> which is written by Manndar Cholkar. This one is in fact a Marathi number and carries the signature tune that one has heard in the promo of the film. With the kind of beats that one associates with Marathi folk music, this one is rendered by Avadhoot Gupte and is again a situational outing. One wonders though why only the Marathi version appears in the soundtrack as it would have added on to the album had there been a Hindi version of the song as well. Nakash Aziz is the lead singer for <strong><em>'Aaya Re Thackeray'</em></strong> and given the kind of energy that the singer time and again brings in his songs, one expects the same here as well. Yet again, it is traditionally Marathi music that forms the basis for this song that is written by Dr. Sunil Jogi. While it is in line with the earlier two songs when it comes to the core theme and presentation, this one turns out to be far catchier and has a good recollection value going for it. Last to arrive is <strong><em>'Thackeray Theme'</em></strong> which is put together by guest composer Sandeep Shirodkar. It basically has a set of dialogues mouthed by Nawazuddin Siddiqui in the film with a base Western theme playing in the background. With the core theme of <em>Thackeray</em> supporting this near three minute composition, this one does make for a good impression and raises expectations from the film. Moreover, the intermittent sound of lion's roar only adds on to the excitement. <strong>OVERALL</strong> Music of <em>Thackeray</em> is situational and should aid the film's story telling. Though there isn't anything memorable about it that would play on after the film's exit from theatres, at least for its playing time it should do well. <strong>OUR PICK(S)</strong> <em>‘Aaya Re Thackeray’</em>, <em>‘Thackeray Theme’</em>

<strong>EXPECTATIONS</strong> When it comes to a horror affair, good music always helps in aiding awareness around it. Moreover, the director here is Bhushan Patel and his <em>Ragini MMS 2</em> had chartbuster music. One expects at least a functionally good score in <em>Amavas</em> which has multiple composers and lyricists coming together. <img class="aligncenter size-full wp-image-941155" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/01/Bheege-Bheege-Amavas.jpg" alt="" width="720" height="405" /> <strong>MUSIC</strong> It's the sound of guitar that kick-starts the proceedings for <strong><em>'Jab Se Mera Dil'</em></strong>. This is indeed a good team at play as Armaan Malik and Palak Muchhal come together behind the mike and are very effective as singers. The song also has composers Sanjeev-Darshan coming back after a hiatus and with Sandeep Nath writing some simple lyrics for this romantic number, you are in for a good pleasant outing that has melody as the centre-stage. Next to arrive is a dance number <strong><em>'Finito'</em></strong> and this one has Jubin Nautiyal in a different avtar as he gets into a club outing. He is supported by Sukriti Kakar along with rapper Ikka and together they ensure that there is no dull moment in there. Composer Abhijit Vaghani puts together this track that has a Spanish base to it and also reminds one of Bombay Rockers' <strong><em>'Rock Tha Party'</em></strong>. Kunaal Vermaa's lyrics are just the kind that go with songs belonging to this genre and hence stay functional. It is back to melody with the sound of guitar being heard all over again in Sanjeev-Darshan and Sandeep Nath's <strong><em>'Dhadkan'</em></strong>. Reminding of the kind of music that one typically hears in a Vikram Bhatt film, this one sees the coming together of Jubin Nautiyal and Palak Muchhal all over again. The pair doesn't disappoint as the song pretty much continues from where their earlier outing <em>'Jab Se Mera Dil'</em> left and works well as a romantic outing. The soundtrack concludes with Ankit Tiwari composed and sung <strong><em>'Bheege Bheege'</em></strong> where he is joined by Sunidhi Chauhan. This one is just the kind of song that one expects when a romantic mood is setting in a horror outing. In fact newcomer Anurag Bhomia spins his lyrics too around the same lines as it leads to a seductive outing. While the start of the song is fine, it is the hook piece with Ankit on the forefront that brings in a different dimension to <em>'Bheege Bheege'</em>. <strong>OVERALL</strong> Music of <em>Amavas</em> delivers as expected and in fact manages to go a bit beyond being just functional. Play this one on loop and you would end up adding this to your playlist. <strong>OUR PICK(S)</strong> <em>‘Jab Se Mera Dil’</em>, <em>‘Dhadkan’</em>, <em>‘Bheege Bheege’</em>

<strong>EXPECTATIONS</strong> When Zoya Akhtar announced <em>Gully Boy</em> with Ranveer Singh, there wasn't much known about what the film would bring on screen. Hence, it was surprise galore for the audiences when Ranveer Singh's rap number introduced the film through a teaser. Now after catching hold of the soundtrack there is another big surprise in store as there are an astonishing 18 songs in there. <img class="aligncenter size-full wp-image-944920" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/01/Mere-Gully-Mein-Gully-Boy.jpg" alt="" width="720" height="405" /> <strong>MUSIC</strong> Ranveer Singh debuts as a rapper in real life as well, what with as many as five tracks against his name. Amkur Tiwari produced and Spitfire composed and written <strong><em>'Asli Hip Hop'</em></strong> is already a riot for the manner in which Ranveer goes about rendering this one. A hit amongst those who love the underbelly of rap, this is followed by Divine, Naezy and Sez on the Beat's 'Mere Gully Mein' which takes the whole excitement to the next level. It is riotous, ferocious and true to its genre, hence also ensuring very good recall value. Things turn a bit soft though when Ranveer goes on to narrate Javed Akhtar written poem <strong><em>'Doori'</em></strong>. Though this one is a short piece, one feels something is missing as the heart-warming moments had just begun. This is soon followed by a musical piece by Rishi Rich that has added lyrics by Divine. Though one doesn't see this one turning out to be a chartbuster like the first two songs, it should play on well in the film. The team also comes up with <strong><em>'Ek Hee Raasta'</em></strong> and the song adds on to the soundtrack like a scene in a film does to the narrative. Kaam Bhaari &amp; Ankur Tewari write <strong><em>'Kab Se Kab Tak'</em></strong> where latter pairs up with Karsh Kale to put together the composition. Voice of a female is heard in the soundtrack this time around with Vibha Saraf pairing up with Ranveer Singh. While the overall impact is there, the best is reserved for the flagship number <strong><em>'Apna Time Aayega'</em></strong> which is put to tune by Divine &amp; Ankur Tewari. Former's lyrics along with Dub Sharma are truly acidic and one can clearly hear the cry of the underprivileged who wants to do something really good in life. A clear cut chartbuster here. From this point on, Divine and Dub Sharma have a lot to offer in the soundtrack. Former writes lyrics for Chandrashekar Kunder aka Major C composed <strong><em>'Sher Aaya Sher'</em></strong> which is decent but not exemplary. However the ones that indeed makes a mark is their 'Azadi'. A cry of war for freedom from all the boundations, <strong><em>'Azadi'</em></strong> has in it to find some good traction over the next few days. As for Dub Sharma's solo effort <strong><em>'Jingostan'</em></strong> (which plays in two versions), it seems like a bit of noise to begin with but soon you get a hang of it for the sheer spirit that it comes with. When <strong><em>'Train Song'</em></strong> comes, you realize that there is indeed a heavy duty team coming together, what with Raghu Dixit &amp; Karsh Kale singing as well as composing the number along with Midival Punditz. In fact it is rather surprising to see as many as four lyricists collaborating for this one, what with Javed Akhtar, Karsh Kale, Gaurav Raina and Tapan Raj joining hands. There is some 'thehrav' in the proceedings though with Jasleen Royal composing and singing <strong><em>'Jahaan Tu Chala'</em></strong> in her characteristic style. The overall effort is easy on ears as Aditya Sharma's lyrics are simple too and hence have a soothing effect. It is back to business though with Kaam Bhaari composing and writing a namesake number <strong><em>'Kaam Bhaari'</em></strong>. Since this is a new world of rap and something that is far away from being Bollywood, one takes time to adjust to this tune that has Ankur Tiwari pairing up as well. Soon after, he comes along with Mikey McCleary to compose<strong><em> 'Jeene Mein Aaye Maza'</em></strong>, a well-made number where he takes the centre-stage as a lyricist as well as singer. There is also an all-around effort by singer and lyricist Ace who pairs up with ishQ Bector in the music department to bring on <strong><em>'Har Gham Mein Khushi Hai'</em></strong>. The song fits in truly well for the genre that Gully Boy is promoting and hence it turns out to be a rather seamless experience. On the other hand there is Western-Punjabi collaboration next with Prem &amp; Hardeep and putting together a really well composed <strong><em>'Goriye'</em></strong>. A fun number which actually has a Bollywood touch to it as well, it has Arjun, Blitz &amp; Desi Ma coming together with Kaka Bhaniawala and Bhinder Khanpuri. This one is a potential success too and should be unveiled really quick. The soundtrack concludes with Viveick Rajagopalan composed 'tapori' number <strong><em>'India 91'</em></strong> which again belongs to the slum setting that Gully Boy belongs to. There is a huge team of MC Altaf, MC TodFod, 100 RBH, Maharya and Noxious D coming together for this song and one ends up wondering about the real name of any one of these members. <strong>OVERALL</strong> If one has to define the music of <em>Gully Boy</em> in one word, it would be 'trippy'. There has been no precedence of such a soundtrack in Bollywood before and it could well turn out to be a trendsetter if expected by the audience. An experimental score, this one has a few songs in there which are potential chartbusters in the making. <strong>OUR PICK(S)</strong> <em>‘Apna Time Aayega’</em>, <em>‘Asli Hip Hop’</em>, <em>‘Mere Gully Mein’</em>, <em>‘Goriye’</em>, <em>‘Azadi’</em>

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

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

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

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

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

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

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

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

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

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