Posts Tagged ‘Shankar Ehsaan Loy’

Mukkabaaz-2018-Full-Movie-Free-Download-720p

 

In the last 5 years, 2018 was easily the best when it came to film music. It was also the year in which the drip irrigation music release technique (‘release one song when you want and let them wait for the album’) was at its peak(?). At the time this post is getting baked, albums for the music release of Simmba (to be released on 28 December) and Zero (To be released in 3 days) are yet to hit the music listeners. So Boo you makers! for being so insecure and under-confident about music. I hope some sense penetrates your nonsensical surround sound system you cover yourself with, filled with Yes-men and favour seekers (who can also make a playlist for you, I hear). I have so much to say but I guess we should just get down to the business end now.

We have picked  one song per album, a rule I wish I could go around but am thankful it exists. Do suggest your favourites which aren’t on the list for I am sure I have missed some gems. Also, there is a separate Dinchak playlist that would be tagged along with the non film music post.

If you are in no mood to read, just scroll down to play the embedded playlist.

If you just want to have a quick look at the list, here you go.

No. Song Singer Lyrics Music
1 Adhura Main Deepak Thakur Vineet Kumar Singh Vineet Kumar Singh
2 Aaj Se teri Arijit Singh Kausar Munir Amit Trivedi
3 Binte Dil Arijit Singh A M Turaz Sanjay Leela Bhansali
4 Lae Dooba Sunidhi Chauhan Manoj Muntashir Rochak Kohli
5 Lo Safar Shuru Jubin Nautiyal Sayeed Quadri Mithoon
6
Shraddha Mishra
Faiz Ahmed Faiz
Sandesh Shandilya
Papon
7 Ae Watan Arijit Singh Gulzar Shankar ehsaan loy
8 ishq di baajiyan Diljit Dosanjh Gulzar Shankar ehsaan loy
9 Saansein Prateek Kuhad Prateek Kuhad Prateek Kuhad
10 Tera fitoor Arijit Singh Kumaar Himesh Reshammiya
11
Jonita Gandhi
Irshad Kamil
Niladri Kumar
Arijit Singh
12
Ammy Virk
Shellee
Amit Trivedi
Shahid Mallaya
13 Har Har Gange Arijit Singh Siddharth-Garima Sachet-Parampara
14 Naina Banjare Arijit Singh Gulzar Vishal Bhardwaj
15 Wo Ladki Arijit Singh Jaideep Sahni Amit Trivedi
16 Mere naam tu Abhay Jodhpurkar Irshad Kamil Ajay Atul

 

Adhura main – Being a fan of Deepak’s Harmonium accompanied voice since humnee ke chhori ke, it was easy to love this earthy song with emotions spilling all over the senses. Vineet, the composer and lyricist, has summarised the entire struggle in this fabulous song. You cannot listen to this song on repeat, that is how devastating it is.

Aaj se teri – Endearing, melodious, rich, simple and filled with love.

Binte dil – Though I am madly in love with Nainowaale ne and Ghoomar, I just couldn’t get beyond this mad mad song that has everything and a little more. Of course the song is composed and written very well, but for me, the refreshing whiff is Arijit‘s effortless singing. Those who tell you they loved Ranveer Singh because of ‘khali bali’, are actually thinking of this song. Yep.

Lae dooba – A song filled with Shiv Kumar Batalvi‘s mainu tera shabaab lae baitha vibe, Lae dooba gave us Sunidhi Chauhan the way we are almost forgetting she can touch your soul.

Lo safar shuru ho gaya – When Mithoon composes happy romantic songs without the Aashiqui-sque familiarity, such pleasant songs emerge and boy what a delight they are!

Raat yun dil mein – The first duet I liked this year. I dislike romantic songs but when Faiz is done right, it feels…Jaise beemar ko…bewajah qaraar aaye..The song cures you of ailments you didn’t know you had.

Ae watan  – A song in 2018 that celebrates ‘desh prem‘ subtly, a rare event these days. Pahuchu mein jahan bhi meri buniyaad rahe tu. Though towards the end of the song, I felt like I am listening to the end notes of ‘Noor e khuda’, it only made me love the song more.

Ishq di baajiyan – Though I didn’t enjoy the backup vocalists going a bit too hard on ‘door na jaa’, S.E.L.’s masterstroke of using Shankar Mahadevan‘s voice smartly did me in. Though it is the least ‘repeated’ song this year amongst all here, how can you not fall for Diljit Dosanjh’s charming voice?

Saansein – Main apne hee mann ka hausla hu, Hai soya jahan par mein jaga hu..Main peeli seher ka nasha hu…Main madhosh tha..ab main yahan hu. Prateek Kuhad, you beauty!

Tera fitoor – There is always time for an old fashioned, non autotuned fantastically composed romantic song from Himesh Reshamaiyya isn’t it? I don’t care how the video is, I love this song a bit too much for my own good I guess. Arijit Singh, are you human?

Ahista Ahista – Laila Majnu, the album delighted me in ways that A.R. Rahman’s albums used to. There is too much to thank this album for and I choose Ahista Ahista for the playlist. Irshad Kamil has penned easily the best film song of the year here. Doori ye kam hee na ho, main neendo mein bhi chal raha. Truly a song worth dying for.

Daryaa Mannmarziyaan was no Dev D, still it came dangerously close and broke everything that came its way this year. Both versions of this song are super good, still I feel the rush much more thanks to Ammy Virk‘s version. I could write pages about the way Ammy makes me soar. Most importantly, don’t forget – Shellee.

Har har gange – The most intense yet calm song of the year. Off late, We seem to hardly get spirituality right in Hindi films, let alone music. This is a beautiful exception. Tera karm hee hai jo sang tere hee jaaye. No intellectualising, just a simple message, delivered simply. Arijit singh, I love you.

Naina Banjare – I was so tempted to put the title song here, still this mad song took the better of me. Giri re giri babua, beech bajaare. Did you notice Arijit call Naina as Nahena…?

Wo ladki – The overarching tune, magnificent composition, irresistible singing and what atmosphere! Amit Trivedi, the dominator of the year!

Mere Naam tu – The only reason I have not put any song of Dhadak is because even the title song (which wasn’t as embarrassing as other ‘dubbed’ songs) had the stamp of Ajay Atul and you could predict the pace and sound of the song. This one however, has a ‘Jaadu teri nazar’ madness and that with the confident Abhay Jodhpurkar on the microphone is just too difficult to put away. Lastly and most importantly, Irshad Kamil. Yep.

P.S. – I feel compelled to mention a few more things here.

Genres that Hindi film music touched this year which I absolutely loved:

Friendship – Tera yaar hu main from Sonu ke Titu ki Sweety – If that horrible qawwali detour wouldn’t have existed in the song, this would have made it on the list above. Still, a good addition to the genre.

Sensuous done right –  Mujhe Chaand pe le chalo – A.R. Rahman misses a lot and hits far too few off late. Nikita Gandhi and Irshad Kamil ensured this one is a hit and boy does it stay hit! (With No-hea Kakkar-isation of every song these days, it is difficult to extract real emotions from the barrage of autotune-ness these days…and this is why, Mujhe chaand pe le chalo feels even more delicious).

Inquilaab – Azaad Kar – The film had other gems as well but somehow it was reassuring to hear a wistful Swanand Kirkire pay tribute to times we are living in.

Me, as I am – Tere jaisa tu hai – I love the song but for occasional shrillness. What I absolutely love are the opening lines. Hear them again if you cannot recall them.

Kashmir – Katyo Chukho – It would have been unfair to ‘trap’ this song in the main list above. This is the best song I have heard this year and this is a song for which I would always be thankful to the makers of Laila Majnu. They gave me Alif. A song to live by and die to. It is what Channa vey wanted to and what Agar tum saath ho was.

Infinite Joy (a.k.a. Bitiya rani) – I cried all 3 times that I saw the song on screen. Yep, this one. What brilliant work by Sunny Bawra-Inder Bawra, Kumaar and of course Shubha Mudgal.

2018 – One of the most difficult years to make this playlist and am glad it was so.

 

I heard about the tale of Saheba and Mirza for the first time, in my favorite song from Jab Tak Hai Haan – Heer. Guess who wrote that. Now, If the first name they splash on the screen is Gulzar’s, you know the makers are serious about their sh*t. The music of Mirzya is out and while I try hard to keep myself equanimous, pardon me if my feelings jump out of the keyboard and infect you with some enthusiasm and drunken stupor. Read on!

Mirzya

The album contains 15 songs and some are in the form of less than a minute of powerful recitations – composed and voiced by Daler Mehndi. What is clearly a storytelling technique, in these tracks, not only you understand the character, you get a feel of particular situations as well. Take the Yeh wadiyan for example,  the track is screaming ‘flashback flashback!’ But even then you would want to play it again. We get these lines in the title song as well.  In Mirza se darre and Mera mirza sher, the way Daler Mehndi soars, you will have goosebumps, the fearlessness of youth in two lines. What attitude! In Lahoo luhaan – Daler slightly errs in the beginning but paints the gory detail about a bloody fight that went on till the fighter started losing his ‘havaas’.  Even if Punjabi is not your language, fear not – it will make you soar nevertheless because Mehndi does NOT falter in Puchh na pende or Phaa paye nain fact, in the latter, hear how resigned is Daler when he says – Tu phir na jammi, Mirjiya. You feel the pain, you lose hope along with the singer. He has already won. Now, on to the songs of the album..

  • Mirzya – Sain Zahoor does what Sain Zahoor does. He sweeps you off your feet and S.E.L. bombard you with perhaps the most vibrant track of the album. There is a goosebumps gooseFOREST inducing Akhtar Chanal Zahiri as well and if this wasn’t enough, we get the ever so dependable Nooran Sisters and Daler mehndi jazzing things up and all this under 4 minutes. I kid you not, I couldn’t go beyond this track for a while. A bombastic start to the album!
  • Teen Gawaah Hain – Notwithstanding the earthy beginning of the song where we hear Sain Zahoor calling out, the tune of this love ballad reminded me of ‘mere mann ye bata de tu’ from KANK. Having said that, it’s what young love sounds like. A playful guitar stealing a glance while the constant pace eases your mind, making everything dreamy and slow. In antra, hear how Siddhartha leaves the last word of the first line, making you feel his passion. Listen to his ‘khol’ in the line ‘aasman khol ke dekhne do’ and you will know what I mean. A pretty pretty song! (I kept thinking the back up vocalists will break into ‘love will find a way’)
  • Chakora – God only knows why I wanted to talk to my dealer the moment this song started. It is comforting to see Bollywood waking up to Akhtar Chanal Zahiri, and not only that, using him well! Add some trippy beats to his recital or perhaps overlap him while someone is singing and you would probably want to make love to a joint near you. Mame Khan and Suchismita Das lend the ‘bollywood folk’ feel to the tune in their own cute style. Stunning song!
  • Aave re hichki – The opening 37 odd seconds of Esraj (or sarangi), is a class act by S.E.L., not to say that the song isn’t good otherwise. The song has fuses a bit of dervish-like sound on a simple free flowing tune. A minor grouse – You don’t go ‘hitchhh’ when you get ‘hichki’, you go ‘hikkk’. Clearly, Gulzar sahab wasn’t present in the recording.
  • Hota hai – I am sure it is just me but a ‘tun tuna’ start from Nooran Sisters put me off…and then I heard Sain Zahoor and Akhtar Chanal Zahiri (ACZ) together and it all made sense. The fantastic beat pattern of the song that stops to accommodate Sarangi and meets ACZ’s solid voice is to be heard to be believed. In addition to these powerhouses, I absolutely loved Shankar Mahadevan’s voice towards the end. For the uninitiated, please do check out Sain Zahoor and Akhtar Chanal Zahiri independently as well. They have brought studios down across the border. The brute force in the song makes you want to break the law, do the impossible and be weirdly proud of it all. A fantastic song by all means and well, I changed my mind. The ‘tun tuna’ is not all that bad afteral…..TRAAA!
  • Ek nadi thee – Thank God someone gave K. Mohan a tune that is not very ‘K Mohan’ if you know what I mean. All his songs have been sounding similar to me lately. This one is a glorious exception. Intimate claps and a bonfire like improv singing (of course with sexy strings) has made this quite a different song from the usual ‘unplugged and reprise’ like songs we come across.
  • Doli re doli – Who in their right mind would do a babul song with a slow jazz like treatment? S.E.L. did it here and boy, does it sound delicious. It has me conflicted whether I am supposed to be sad or happy, and I love the song for that. Clearly an example of what S.E.L. can achieve if the makers are willing to let them be.
  • Kaaga – It is a fine feeling when you see the artists you have been rooting for since long, go ‘mainstream’. I shrieked like a teenager when I heard Sain Zahoor and Akhtar Chanal Zahiri and here in kaaga, we hear the flawless Kaushiki Chakraborty with breathtaking strings and brass! The sound towards the end of the track can be so easily mistaken for a ‘superhero climax theme’. That said, I wish there is a longer version of this song hiding somewhere because it would be soul satisfying, just like this one is.
  • Mirziya theme – I might not reach out to the theme to play it again and again but I blame songs of the album for that. You are too consumed by the time you reach this track. It fills the album well, is no ‘Udaan theme’ by any measure, but is still good. Sarangi and flute. Enough said.

Most of the film music albums this year have been remarkably impervious to the flow of creativity and freshness. If this album makes you want to stop everyone, and make them listen to this, don’t worry, You are not acting strange. Mirzya’s music is *the* real thing and not an oddity in template infested bollywood that requires quotes around it as if it was a strange thing. I don’t know how the film would be, I don’t care how the film would be. I am just celebrating what would easily be the film music album of the year. This is what fundamentally good things sound like. Hear Hear!!

I wish there was an option to buy an album twice on iTunes!

Rohwit

(PS – To give credit where it’s due, I absolutely love T-series for including the artist credits in the jukebox link. You can access it here)

If you don’t know it by now, I am the mendicant who is always on a lookout for music and I must say, thanks to twitter, I have had great success in getting some great music over the years. A lot of it happens to be non-hindi as well. Katyar Kalijat Ghusali is different. I was told about this film by a co-worker who plays super tabla. Going to work has finally made sense!

Getting down to the music of the film, Divya kumar, Arshad Mahmud, Arijit singh and back up vocals participate in Yaar Illahi which is a qawwali. You cannot change how a qawwali is done but even then thanks to the first-rate lyrics by Sameer samant and solid tonal treatment, the qawwali doesn’t weigh you down. The opening chants in Sur Niragas ho are so well done that you would want to give out a grand salute to the backup vocalists. A layered marathi devotional song, this one has Shankar Mahadevan and Anandi Joshi at the top of their game. The super super super talented Rahul Deshpande teams up with a fluid Sarangi to arrest our senses in Dil ki tapish. Right from the opening alaap, the way Sarangi accompanies Rahul is heavenly. I would surely like to know who has played the Sarangi. ‘Spectacular’ is the word for Mahesh kale’s Aruni Kirani and the Sitar in the song has a character of its own in the song along with a very ‘by the beat’ Tabla. It transported me to a big hall where I was sitting in a corner marvelling at an artist who had the entire attendance spellbound. Shankar Ehsan Loy have so much left in them, I wonder why they haven’t been giving such a durable treatment to their hindi projects off late?

In Bhola Bhandari, Arijit Singh has given us a song that sounds familiar and earthy, setting wise. Arijit is real and not trying too hard and that is always good. Composed by Late Pt. Jitendra Abhisheki, Shankar mahadevan’s Din Gele sounds vintage thanks to the Long play disc ‘bite’ sound in the song. Ghei chhand, sung neatly and with a lot of character by Shankar mahadevan and Ghei Chhand Makarand sung breezily by Rahul Deshpande are also composed by Late Pt. Jitendra Abhisheki. Both these songs are a treat to the senses. The richly ornamented theme is simple and while the humming was a bit contemporary for me (almost AR Rahman-sque), the theme is soothing and leaves  you with a sense of calm amidst the echoes of friendly instruments in a way only Indian classical music can. In what is Pandit ji’s old and extremely popular composition, you will realise the beauty of moderate instruments and pakki gayaki. I am talking about ‘Lagi kalejwa kataar’ in Pt. Jitendra Abhisheki’s velvet voice. It was a task to move to other songs, trust me on that.

We know how infinitely gifted Shankar Mahadevan is. In Man Mandira, Shankar Mahadevan makes it sound easy to the point of deception. Deception because you can be easily tricked into singing along with him only to realise your limitations. Structure wise, I just loved the song. That said, Shivam Mahadevan’s Man Mandira will give you goosebumps right from the first second of the song. The innocent voice (which is not a note off, mind you) dazzles the senses to put it mildly. The slight harkat in his Mandiraaa at about 1:53 mins in the song is assuring that we have yet another voice that knows pakki gayaki. What a relief!

Muralidhar shyam sung by Shankar Mahadevan is a short piece but quite addictive and the ‘bite’ sound makes you long for it more. Rahul Deshpande’s Sur se saji is clean, grand and quite nicely penned by Sameer Samant and Prakash Kapadia. Surat Piya ki is yet again a piece that is grand in character and a riot melody wise. The variations presented by Rahul Deshpande & Mahesh kale will give you a high no LSD can ever provide, trust me on that. Tarana is short yet quite effective because of the gifted backup vocalists. Tojonidhi Lohagol by Shankar Mahadevan opens with a signature alaap by Shankar Mahadevan. The composition and singing is top class especially the short appearances by Sitar.

An out and out winner of an album with not a single second that is wasted on silly theatrics to sound grand. Don’t worry if you don’t understand the language, the excellent music setting of the album will not let you notice the linguistic limitations. I still cannot believe that such a rich album has come out in 2015. I cannot write enough words of appreciation for the makers for showcasing to us Pandit Jitendra Abhisheki. Somehow, all the artists who have built melodious legacies remain popular within their niche set of followers. I hope at least one listener who wasn’t aware of Pt. Jitendra Abhisheki earlier digs deeper and uncovers the gems he has left for all of us, and then passes them along to one more listener and so on. Nothing can be more exciting than to see our legendary artists being showcased again and again and that too for a wider audience. No praise can be enough for the entire band of technicians who have made this album possible. Sameer Samant, Mangesh Kangane, Mandar Cholkar, Shankar-Ehsan-Loy, take a bow. The sound piques your senses to find out more about the film and oozes melody. I cannot ask anything more from an O.S.T.

The film revolves around musical rivalry in the court of a king. It is playing with english subtitles in Mumbai. I know i am watching it. Are you?

Rohwit

And we continue with the bullet-point report again. Tweet after watching the film and then put all the tweets in one place. Here you go…

– With Zindagi Na Milegi Dobara, Excel completes its trilogy of “Coming Of Age” films. And since it’s a given fact that nobody wants to put money for 15 year olds going through the same, we have to settle for “it’s not about the age but mileage” when it comes to COA cinema in Bollywood. Of  course there are exceptions like Udaan and no wonder it took seven years to cover the distance between script and screen.

– It’s about three men and their minor issues in life – job, marriage and daddy. If i say these are minor issues, it’s hard to believe because most films deal with just one issue and devote 2-3hours building the drama around the same, giving enough angst to the hero and finally settling for a solution. This one has nothing of that sort. And so it feels like minor issues.

– Zoya Akhtar loves to capture moments, and not melodrama. The film is full of such small moments and she captures them gorgeously. When the camera lingers on, and the characters are in that moment that matters the most, it’s easy to guess that she knows her job and her characters quite well.

– The dialogues are written by Farhan Akhtar and he has saved the best lines and the punches for himself.

– For a change, even Katrina Kaif acts. In other words, she has been used smartly – smile, show your charm and do the kiss!You cant compare her acting talent with tomatoes this time!

– There is too much of Spain in the film. Almost like a tourism film. Who goes to tourist spots on a bachelor trip? Tomato bhi le lo, bull hi dauda lo, upar se kud ja, paani me doob jao! Aha, where are the raging hormones? Oops, its 30+ coming of age. Imagine going to Bangkok (according to our budget) and visiting the Buddhist temples, right?

– The use of poetry through voiceover is a smart move and it blends in so well with the mood of the film. But such juveline stuff! The writing completely defeats the  purpose. Impossible to believe that it’s written by Javed Akhtar. Always rate his poetry much better than his lyrics but this was quite shocking.

– Dear Shankar-Ehsaan-Loy, it’s time for you to take a road trip and discover some new sounds. From Dil Chahta Hai, where every song stayed with us, to Zindagi Na Milegi Dobara, where all you remember is Senorita, that’s quite a downhill journey. Now go and take a break. Spare us!

– Its feels quite long, takes it own time to unfold and things fall into place easily. No major twists or turns. Aha, the designer issues!

– And finally a bollywood heroine who travels quite a distance just for the liplock. Gimme more!

– After Luck By Chance, there is too much expectations from Zoya Akhtar. Go easy on that E factor and it will come as a breeze of fresh air.

( PS – Did she really shoot the film in Spain? Pedro Almodovar made me believe that Spain is full of transexuals. ZNMD had none.)

Zoya Akhtar made an assured debut with Luck By Chance. And her next film Zindagi Na Milegi Dobara is ready for release. The film stars Hrithik Roshan, Abhay Deol, Farhan Akhtar, Katrina Kaif and Kalki Koechlin. It’s written by Zoya and Reema Kagti, dialogues by Farhan Akhtar and has music by Shankar Ehsaan Loy.

And here is the trailer….

Aha, Senorita seems fun. And here’s the official synopsis…

Kabir ( Abhay Deol) has just met Natasha. 6 months later they are engaged.

He wants to go on an extended bachelor party. A 3 week road trip with Imraan (Farhan Akhtar) and Arjun (Hrithik Roshan) – his 2 friends since school. The only problem is Arjun is too tied up with work. After much emotional blackmail and cajoling the boys set off on a journey they were meant to take 4 years ago.

A fantasy holiday they had planned to take after college but never happened. A road trip where each one gets to do the ultimate sport of his choice and other two just have to do it with him. Whether they want to or not.

Kabir, Imraan and Arjun meet up in Barcelona and set off on an adventure that will not only make them iron out their differences but also face their fears, alter their perception, unravel their fabric, force them to break out of the box and teach them to seize the day.

In other words, a holiday that will change their life forever.

Rock On was Dil Chahta Hai with mid-life crisis, and this one also seems to be DCH Redux. What do you think?

Lil late to discover it but as they say, better late than never. Atleast for the record!

Remember the popular Iktara song from last year’s Wake Up Sid ? We discovered Kavita Seth and realised that Amit Trivedi can kill Shankar-Ehsaan-Loy with just one song. The trio had the rest of the album. But nobody played anything beyond Ikatara. And many are still playing it in non-stop loop.

Had lot of doubts since the song came out. It sounded so different from rest of the album. And then got to know that there is a male version too. And the male version is not in the CD ? It was released much much later. Was it a official release ? Not sure. A good friend mailed it to us as we were desperatley looking for it. So, whats the story ?

Intially Amitabh Bhattacharya wrote the male version of the Iktara song. Everyone liked it. But Javed Akhtar doesnt like sharing credit on music albums. Its should be only him or let anyone else write all the songs! But it was too good a song to let it go. 

To solve the problem Javed Akhtar rewrote a new version of the same Iktara song. It was recorded in a female voice and was put in the album. The male version of the song remained in the system and was released much later after the release of the film.

For better comparison, here is the lyrics of the male version and click here for the lyrics of the female version. Thanks for it Goonda, the only person who doesnt like the song! Or better click on the play buttons of the video attched and decide for yourself. First the female version and the next is male version.

The first song promo of Karan Johar’s My Name Is Khan is out. Sajdaa. Lyrics by Niranjan Iyengar (wow) and music by Shankar Ehsaan Loy. Check it out!