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

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

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

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

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

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