Posts Tagged ‘Harshdeep Kaur’

Anurag Kashyap is back, this time with a love story, teaming up with Aanand L Rai as producer. Manmarziyaan is going to premiere at the TIFF 18. While we keep wondering about the actual release date (21, 14, or 7th September?), why don’t you read the review from Rohwit below, while listening to the official playlist?

Mast ali has a voice which sounds aptly familiar yet fresh, filmi punjabbbi songs wise. In Fyar he has been credited along with Vicky Kaushal and Sikandar Kahlon. I love the way song starts and credit to Amit Trivedi for smartly manipulating the pace of the song and even though the difference between ‘Pya’ and ‘Fya’ is not super easy to understand when you hear it, the song is just spot on. I didn’t care much about the rap part but it didn’t disturb my Foncentration.

Daryaa has ‘udaan types (Yes i am looking at you ‘hooo oo oo oo’) meeting Punjabi love’ sound which works like a charm. I have always been at pains to see Shahid Mallya not getting the kind of uptake that he deserves. He sounds madly in love and it sets the emotion of the song perfectly. Ammy Virk sounds powerful yet quite hurt and because of him, the song soars, pity his name doesn’t appear in the youtube song title credits till the time this was written. What a delight it is to hear Amit’s ‘hoo ooo oo’ template complimenting Virk’s passionate singing and spilling emotions like two glasses brimming with wine falling to the ground. There is also an unplugged version of this song sung by Deveshi Sahgal. It has a headstrong sound which I absolutely loved along with the super Guitar play of the always dependable Sanjoy Das. Deveshi’s singing is fearless and it would be silly to compare her version with the other version because, well the other version is not unplugged to begin with. In fact, with the ‘Udaan type hoo ooo oo’ missing from the song, this version sounds rather fresh! Super like!

Jazim Sharma and Harshdeep Kaur are heard in Grey wala shade, a song that revels in mischief. The tune is intimate and lyrics are delightfully naughty. Jazim‘s voice has a soothing effect and it is a pleasant change to hear Harshdeep in a simple song. Jazim and Harshdeep Kaur team up again in an Esraj rich Choch Ladhiyaan. I love what Amit has done with the tune of this song and to me, this could easily be the most layered composition of the album. The near classical arrangement is more essential than decorative. Being someone who understands ghazal gayaki closely, Jazim uses all the thehraav in his rendition and is a delight to the senses. Harshdeep Kaur is again in top form and sounds even more playful due to absolute crazy lyrics by the magician Shellee, Bande andar, paigambar…naache!

Dhayaanchand shines because of its lovely tune structure. Vijay Yamla, Nikhita Gandhi, Amit Trivedi & Suhas Sawant are pretty good in the song yet my favorite parts are those with Amit‘s voice. On a related dhinchak note – Tumbi, Tumba, Been, Dhadd & Bugdu by Vijay Yamla and Dhol by Kukki Jogi are composition’s heart and soul. A song that is definitely going in my dinchak 2018 playlist.

Omkar Dhumal has made several appearances in good and not so good songs this year so far. Here, his Shehnai is used brilliantly by Amit Trivedi. I was almost not looking forward to the song because of Jyoti Nooran’s name. Of late, her songs are one note, one character, unwelcoming and filled with unnecessary ‘See I can do so many alaaps’. I can confirm that she is super steady in this song. Along with Romy, she holds your attention in the serious Hallaa. Don’t miss the faint Shehnai and those lovely backup vocalists especially towards the end of the song…a brilliant touch by Amit Trivedi.

Shahid Mallya & Jonita Gandhi sing Sachchi Mohabbat very well, a song that bitterly regrets love that ‘could have been’, a love where they could have celebrated ‘Them being them?’. The wordplay in this song is deceptively simple and credit to Amit Trivedi for keeping the tune light in spite of two geniuses at play here. I am of course referring to Arshad Khan (On Israj) and Omkar Dhumal (On Shehnai).

Jaisi teri Marzee is a little ‘Tujhe yaad na meri aayi‘ in its character and it is not a bad thing. I liked the fact that rather than presenting a track as ‘title song’, they have used the said phrase to name it. Did I like the song? Yes. Would i listen to it again? No. Harshdip Kaur is pitch perfect and Bhanu Pratap Singh sounds fresh and promising. Still, I found this to be a ‘credit rolling’ song and not very ‘playlist durable’

Bijlee giregi has Devenderpal Singh, Babu Haabi, Sikander Kahlon & Vaishali Sardana in top form. At the risk of sounding repetitive, I absolutely love Shellee and what he has done here. There is not a comma (let alone a word) that feels force inserted. Bhasudi, durachari, cutie pie nahi kutti pie hai, Vayusena ka vimaan, missile waali…I can go on and on. The tune structure flirts with my other favorite song from the year – Teri pappi le lu from ‘Veere di wedding’. That said, I am already conflicted whether this song should go in the dinchak 2018 playlist from this album instead of Dhayanchand?* Anyway, I love the song and extra points for NOT using Badshaah for the rap portion in this (or any song for that matter). Fun fact – If you have a heart rate monitor, you will see your heartbeats take off like a rocket in this song. Trust me, I checked.

Meenal Jain, Yashita Sharma, Yashika Sikka, Rani Kaur, Anita Gandharva, Meghna Mishra & Vaishnavi Mishra are heard in Kundali. Predictably, the song is high tempo with a good thump. Yet again, Shellee’s lyrics shine (Sunnn pyari simran, jaa ji le apna jeevan!). I didn’t dislike the song but I would not go looking for this one in the playlist.

I don’t want to jinx it but this year has been relatively better than last couple of years in terms of film music. Still, I was yet to come across a devilishly delicious album. Last week I came across one that was truly 5 star stuff yet it didn’t ‘bite’ enough. May be because that is a pretty straight forward love story and because Mannmarziyaan is ‘complicated’ and handled by Anurag Kahsyap, the search ended with Manmarziyaan. I am confident that the album will outlast the film for years to come.

Of course it is Anurag Kashyap‘s collaboration with Amit Trivedi. Of course they have delivered, big time. Still, I think the most critical factor of this blockbuster album is Shellee. His lyrics truly walk in beauty. Not once do you feel the lyrics are dumbed down so that junta doesn’t dismiss the album as being ‘too punjabi’. I just hope the film is worthy of the lyrics and music it has got. Actually, I don’t care about the film at all. I am just happy Anurag and Amit have got back to their winning ways and given us an album that we can listen to in our little cocoons and forget the world.

How’s the album?

Filmi Hindustaan jaise…Chhaye Gurdass maan jaise

Rohwit

*Of course I will use Bijlee Giregi in the playlist. Hashtag Girl power.

If you want music on your twitter timeline, you must follow Rohit. And if you are lucky enough, your mailbox will be flooded with some evergreen goodies. So when it came to a post on the most awaited album of the year, who better than him to do the job.

With Couples Retreat and some bits here and there, i thought we have lost Rahman. And lost him for Retreat? That’s worst. But it seems he is back and how. As one of the song goes, i wanna sing O nadaan parindey ghar aa ja..for him. Hope we get more. Read On…

In the times of ‘gone with the click’ I cannot remember the last time when the curiosity of a music score being released was even half as it was for the soundtrack of ‘Rockstar’. Guilt is my witness as I shamelessly searched all the ‘shady’ sites to catch hold of this album because right from the first promo we could all smell ‘Rahman on the rocks’ soundtrack. Does it live up to the hype? (Yes T-series, we are talking about the artificial hype you created…Boo you for that by the way!)

1. Phir se udd chala – A folkish chorus of girls humming a tune which you associate with hill stations normally, welcomes you to this song with Mohit Chauhan taking over almost instantly. A song set up with a nomadic feel and the usually accused of being ‘Instrument heavy’ AR Rahman gives us a flavor of how can he blend the music in the background. The first 2 minutes successfully create the anticipation of the song taking off and Mohit chauhan doesnt disappoint throughout. A very positive song.

2. Jo bhi main – Guitar…Yes ‘THAT’guitar starts off with Mohit chauhan throwing his voice melodiously. If you hear attentively you will find the chorus (which is brilliant throughout the album) is set in a very theatrical and live concert style. It doesn’t give you the feeling that a few back up vocals were called in the studio to ‘sing’ (like the ones in the soundtrack of Rock On). The music setting is mostly soft and almost all the ‘hysterics’ are done by a wonderful mix of the ‘crowd’ and Mohit chauhan. Meaning wise, a very deep song especially the part where lyricist has revealed that all of us are just mirrors….I just cannot get the beautiful and very theatrical crowd effect of the song. Two thumbs up!

 3. Kateya karoon – The punjabi folk sounds welcome you to a bubbly song mixed with good bass to begin with and then the characteristic (and almost continuous ‘hoye hoye’ chorus). Harshdeep Kaur has sung this song in a very ‘Jaspinder Narula’ style by occassionally making her voice heavy. A generally happy song. Personally speaking, It did not touch me at all because I felt that the song just couldn’t take off. The song iis just under 4 minutes so it just comes and goes.

4. Kun Faya Kun – AR Rahman starts and is accompanied by a very ‘dargah like’ harmonium and Javed ali joins. The surreal atmosphere of this composition is very infectious and you would definitely end up listening to it more than once. The ‘beautiful romance between ‘claps’ and a slow guitar is ‘oh so very Rahman’. Javed Ali in between calls out to the power that be. Mohit Chauhan joins the party and gives the song his soul. The part where Mohit is reciting words with a very faint harmonium is what makes this song very very special. The near jugalbandi feel towards the end of the song is surreal and hasn’t been heard for a long time. A very pure song. If you feel it reminds you of ‘Khwaja mere khwaja’ then the purpose of the song is accomplished because when you call out to ‘Maula’, it doesn’t matter if someone else has remembered ‘Maula’ before you. Again, the way the song ends is very very theatrical with AR Rahman leaving a haunting echo.

5. Sheher mein – Karthik and Mohit – Not a melodious earth shattering song but a funny song largely thanks to the overall sound of it. The ‘composer’ is very vocal about how should Mohit Chauhan sing this song to ensure that the song is made ‘caller tune’ and is a ‘hit in UP and Bihar’. Mohit by the way croons it well. This will be a treat to see in the film. Clearly the composer (in the film) wants Mohit chauhan to stick to the ‘hit formula’ and not ‘innovate’…but does Mohit listen? Melodiously NO!

6. Hawa Hawa – Acoordion, voilin and a catchy chorus start this retro feel song with somewhat Arabian undertone. A good song because of the way Mohit chauhan has sung it. Hear it attentively and you can almost feel Mohit chauhan dancing in the studio while singing this. The musical setting you might argue is very ‘Zubeida’ like but then hear it and you will hear words like ‘waat’ and ‘bhajiya’! Towards the end you do feel that may be the composer is trying a little too hard. Might grow when the film hits the theatres. (Mohit ‘Meows’ in this song by the way) : )

7. Aur Ho – Mohit and Alma ferovic – A sinking feeling. Thats what the beginning tells you and Mohit chauhan confirms it with very powerful lyrics. The song has a ‘satrangi rey’ (Dil Se) feeling. The instruments are usually repeating short notes to create an eerie feeling. Mohit chauhan at times fades and then comes back almost dreamy/drugged with Alma in the background crying out. A song perfect for theatre performances depicting pain. The song really ends on a high. beautifully.

8. Nadaan Parindey – AR Rahman and Mohit chauhan – Carol like start with electric guitar. The song starts with Rahman requesting one to come back. The song has a very pop feel to it (Ok Ok I will use ‘pop’ and ‘rock’ interchangeably). The words like ‘Har karam ke kapdey mailey hain’ means that the song is advocating peace. Mohit chauhan almost cries out the fact that you will come back home no matter which road you take. The ‘chun chun khaiyoo maas’ (lines from Kabir I guess) are a misfit in the song so I did not like them at all. You might.

9. Tum Ko -Kavita subramaniam – From the start of this song, I got a feeling that this song is an old Rahman song. I hate to mention this but this came across as the weakest song of the album. Although the use of sarangi and tabla is very ghazal like, the song didn’t touch me at all. May be it was because of the fact that the other songs didn’t have me believe that there could be a ghazal like composition woven in between.

10. Sadda Haq – Yes…HELLL YES! Orianthi starts the guitar and tells you quite clearly that this would be the song that will result in the demise of a lot of woofers and speakers all over the world. Kicking ass from the beginning Mohit recites some lines which are very ‘rebellion’ in nature and then the song reaches the HIGH when Mohit along with the chorus cries out ‘Sadddaaaa Haq’. Trust me, when someone sings from heart, it reaches your heart and this so called SCREAM does exactly that. Cannot recall a song in the near future which shakes you up (in a good way) as this one. I could write an entire post on this song but I will stop. Do check this song out even if you feel it is a rip off from here there or somewhere (because I know such tribe exists who cannot accept a good thing from INDIAN composer you see).

Special mention – Would have been too easy for Imtiaz ali and AR Rahman to have opted for Ranbir’s voice at the beginning of the song but thankfully they have used Mohit chauhan. Keeps the wholesome feel alive to the song.

11. Tum ho – Mohit and Suzanne – Romantica! Aha! Suzanne shines in the background (like always) and Mohit chauhan does a vocal waltz around that feeling of someone’s presence and how he has lost himself and gained love. The song lasts for about 5 mins or so but ends leaving you wanting for more. Strange isn’t it? The tune is more or less similar to ‘Tum Ko’ mentioned above. I am yet to make an opinion about the song. Any help on this would be much appreciated 🙂

12. Tango for Taj – Here is a tango piece which is very old piece and signature Rahman. A typical song which if treated well will be a visual treat. The constant piano and the claps are just too good too be in a piece which just lasts for about 3 minutes. Two thumbs up.

13. The Dichotomy of Fame – Shehnai! oh how i have missed you after ‘Swades’ song. After opening this piece beautifully the shehnai mixes well with the rest of the instruments, yet enjoys a ‘lead vocal’ status. Just too good a piece to miss.

14. The Meeting Place – Ranbir Kapoor says one sentence and vanishes…leaving you with much curiosity about the film. No, I won’t write it here. Go discover yourself. In a way, this piece might give away the ending of this film. Or may be not. Spoiler? Let’s see.

This album is undoubtedly a coming of age experience for Mohit Chauhan because he has shouted and romanced at many different levels. A special mention for the master lyricist Irshad Kamil. It’s almost taken for granted that a rock album will have a ‘woofer-phaadu’ music but the character of the songs come out when the lyrics are powerful and it is certainly the case here.

AR Rahman and Imtiaz Ali have gone to the press stating that they have invested a lot of time in this album and when you hear it, you feel they might be right!

Rating – 4/5

So which track are you playing in loop?

(PS – For the complete credit list of the songs, click here.)

(PS1 – For more posts by Rohwit, you can check his blog almostareview.wordpress.com )

Not sure why but I was expecting a Harmony kind of show. Remember that musical show on Sony/Set Max? But Coke Studio at MTv went to the other extreme and started without any warm-up. It opened with a jugalbandi pitching a bollywood/popular name with a folk (unknown) singer and followed the same pattern for the entire show.  And there was more jazz with every possible camera angle covered and fast cuts to show that they have it all. What i missed was thehraav. Leave the camera angles and cuts outside the music, let the singers do the jazz. Introduce the singers to us with solo numbers. Give that slow warm-up, let us absorb and then built the tempo with jugalbandi. At least that’s the pattern which every music or anything that’s musical, follows. Also, can we please have subtitles for the songs in other languages. Some of us are insane when it comes to lyrics.

Aha, that’s just the intro. This post is by Rohit, for whom music is lifeline and whose middle name these days is Coke Studio. I don’t know anyone who follows it with so much passion and enthusiasm. Don’t think even MTV was so excited about the show as Rohit was. Read on..

This is not a review. It can never be.

This is a chance to showcase an opinion. If you have one, please use the ‘comment’ box. Would love to hear it.

Being one who drives the car from a longer route because the favorite song hasn’t ended yet, it was a blessing when I came across Coke Studio Pakistan last year.

Any new sound from Pakistan has an extra oomph attached to it, and this is quite accentuated by the fact that our filmmakers have been using the Pakistani artists in our films a lot.

The first thing which struck me about the Coke Studio was its setting. A small but cozy arrangement of musicians with latest (And most of the times traditional) musical instruments weaved nicely in the presence of the vocal performer. The second was the lighting. Dull but not sad, and at times, the spotlight on the vocal lead. Looks like a concert, sounds like a studio, I thought to myself.

Then exploring began.

Most of the songs in Coke Studio Pakistan centered around Punjabi/Arabic/Urdu or a combination of these. That’s not entirely, is it? The artist set had a collective feel to it. You had folk singers from Balochistan and then you had new age ‘rockstars’ like Atif Aslam and Ali Zafar. Less popular guys with the popular ones did make a lot of impact (especiallly if you hear the likes of Season 1 rendition of Ali zafar’s allah hu along with Tufail Ahmed).

The obvious reaction was – Man! when are they coming to India? With the excessive incredible India overdose, I thought it would be amazing to see the various sounds we have in our beautiful country going at it with the popular guys to begin with.

Then I went to Coke Studio India sets.

Of course the expectations I had were at least 20 feet above the sky. There was a lot of positivity flowing in the air with artists trying variations to get it right…and the when they got it right, they tried to better it.

But why are they singing Bollywood numbers?

Especially when I heard Benny Dayal and Suzanne singing ‘kanchi rey kanchi rey’, I thought am I missing something? One reason that I could decipher was that they are changing the treatment of the song and giving the audience a familiar song to chew upon as they try to capture the mind space of the populists (because the other loyalists are already in place). The second and the final reason which came to my mind was that may be they will attempt to fuse a folk song and its ‘commercial’ counterpart in one composition and give us a hang of it.

This was proven right when the India version premiered with the folk and commercial composition interwoven in a beautiful ‘O mahi rey‘ by the folk singer (Mano) and Shaan (who should stop swaying on the mic with a smile. When you are ‘passionate’ you don’t get a smile…you just ‘be’)

Coke Studio at MTV

Of course there were hits and misses.

Am not sure why the lighting was going (at times) mad like it was a dance floor, and some camera movements (especially in the otherwise brilliant Tochi Raina and Magati song) had me confused.

Shankar mahadevan and Khagen Gogoi couldn’t touch me as yet. KK and Sabri brothers did strike a chord and that’s largely due to the fact that they were singing an old classic (chadhta suraj). Watching KK, I couldn’t help but feel that he is too ‘aware’ of his surroundings. Nope! not done. The only thing the coke studio in Pakistan singers/performers are aware is the microphone in front and NOTHING else.

Tochi, Kailash Kher, Chinnaponu, Bondu and Harshdeep Kaur managed to hit the right chord because none of these guys were aware of how their videos would come across when millions of fans would see it on youtube. Yes. That is passion. Hope we get to see that more in the forthcoming episodes…

Criticism

Coke Studio at MTV happened. Then loads of variations of the same happened tonight. People came out with loaded guns to shoot and tear it apart.

Let me try and organise my thoughts before ‘judging’ (Indian Idol isshtyle! by the way last I saw Abhijit sawant, he was doing comedy for a living. This is besides the point)

Criticism 1. Lot of bollywood influence – Hmm. This is true. I guess the endeavor is towards presenting us with the sound of our country from every nook and corner, and to mingle it with someone who is well known (bolly singers, I tell u!) and that’s not entirely bad. At least now we can bash the bolly singers better because they have their regional/folk contemporaries performing right next to them? The show opened with Shaan. But was it just Shaan? Who was singing along with him? Don’t google it. Also, when you are googling, ask yourself if you would have waited to see Coke Studio at MTV had there been 2 unknown singers going at it? (Remember the Pakistani Coke Studio had 2-3 familiar singers who were termed ‘besura‘ in India?)

Criticism 2 – Horrendous lighting, bad camera angels – Hmmm. This I will agree to. The exquisite performance by Tochi Raina (And Magathi, I guess) & Kailash Kher (with the tamil singer) was particularly spoiled by wayward camera movement and dinchak lighting.

Criticism 3 – A wanna be show – Hmmm. Aren’t we going on an overkill by expecting a little too much and benchmarking the first one hour episode against a show which is in it’s 3rd year? All of us spoiled Maggi when we first prepared, no? Anyway.

Criticism 4 – Couldn’t touch the soul – I guess it will continue to be this way for sometime. We are enamored by, and look forward to a lot of ‘Allah hu‘ like songs from Indian version from the first day. What is obviously clear is that Coke Studio at MTV will first premier all the ‘sounds’ from all parts of country (along with a popular voice) and then run a riot of ‘placing’ and ‘innovating’ within these genres more effectively.

It is a first step and I don’t say that Coke Studio at MTV is ‘Holier than thou’. We need to be a little patient and am sure that the Indian version will give us more reasons to smile than to crib about.

By the way my favorite from the night were Tochi Raina’s Mera yaar basenda mere wich and Harshdeep Kaur’s Hoo.

Wait a second! The above songs resemble (in theme and treatment) with the Coke Studio Pakistan version. Isn’t it?

May be that’s why….

(PS – And how do you explain this?)

Rohit blogs at http://almostareview.wordpress.com/