Posts Tagged ‘Mohit Chauhan’

Music Review – Jab Harry Met Sejal

Posted: July 28, 2017 by moifightclub in bollywood, cinema, music, Music Recco, Music review
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So the film releases on 4th August and there is still no clarity on how many songs are there, and when will they release, just like what happened with Aye Dil Hai Mushkil music last year. My review went live on the day the film released if I am right. One of the things (call it old world ridiculousness) that I personally believe is that the music review shouldn’t go online on the day the film releases. That is the reason I pushed the editors of fightclub to make this review go live. I have also been off all social media platforms so I may have missed the tweets or systematic leaking of info about songs. After I posted the review, a kind soul pointed out that there are few more songs in the album for sure. But nobody knows when it will be out. As and when, and if at all they release, I will update the post accordingly.

One of the things you have to do when you review film music is to review almost every film album, and when you summarize the year, you get a real picture of the music scene – which is presently a device for caller tunes, among other things. Singers are called hot and auto-tune equipment is probably going to be credited as a valid artist sooner than all of us expect. It has become a routine to hear the ‘once-popular’ songs remixed and served usually to us in disgusting and shrill avatar. Not every routine is good. This particular routine reminds me of the uncle who used to punch me on my back really hard. It was as if he liked to hear me yelp – every time he used to come home. Every. Time.

Since last 3 years that I have been reviewing music for BBC, I have never witnessed such scarcity of fresh, not-a-remix-of-an-old-song, foot tapping madcap craziness in Hindi film albums. Radha arrives and breaks this unfortunate spell. Shahid Mallaya and Sunidhi Chauhan – a delicious combination on their good days make it impossible for us to not break into a dance (in metro, washrooms, during meetings, at dinner table, on dining table, during a corporate/personal dinner/lunch, to name few of real life situations where all this has already happened with the writer). Irshad Kamil, when not under pressure to invite bulla to come to his house and give him a hug kass ke, kicks ass with his pen (what a site to imagine, right?). Say what you will about the man, Pritam doesn’t try to turn the sound of a film album based on the compulsions of his ‘unused tunes’ folder. You hear radha and you couldn’t care less who has composed the music, because you are busy with the song and when that happens, music director has already won. There are way too many high points in one song here. Be it the moment you hear both singers together go ‘main bani teri/tu bani meri radha’, or that magnificent change of scale towards the end, this is way too much crazy tapped in one song. A monsoon shower of a song. Hello Pritam! Mwaaah! (This is a chumma).

There is a remix of Radha by DJ Shilpi Sharma and it even has variation in lyrics and structure (like almost all the remixes in the  album). Oh and by the way, do hear the Arabic, Telugu and Tamil versions of this as well to know exactly why Sunidhi Chauhan is a Goddess. No One can match her. Period.

Beech beech mein has a uniform disco mood that doesn’t bother me much and that’s my only problem with an otherwise decent song. I might not forward the song when it comes on screen but I won’t go looking for it. May be because it is a bit too decently arranged and composed. On the other hand, the remix of this by Lady Bee is the one that does it for me. Loved it!

Safar is a song that has a ‘Gulzar-Vishal-sque-evening-song-meets-raabta-night-in-motel vibe’. A disheveled character, walking, with no aim, no destination, and one who is not particularly remorseful for that. In my books, this would be one of the best songs by Arijit ever. Pay attention to a ghazal like repeat of ‘Jaana-maaine…’ in between, a first for me in a film song. It seems like Pritam saves his best songs for Arijit. Yet again, Irshad Kamil shines using simple words but what a context! Beautiful!

Butterfly is a regular Punjabi song and for some reason, Nooran sisters sound too hurried and excessive-soulful-per-square-feet. I missed Sonu Nigam in the song, I don’t know why. Aaman Trikha, Dev Negi and Sunidhi Chauhan are good. I LOVE the double flute in the song. Is it a good song? May be. Will I listen to this again? Nope!

There is a charm in Hawayein that we all like in a film song, be it Arijit Singh who suddenly becomes very present in the song or those blessed aching words by Irshad Kamil.  There is a drama loving, bollywood romantic in everyone. Karan Johar and his team brought that part out in the open with channa mereya, and with Hawayein, Team Imtiaz makes that part of us weep inconsolably. I doubt if visuals can match the beautiful sadness of this lovely composition. The tune is almost instructive in what to expect – Bring on the slow motions and quietly reach out for those tissues people, all while humming – hawaayein hawaayein…Yes, we are all mad. Also, Arijit singh, never stop please. There is a film version of hawayeiṅ and it sounds more spaced out and intimate – arrangement wise but it gets in Arijit’s way. He is more devastating in the first version and that’s why  my heart beats for the previous version more rhythmically. 

Parinda – Pradeep Sran is a star to put it mildly and Pritam-Irshad Kamil have given a perfect platform to Sran where he could soar, and soar he does. I am still confused who is a winner in the song. Jeene na ab degi, mahi di laparawahi. That fantastic drum set and guitar combo is breathtaking. A song for broken hearts with tonnes of Pizzaz. The search version of this song has Tochi Raina crooning in his familiar zone effortlessly and may be that’s why he ticks the ‘heard before’ box but I would pick Pradeep Sran’s earthy voice over Tochi’s voice for this song. That said, Nikhil D’Souza’s portion is plain superb! 

Ghar – khali hai jo tere bina, main wo ghar hu tera ghoomey phire tu chaahe sab sheher, tu hai mera. Nikita gandhi gives this song so much pain, its infectious and will make you sad. It will mock the void in your soul and some of you would be amazed thinking how did the metaphor of your life get into a song? I love how Nikita is prominent yet always in background even when she is the only one singing. Imtiaz loves Mohit and we don’t dislike him either but here, the song belongs to Nikita. Hear her ‘intercept’ Mohit right before the song ends (at 3:12 mins), as if opening her hitherto unopened wounds, as if to make a point. It would take a long long time for to recover from this song. Art imitates life, did someone just say that?

Yaadoṅ meiṅ – Jonita Gandhi is powerful and arrests your attention with her range barely seconds into the song. Mohammed  irfan attempts a pitch which is clearly new for him and even though I feel he is the most undervalued singer we have today, he seems more at ease on low notes which isn’t a crime. This is an intense song that gets ‘intensity’ right, perhaps that’s why I wont play it again. Mad props to Pritam for structuring the song the way he has. 

Raula – Pagḍi ka rang bhi pink ho gaya. Diljit Dosanjh and Neeti mohan go through some interesting lyrics without much to take home to. The tune lacks sincerity and verve that you expect from an Imtiaz Ali brand punjabi song. It makes AṚ Rahman’s embarrassing Punjabi effort in highway sound like gold and that’s just awful. 

Jee ve Sohaneya – Nooran sisters scare me off late. You can almost imagine high notes and uncalled for aggression in simple songs. Thankfully, barring some mid antra alaaps, Nooran sisters don’t bother your senses much by clouding lyrics with excessive vocal circus. A song that aimed for Lambi Judai pathos, but doesn’t get close enough. Still, a good effort.

Phurr – Cringeworthy lyrics sung by a somewhat studio-sque Mohit Chauhan aside, the vibe of phurr is pretty dubstep-ey and breezy. The song is clearly a way to place the song in the minds of Amreekan/bidesi junta so that they can throng theatres. It ends too soon and to me, it sounds more like a strategic afterthought than anything else. There is a lot of forced pizaaaz with Bollywood tukbandi which doesn’t work whenever you hear Mohit’s part.  Being touted as the first song in hindi cinema to be put behind a paywall, I would buy the rest of the album twice than buying this once,  but then, we did buy the entire album all songs as ‘singles’ so that’s that! The film version sounds much better than the music video version because Tushar Joshi gets a larger play at things and honestly does a kickass job at it. 

In spite of having few ‘normal’ songs in Raula, jee ve sohneya, butterfly and beech beech mein, the album is a cracker because of the goodness of all the other songs including remixes! When 99% of film remixes these days are just ‘play-the-original-track-with-triple-jhankar-beats-and-add-few-scratches’, there is a clear effort in remixes of JHMS, and a big wolf whistle to Lady Bee and DJ Shilpi for that. Go ladies! I still cannot believe they took so MUCH time to release the songs and as I type this, album is still not available on iTunes. 

There is never a dull moment and the best part is it isn’t overwhelming either. You can stomp your feet and clap your hands in all the songs, with varied pace and trust me, it won’t feel awkward. Albums like JHMS are a ray of hope that all is not lost when a typical commercial film decides to include music for melody and not just for caller tunes and shitty tribute videos. Irshad Kamil, Pritam and the entire team is on fire, and this man Arijit Singh is raising the bar, one good song at a time. Dear Arijit, you are allowed a million ‘mohabbat barsa dena‘ for songs like Safar and Hawayeiṅ. 

In the world of mainstream Hindi films of 2017 so far, JHMS has a sound and rhythm that is like a distinctive click of a top class stiletto on a eerily quiet subway. Imtiaz Ali knows what he is doing with music, and there cannot be a more solid testimonial to this fact than this wonderful, wonderful album. If only this blogpost could scream how much I love this album! 

My picks – Hawayeiṅ, hawayeiṅ, safar, radha, ghar, parinda, all remixes and repeat!

– Rohwit

“Tamasha” Music – Tu koi aur hai?

Posted: October 17, 2015 by moifightclub in bollywood, Music review, reviews
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Tamasha

Matargashti is a song that is filled with fantastic sounds, although it sounds over the top a lot of times (especially when Mohit tries hard to reduce A R Rahman’s burden of polishing the song – in high notes), but the simple notes are Mr. Chauhan’s forte in the studio, and he rules it. Somehow I felt there was too much happening in the song and nothing new hit me.

Mika is always hungry, and he chews on words making it impossible for most of us to understand what he is trying to sing. Heer to badi sad hai is no exception. Rahman has composed this with a lot of love, and it shows. Irshad Kamil can be quite cheeky and in this song, it works like magic! Not saying Mika didn’t suit the song, but this song would have been so so good had Sonu Nigam, Nakash or Javed Ali would have loaned their voice.

Alka Yagnik sounds unlike herself when Tum saath ho begins, and you can’t help but think it is a slow tempo ‘Maahi ve’ beat that is embellishing the song, which is easily the best penned song of the album. Making Arijit sing in two different pitches (or tracks or whatever it is called) and keeping both in the song is a shot of genius because it doesn’t allow the Arijit fatigue to creep up. Good to have Alka Yagnik back. Sadhna Sargam in DLKH and Alka here, this is a good year for us 90s kids!

Wat wat wat wat – Shashwat Singh (not ‘Sashwat’ as iTunes would have us believe) kicks it, and my God, does he do a great job doing it! A somewhat street treatment to a Bhojpuri song filled with moans and exotic ‘la la’ at strategic places, this song is easily the ear-worm of the album, and don’t bother liking it because once you hear it, you will not be able to ‘un-play’ it in your head. I am sure it was a situational demand to do so but Arijit drags the song down and is no match for Shashwat. There is a vengeance mix of the song which is groovy and electric and has no Arijit Singh. Even ARR knew it would be great to let Shashwat have a go at it, alone. It is like ‘Wanna mash up’ in Bhojpuri and I LOVED Wanna mash up! Not to forget the excellent lyrics of the song – udat chidiya ke haldi ragad ke lagawat…WTF! Superb imagination!

Chali kahani – appears to be a stage song but it cannot hide under this fact for being awfully low on melody and cacophonous at places. We have enough examples of great stage songs and that is why this song is quite a put off especially coming from ARR. Sukhwinder shines but Haripriya and Haricharan have been given the worst lines (and tune) of the album so they made peace with it. The song  wanted to be an ‘Aao na’, skirted ‘sheher’ and ‘ishq bina’ but failed miserably at achieving anything even in between, and what is with that ‘Subhash-Ghai’s-sque-attempt-at-deafening-in-your-face-grand sound’ ? No, No, No!

Safarnama – Lucky Ali has always been a king of flat tunes which do not challenge the singer to go high. Nothing wrong with that. People have their niches. In this song, he tries again to step out of his comfort zone and am sure it needed a lot of ‘studio work’ to make it ‘better’. The song has a nice vibe to it mostly when he is humming or when that beautiful music arrangement is taking its toll without him singing. In other parts, the song is a torture.

Parade De La Bastille – is a magnificent piece which has shades of matargashti but with no vocal parts in it to spoil the song for you. The metal flute and other exotic instruments along with strings and accordion sit comfortably and request your senses to rest yourself in their lap, and perhaps sleep. I absolutely loved the way the tune ends. Hi A.R. Rahman!

Tu Koi aur hai – starts with the all too familiar ARR style of luring your senses to give up everything and pay attention to what the Mozart from madras is whispering in your ears. Sadly, the song loses itself quite quickly in the murky overalls of a bad tune and ordinary words. This is the longest song of the album, and what can be worse than the fact that you literally wait for the song to end.

I am quite sure everyone will find their reason to like the album because they have to, just like some of them argue and tell me how great the music of ‘lekar hum deewana dil’ was. To me, the album comes across as being too self aware having great sense of occasion but terribly low on melody. There is too much indulgence, sometimes, in between, and at times, towards the end of songs. In a bid to keep the sound theatrical, I guess, the background music got merged into songs…which weighs you down and doesn’t let you soak into the music.

The album, from ARR standards is underwhelming and I think this thing toh  utter sad hai.

– Rohwit

VOTD : The Dewarists – Indian Ocean meets Mohit Chauhan

Posted: November 1, 2011 by moifightclub in music, News, video, VOTD
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First came the desi version of Coke Studio, then MTV Unplugged and now The Dewarists. In a country where bollywood music has almost killed every other kind of sound in the mainstream space, it’s a refreshing change to see so much good television involving non-bollywood music.

Have been reading all kinds of reactions to all the three shows. Any kind of criticism is good as long as you are honest. But the point is, on indian television, for such a long time we had almost nothing to watch. Now when people are trying to create something, explore that tiny space for us, and that’s not really bad tv, let’s be little more encouraging, appreciate the efforts, and then bring out the knives. If it was completely worthless, then it’s fine to kill it. But let’s watch it and spread the good word first.

Here’s the third episode of The Dewarists, where Indian Ocean meets Mohit Chauhan to create Maya. Had no clue that Indian Ocean has a new address now. I used to like that old place – messy, old-world charm, the wooden chair and Beware Dogs. This is Indian Ocean’s first composition with the new team. Click the play button, hear their story, and let the music play.

(PS – While watching this episode, I was thinking it would be great if then can feature Agnee here. The band deserves more space, more visibility and more audience. And then i saw next week’s teaser. Those of you who are behind the show, time to pat your back. Great job with the show. And give us more)

And here’s the album of the year – Rockstar

Posted: October 1, 2011 by moifightclub in bollywood, cinema, music, reviews
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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 )

SOTD : Rockstar’s Kun Faaya Kun

Posted: September 21, 2011 by moifightclub in bollywood, film, first look, music, News, songs & videos, SOTD
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If I ever convert to Islam, put the blame on A R Rahman. Aha, that’s rhyme too. Piya Haji Ali, Maula maula and Khwaja mere khwaja – can play these three songs in non-stop loop.  And Rahman is going in similar territory again, with a new track in Imtiaz Ali’ Rockstar – Kun faaya kun.

Click on the play button and enjoy! It’s sung by Rahman, Mohit Chauhan and Javed Ali.

And here’s the making of the song/video…

Tip : DaMovieManiac

29 musical notes of 2009 – the good, the bad and the fuglies!

Posted: December 27, 2009 by moifightclub in bollywood, cinema, News, songs & videos, Thoughts
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Its that time of the year when we love making those lists. The best, the worst and the top ten. We sat down with some of our favourite music in non-stop loop and made our list of the good, the bad and fuglies. Whatever caught our attention, from every possible extreme. 

1. Ripley’s Believe It Or Not – We had Himesh Reshammiya in non-stop loop! He had Rekha Bhardwaj for company, but this Himesh is all new. Check it out, if you still havent!

2. Cuss Word Converter – Give a cuss word to him and it will never be the same again. The reason why Gul-still-Czar! Add Vishal’s vocals and you have the best title song of the year! Meri aarzoo kamini, mere khwab bhi kaminey, ek dil se dosti thi, yeh huzoor bhi kaminey!

3. Whats In  a Name Song – Earlier they had no names. It was kabootar ja ja ja and atriya pe lotan kabutar re! Rahman and Prasoon Joshi made sure that we all googled Masakalli. And you are still wondering whats in a name, that too of a dove!

4. Religion Converter Song – It seems that A R Rahman is hell bent on making sure that we go for religion conversion soon. First it was Piya haaji ali, then Khwaja mere khwaja and this year he gave us Arziyaan. If I ever convert, blame it on Rahman, only Rahman. For cheap thrills, we still try to count the number of times “maula” is there in the song. Whats your count ?

5. Killer One Song  – Shankar Ehsaan Loy had the complete album, Amit Trivedi killed them with just ek gaana called ek taara!

6. New Genrae – Piyush Mishra invented a new genrae of mujra, polticial mujra!  Jaise door desh ke tower me ghus jaye re  aeroplane. Gulaal. Now our only worry is if he can be denied USA visa for putting 9/11 in a mujra. 

7. Legends Should Retire – Dont attack us! But if this is what we get, legends should remain as legends. Illayaraja’s music did little for Cheeni Kum and it was the same for Paa. Except the theme tune nothing worked in Paa. The udi mudi judi or whatever it is, doesnt stay even for few seconds! or May be legends should never work with their fanboys!

8. Song ONLY for the Big Screen – It proved us wrong. Dhan tedan! Its only for the big screen, in a dark theatre. We saw it once. We went again. Watching it on tv, we were wondering why has Vishal shot a song inside a nightclub in such unimaginative way. We saw it on the big screen and ate all our words, twice!

9. Musical Aag of The Year – Is Ashutosh Gowariker’s music sense complete zero ? Was it all Rahman ? Like his film, the music CD was quite a fat one packed with 13 forgettable songs! And shot in similar way! Is this the same man who shot yeh jo desh hai tera & khwaja mere khwaja ?

10. Music That Was Hit in Fantasyland – The album was hit in twittosphere but shit otherwise. Aladin. The cast and the crew went on overdrive with their tweets but as Time Out’s Nandini Ramnathan wrote, it was all gone in sixty seconds!

11. Vishal Dadlani must be the only rock-star who writes nursery rhymes. Have you heard the “hey baby, you may be” whatever shit it is! But he can put his vocals to great use. Kurbaan hua had our Rocky in full throttle!

12. No Pun Intended Song – Pocket me rocket hai, pocket me. As a friend said, it sounds like a great jingle for sex toys.

13. Cheap-est Thrill-est Song – Only for Adults! Bold and bitchy! Dev D. Courtesy lyricist Amitabh Bhattacharya. Pyaar, emosanal atyachaar, bitch and (w)hooooore – all at one go!

14.  Best Installation Art in a song – Chandni chowk came close to New York, Gau Mata was near Gucci and we had our eyes wide open because Dil gira daftan.

15. Mohit Chauhan can do a masakalli and melancholy with equal ease! Can we now spare him! Why only rona dhona senti menti songs?

16. Best of 2009 – Bunch of kids got together in an “Audio Garage” and delivered the album of the year and the love anthem of our generation. Dev D. Music director, lyricist, singers – all new. Amit Trivedi, Amitabh Bhattacharya and the gang! ( If Rahman and Bhardwaj dont deliver, who will. So, would not put them here). 

17. A R Rahman gave us a musical note for boo boo. Its called Buuloooo.

18.  Best Closing Notes of the Year – Check out the last 2 mins of Rehna tu! Pure bliss. Can someone enlighten us what instrument it is. 

19. Underrated Songs of the Year – Pankho ko from Rocket Singh – Salesman Of The Year and Delhi Destiny from 99. Everything else gets so much overplay that the joy of discovering a good song is almost dead. Jaideep delivers one of the best lines of the year…..uljhe nahi to kaise suljhoge….bikhre nahi to kaise nikhroge.

20. Imtiaz Ali is going for formula in his music too. One punjabi bhangra for closing credit, one peppy number with english words, one sad song in Mohit or Raahat’s voice and blah blah! Partner in crime – Pritam.

21. Weirdest Words of the Year – Bhangra bistar! Courtesy – Jaideep Sahni.

22. Wannabe BPL Rock Album of the Year – London Dreams.

23. Worst Musical Import of the Year – Kylie Minogue with chiggy wiggie! whatever that means.

24. Worst Musical Export of the Year – Rahman with Couples Retreat. Why, O Dear Lord, why ?

25. Self-Flagellation Song of the Year – Bebo main bebo!

26. Musical Sucess Party of the Year – Dulha Mil Gaya! Yes, they threw a party to celebrate its musical success. Who is listening ?

27. Jingles of the Year – dil titli…dil titli….kabhi yaadon ka…kabhi sapno ka and Yeh kis pyaari hifazat me ho befikri ki haalat hai..yaara o yaara. First one is by Swanand Kirkire and second by Gulzar.

28.  Few things that never change – Atif still singing out of tune, here, there, everywhere. But its still working…tu jaane na ( Ajab Prem ki Ghajab Kahani )…nobody knows why and how! Confession – we also love it!

29. Cinematic Homage Song of the Year – Akira Kurosawa from Chintuji. Its a riot…Kapola kapola! Listen carefully and see how many filmmakers you can spot!

Coming up next is filmy fuglies of the year!

PS. BPL – Below the Poverty Line.

New song promos – Kaminey & Love Aaj Kal

Posted: July 12, 2009 by moifightclub in bollywood, first look, News, songs & videos
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The week belongs to Mohit Chauhan. Though he sounds almost the same and sings in similar manner in almost every other film unless Rahman gets him to do Masakalli, but a Mohit Chauhan song has become a must do in every romantic film. 

Two new films, two song promos and both the songs are of Mohit Chauhan. Kaminey’s Pehli baar mohabbat ki hai and Love Aaj Kal’s Yeh dooriyan. Check out. ( Pehli baar video is bit dark. something wrong)

If the Love Aaj Kal song video doesn’t play, click here for the youtube page link.