Aao Wish Karein (2009): Music Review

By Joginder Tuteja, October 26

EXPECTATIONS

Since Aao Wish Karein gives the perception of a romantic entertainer; one does expect music to play a reasonably important role in the film. Also, since composers Ankur Tewari and Xulfi had come up with a couple of tracks worth humming in Ek Chalis Ki Last Local, one expects a certain quality from their soundtrack of Aao Wish Karein.

MUSIC

Beginning of Aao Wish Karein is surprising though with ‘Sabse Peeche Hum Khade‘ kick starting the proceedings. This is the same song that Mohit Chauhan had sung and had featured in the film Let’s Enjoy. This time around it is Kunal Ganjawala who comes behind the mike for this melodious track that has an old world charm to it. Since the song has been heard over all these years, there is an instant recall value and it doesn’t take much time to hum this Ankur Tewari written and composed number all over again.

Later, Kunal Ganjawala comes up with a much slower ‘reprise version’. Sunidhi Chauhan brings on the spunk with a livelier version titled ‘Sabse Peeche Kyon Khade’. Lyrics are different this time around and are told from the female protagonist’s point of view where she gets into a conversational mode with the guy.

Xulfi begins ‘Reh Jaane Do’ with the trademark sound of guitar strings. A soft sounding pop track that has a sad connotation to it, ‘Reh Jaane Do’ moves at a very slow pace with focus on lyrics and rendition rather than any beats that could have otherwise diluted the overall impact. The song may not be the pick of the current season since it’s not the kind that could be sung around the streets. However, hear it in the context of the film’s narrative and it could make for a good background score. Also, after a promising beginning, its ‘antara’ doesn’t quite manage to hold one’s attention.

In the similar mode comes ‘Tum Mere Ho’ which is a romantic duet by Kunal Ganjawala and Sunidhi Chauhan. By now, the mood of the album is pretty much established as each of the songs so far has followed the same theme without getting into any tangents. The focus is not on creating a chartbuster song that would rock the dance floors or be played on highways. Instead, emphasis is on coming up with the kind of soundtrack that goes well with the soft and simple mood of the film, an atmosphere that composers Ankur Tewari and Mikey Mccleary manage to create in ‘Tum Mere Ho’.

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Xulfi comes up with the best track of the album in the form of ‘Kuch Aisa‘ (which comes in both the upbeat and ’sad version’). If there is a song that deserves to be heavily promoted as of this very moment, it is ‘Kuch Aisa’. Unfortunately, since there is a very small window between the music and the film release, it seems like quite a difficult task for this romantic melodious number to reach out to its target audience in a big way. It’s the kind of song that most film makers would have loved to incorporate in their films as Xulfi has done quite well in playing the triple role of singer, composer and lyricist (with Danish Khan).

The last song of the album, ‘Sab Yahaan Hain‘, though doesn’t quite lead to similar sentiments. Set as a celebration song in a 50’s mode, this Kunal Ganjawala sung track aims at getting into a carnival mode. However, it’s playing time would be relegated to the screen time that it gets on the big screen since it is a hardcore situational song. A number about the wish coming true for the lead protagonist in the film (played by Aftab Shivdasani), ‘Sab Yahaan Hain’ is written and composed by Ankur Tewari with Mikey Mccleary joining in.

OVERALL

As stated earlier, it is apparent that the makers of Aao Wish Karein didn’t quite have a chartbuster musical in mind when they came together to make music for the film. This is why the mood of the album remains situational for most part of it. Though none of the songs are bad per se, there isn’t a hit quality to them either that would make the album sell like hot cakes. Hear it for some soulful moments in ‘Kuch Aisa’ and ‘Sabse Peeche Hum Khade’.

OUR PICK(S)

‘Kuch Aisa’, ‘Sabse Peeche Hum Khade’

Ratings: (2/5)

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Kurbaan (2009): Music Review

By Joginder Tuteja, October 20

EXPECTATIONS

There are good, though not huge expectations from the music of Kurbaan. Good, because there are names like Karan Johar, Saif Ali Khan and Kareena Kapoor associated with the film. Not huge, because the film doesn’t belong to a quintessential romantic genre in the true sense, something which could possibly lend a ’safe’ feel to the soundtrack. With the film having a background of terrorism to it, there is a certain restriction that happens to the commercial viability of the music. This is why composers Salim-Sulaiman and lyricist Prasoon Joshi had quite some task in hand when entrusted with the responsibility of creating soundtrack for Kurbaan. No wonder, one eagerly plays it on.

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MUSIC

It’s a tremendous start to the album, what with Salim Merchant coming behind the mike to open ‘Shukran Allah‘ in a manner similar to that of Kailash Kher crooning of ‘Subhan Allah’ [Fanaa]. Within seconds, Sonu Nigam takes over and you instantly know why he is simply the best that we have today when it comes to crooning melodious romantic tracks. His trademark silky voice is at play once again in this beautifully composed number which easily finds a place at the top of romantic numbers composed by Salim-Sulaiman. If the ‘mukhda’ is impressive then watch out for the ‘antara’ – it proves once again why Indian melody can never ever be out of vogue. Shreya Ghoshal joins the scene three and a half minutes into ‘Shukran Allah’ and makes an instant impact. This is one song that would be played for a long-long time and is easily one of the best that we have heard this year.

It’s the sound of guitar that lends a modern day feel to ‘Dua Hai‘. Though the English portion by Marianne D’Cruz has a distinct (and oft repeated sound by Salim-Sulaiman), it’s the coming together of Sukhwinder Singh and Kailash Kher which brings in a different dimension to ‘Dua Hai’. A fusion ‘qawalli’ that sees a mix of ’sufi’, ‘rock’ and ‘pop’ coming together, it’s the hook of ‘Dua Hai’ that keeps the ball rolling for song. While Kailash Kher brings in his own rustic touch to the track, it is usual energy that Sukhwinder Singh brings to the proceedings which make ‘Dua Hai’ special. Hear it for a couple of times and you would be hooked on for sure.

Salim Merchant gifts himself an entire song as a singer in the form of ‘Ali Maula‘. A situational track that should play as a part of the film’s background, it has the kind of lyrics that may not be comprehendible to the common man. However, in the context of the film, one can well imagine it to be making a huge impact. Rendering a pensive feel to the proceedings with the protagonist kneeling before God to lend enough courage for him to accomplish the impossible, ‘Ali Maula’ carries trademark Salim-Sulaiman sound. In addition, the ‘remix version’ is well done too and makes one hit for a couch in the lounge!

Remember the impact that songs like ‘Naina’ and ‘Laakad’ had made after they were seen and heard in Omkara? Similar dark, haunting yet romantic touch is pretty apparent in ‘Rasiya‘ which sees a fusion of Indian and Western classical music. Excellently crooned by Shruti Pathak who keeps her voice low for this sensual, romantic and poetic track, ‘Naina’ is yet another quality song by the young singer who has earlier rendered one of the best tracks ever by Salim and Sulaiman – ‘Mar Jaava’ [Fashion]. The composers certainly know how to pitch her voice and in what situation. No wonder, ‘Rasiya’ is pretty much a testimony to this fact.

Soon after this slow moving number comes a highly energetic title song ‘Kurbaan Hua‘ which proves once again that Vishal Dadlani is seriously taking his stint behind the mike. Singing quite regularly now for the compositions created by him along with Shekhar, Shankar-Ehsaan-Loy and also Salim-Sulaiman, Vishal rocks the show, literally, with ‘Kurbaan Hua’. This is a kind of number which evokes instant reactions and immediate appreciation. ‘Kurbaan Hua’ is a rock track that completely goes with the action packed theme of the film, hence making one look forward to it’s placement in the narrative. Other than ‘Shukran Allah’, this clearly is the pick of the lot in Kurbaan.

OVERALL

Kurbaan is a quality album all the way and clearly the best that Salim & Sulaiman have offered since Fashion. A difficult album to compose considering the kind of theme that the film comes with, Kurbaan boasts of the kind of sound that is consistent throughout. While quite a few tracks would be noticed more after the release of the film, there are songs like ‘Shukran Allah’ and ‘Kurbaan Hua’ that would make sure that Kurbaan makes a good head start at the music stands.

OUR PICK(S)

‘Shukran Allah’, ‘Kurbaan Hua’, ‘Dua Hai’

Ratings: (3.5/5)

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Ajab Prem Ki Ghazab Kahani (2009): Music Review

By Joginder Tuteja, October 12

EXPECTATIONS

Now this one does sound like a promising album. First and foremost names like Pritam and Irshad Kamil are good enough to result in a quality album. Case in point being Love Aaj Kal and Jab We Met where the composer-lyricist ‘jodi’ has already succeeded in creating magic. Secondly, the film is a romcom in the offering with heart-throbs like Ranbir Kapoor and Katrina Kaif being paired opposite each other for the first time. Thirdly, the film is a TIPS production and it would be difficult to imagine that Ramesh Taurani would settle down for anything substandard for his own music label. With expectations well in place, one plays on Ajab Prem Ki Ghazab Kahani.

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MUSIC

It’s a rocking kick start for the album with some groovy beats followed by Hard Kaur’s rendition leading to a superb rhythmic build up for ‘Main Tera Dhadkan Teri’. K. K. comes on scene immediately and gets the pace rolling for this club track that has chartbuster written all over it. This is a kind of number that Pritam has specialized in over the years. No wonder, he makes use of his hit track record to create yet another number that straight away makes an impression in the very first listening. What impresses most in the song is the way he uses Sunidhi Chauhan in the song as each and every line from her brings in that spunk and edge to ‘Main Tera Dhadkan Teri’. This one is meant for the big screen viewing.

There are two more versions that follow for ‘Main Tera Dhadkan Teri’. While one definitely looks forward to the ‘remix version’ which gets on a faster pace and makes one head for the dance floors, what surprises is the track ‘Follow Me‘ which is a recreated version of the same song. This one is a solo version by Hard Kaur and gets into a similar seductive mood as ‘Touch Me Touch Me’ [Race]. Let’s have a music video rolling. All in all, just the kind of treat that one was looking forward to from the album as one looks forward to what Pritam has to offer in songs to follow.

At the very first instance, ‘Tu Jaane Na‘ seems to be embarking on a sudden start. However, a minute into the song, Atif Aslam takes over the proceedings and comes up with a heartfelt rendition for this love track. With a ’sufi’ element to it, what strikes most about ‘Tu Jaane Na’ is a certain purity that makes it yet another quality number that Imtiaz Ali would have loved to have in his next film. Moving at a smooth pace, ‘Tu Jaane Na’ boasts of good lyrics and one wonders why the promos of the song have not yet been released?

Since the number takes its own time in settling down, the makers have made a smart choice in placing it as many as four times with different singers coming on board. After Atif Aslam, the song appears in a ‘reprise version’ with Soham, Rana Mazumdar and Ashish Pandit coming together. In fact this one turns out to be slightly more ‘filmy’ version in the way Soham goes about rendering the song. A ‘remix version’ may have sounded unnecessary on paper due to the theme and pace of the song. However, credit to DJ Suketu who gives a different dimension to ‘Tu Jaane Na’ and makes it sound as if this one could well have been an original version. A good remix creation.

Finally arrives an ‘unplugged version’ and as Kailash Kher, Paresh and Naresh go about their act, one is convinced that ‘Tu Jaane Na’ is pretty much the other highlight number in the album after ‘Main Tera Dhadkan Teri’. This is a kind of song that can be heard on a repeat mode without being bored. With first two tracks making such an impression, one goes on to have good expectations from the songs to follow.

The quintessential ’shehnai’ tune that is heard in marriages finds a remix going for it, courtesy Pritam who spins a track titled ‘Oh By God‘. It’s this ’shehnai’ which is an integral part for this song that is fun and youthful with Mika and Sunidhi Chauhan coming together. Yet another high energy dance in the album, it’s the kind of track that could boast of an enhanced appeal if supported by some vibrant dance moves.

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Melody returns to the album soon after with Atif Aslam coming together with Alisha Chenoy for ‘Tera Hone Laga Hoon‘. Written by guest lyricist Ashish Pandit (who does spin a nice romantic tale), this one is a love song that takes one straight to the hills and the trees. A kind of love song that has time and again worked, ‘Tera Hone Laha Hoon’ has both the singers coming together with some heartfelt rendition that makes it a kind of hear that is quite comfortable on ears. Thankfully, the ‘remix version’ doesn’t go overboard either and keeps the spirit of melody intact.

‘Prem Ki Naiyya’ follows next but doesn’t quite stand in the same league as most of its predecessors. In a lesser album one wouldn’t have quite minded this rhythmic dance number that has a rooted Indian feel to it. Still, in spite of the presence of Neeraj Sridhar and Suzanne D’Mello, the number just stays on to be a decent hear and that’s about it, even as a ‘remix version’ follows for this track too.

The album sees a good ending for itself with ‘Aa Jao Meri Tamanna‘ that makes an instant impression, just like was the case in ‘Main Tera Dhadkan Teri’. However, the genre of both the tracks is totally different here. While ‘Main Tera. .’ is a dance track, ‘Aa Jao.. ‘ is a love song which has melody as it’s pace. This one again has a distinct Pritam feel to it, whether in terms of rendition, pace or arrangements. What also makes the song a certain high is the manner in which Javed Ali goes about his rendition. He does quite well and one can easily sense that he has his heart pretty much set for this song. Jojo gives him good company for this song that also appears in a well deserved ‘remix version’.

OVERALL

This is Pritam’s year. Period. Delivering chartbusters by dozens all through the year, he can now look forward to another bountiful of hit songs up his sleeves with Ajab Prem Ki Ghazab Kahani. Also, Ranbir and Katrina can enjoy a hugely popular track for themselves in the form of ‘Main Tera Dhadkan Teri’. Go, pick this one up from the shelves!

OUR PICK(S)

‘Main Tera Dhadkan Teri’, ‘Follow Me’, ‘Tu Jaane Na’, ‘Aa Jao Meri Tamanna’, ‘Tera Hone Laga Hoon’

Ratings: (3.5/5)

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Aladin (2009): Music Review

By Joginder Tuteja, October 8

EXPECTATIONS

It all started six years back when the music of Jhankaar Beats was released. This was the soundtrack that brought together film maker Sujoy Ghosh with composers Vishal and Shekhar who have never looked back ever since then. In fact such has been the benchmark set by the composer duo in Jhankaar Beats that each and every album of theirs is expected to throw at least one ‘Tu Aashiqui Hai’ or a ‘Suno Naa’. They did come up with some good music for Sujoy’s next film Home Delivery too but sadly, the effort went completely unnoticed. And now the team comes back with Aladin which belongs to an altogether different scale and setting. With Vishal Dadlani writing lyrics for all songs in the album barring one (by Anvita Dutt Guptan), Aladin is expected to be a huge soundtrack considering it’s larger than life theme and treatment.

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MUSIC

‘Big’ is actually the way ‘Genie Rap‘ begins as the number is as foot tapping and infectious as it gets. An extremely well paced rap song that keeps the funk on throughout it’s relatively shorter 3 minutes duration, one wishes that the fun stayed on for much longer. Anushka Manchanda, who is time and again roped in by Vishal-Shekhar for certain special songs, makes an impression in this fun song which is bound to be a HIT with the kids. A Hinglish number which is sung with aplomb by Amitabh Bachchan, ‘Genie Rap’ [which comes with the key words 'Make A Wish'] is lavishly choreographed too that adds on to the grand look and feel.

What turns out to be an icing on the cake though is DJ Suketu created ‘remix version’ which takes the song to an altogether different level. This time around one won’t complain about the length since ‘Genie Rap’ lasts for close to five and a half minutes. This version is made just for the dance floors, what with ‘bhangra beats’ bringing with it its own set of audiences. A winner and a positive start for the album.

The sound of saxophone immediately brings to fore the sound of late 70s/early 80s and sets the mood for a nostalgia driven ride led by Amitabh Bachchan. Shankar Mahadevan is roped in to croon for Big B though how one wishes that the legendary actor had himself come behind the mike for this one. To Shankar’s credit, he does well in coming up with a full throated rendition that does justify his presence behind the mike.

If one has to draw parallels, ‘Tak Dhina Dhin‘ is set in the same mode as ‘Jahan Teri Yeh Nazar Hai’ [Kaalia]. However, other than the mood from the past, the situation is entirely different here and hence even the lyrics. A fun situational number which has Shaan crooning for Riteish Deshmukh, it yet again has children as its target audience, especially if one closely observes the interludes.

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One is further forced to go down the memory lane when Amitabh Bachchan is seen in his trademark outfit from ‘Pag Ghunghroo Baandh’ [Namak Halal]. Close to three decades later, it is time for ‘O Re Saawariya‘ which has some rooted lyrics by Vishal Dadlani. Sung by both Amitabh Bachchan and Sudesh Bhonsle, the song continues the fun and lively mood of the album with Shreya Ghoshal and Shaan joining in. Vishal and Shekhar move away from the Western rhythm with this song and instead place ‘O Re Saawariya’ in an out and out ‘hindustani’ zone. It’s a different matter though that this number too is presented in a ‘remix version’.

By the time the song is through, one realizes that majority of songs in Aladin are anything but what one associates with Vishal and Shekhar as the album turns out to be more of homage to Amitabh Bachchan than anything else.

The thought is dispelled soon after though as the composer duo gets one of the most romantic numbers of the year in the form of ‘You May Be’. A lovely melodious track which makes one just stop all work and just concentrate on the beauty of lyrics, music as well as rendition, ‘You May Be’ is a mix of English and Hindi. This is one contemporary urban love song that remains consistent from the ‘mukhda’ through the ‘antaras’ and makes one place it in the repeat mode. For the first time ever, both Vishal Dadlani and Shekhar Ravjiani come behind the mike for the same song and the impact created by their joint outing is just magical. Pick this one up and play it on for the one you love!

A quintessential climax song comes next with the arrival of ‘Bachke O Bachke‘. Written by Anvita Dutt Guptan, this one is high on orchestra and faintly reminds one of ‘Deewangee Deewangee’ [Om Shanti Om]. However, the final impact is nowhere close to it though. Shankar Mahadevan, Shaan, Sunidhi Chauhan and Vishal Dadlani come together for ‘Bachke O Bachke’ which stays on to be situational at most and makes one look forward to how it has been presented on screen.

Lastly arrives a dark number with Sanjay Dutt coming behind the mike for ‘Giri Giri’. Now this is one track which takes a few hearing before one is able to grasp not just the tune but even its style and setting. A song where Sanjay Dutt describes his evil character of ‘Ringmaster’, it doesn’t quite belong to the kind that one would die for. However, the base rhythms that accompany the key words ‘Giri Giri’ go perfectly well with Sanjay Dutt’s on-screen image and manage to keep the interest alive.

OVERALL

Aladin would have been a difficult album to compose since it doesn’t quite fall under the bracket of a regular love story or a rom-com or a period film. Due to this reason, don’t expect another Jhankaar Beats or an Om Shanti Om or a Dostana. For a film that has an element of fantasy and myth interspersed in the contemporary times, Sujoy along with Vishal-Shekhar bring together certain situational songs (Tak Dhina Dhin, O Re Saawariya, Bachke O Bachke) along with a couple of theme songs (Genie Rap, Giri Giri) and an out and out romantic number (You May Be).

OUR PICK(S)

‘You May Be’, ‘Genie Rap’

Ratings:

Music: (3/5)
Lyrics: (3/5)

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Jail (2009): Music Review

By Joginder Tuteja, October 8

EXPECTATIONS

There are limited expectations from the music of Jail. Reasons being that a) the movie’s genre doesn’t quite warrant popular music in the offering and b) Barring Fashion, Madhur Bhandarkar’s films (though belonging to a league of their own) haven’t quite relied upon the music. Yes, one does come across an occasional song or two from movies like a Page 3 or a Corporate that manage to make a mark. However, it has never been the case of music helping the film succeed. This is the reason why one plays the four songs (two each by Sharib-Toshi and Shamir Tandon) without expecting chartbusters after chartbuster to follow!

MUSIC

In the recent times, Sharib-Toshi combine has come up with some good stuff in films like Jashn and Raaz – The Mystery Continues. Thankfully they carry on the momentum with ‘Sainya Ve‘ that has Vishesh Films and Emraan Hashmi written all over it. A sufi rock track which is written by Sharib-Toshi themselves with Toshi coming behind the mike, the songs does impart a sense of deja vu in the beginning. However, after a couple of hearing, one actually starts enjoying this club track that features the lead pair of the film – Neil Nitin Mukesh and Mugdha Godse. Even though lyrics are quite ordinary, it’s the rhythm of ‘Sainya Ve’ that keeps the momentum on. Designed for the dance floors, the song also finds an expected ‘rock version’ as well as a ‘remix version’ (both also featuring Neil Nitin Mukesh) for it. Expect DJs to put this one up in their ‘favourites’ list.

It’s bona fide rock with the sound of guitar that begins proceedings for ‘Milke Yun Lagaa‘. In fact for the first few seconds, the listener is transported to the world created by Pritam in ‘Martaba’ [All The Best]. Second composition by Sharib-Toshi in the album, ‘Milke Yun Lagaa’ is written by Sharib-Turaz and is sung by Sharib. The song carries forward the trend that Pritam started with Life In A Metro and has consolidated further with Tum Mile. A painful love song with deep passion involved, this one makes for a good hearing even though it is situational in appeal. The song is also quite uncharacteristic of what one expects in a Madhur Bhandarkar film; something which is a welcome change.

The musical team of composer Shamir Tandon, lyricist Sandeep Nath and singer Sonu Kakkar get together for an item song made for the masses ‘Bareily Ke Bazaar Mein‘. Aimed at the gentry of the single screens and that too only for the smaller centres, ‘Bareily Ke Bazaar Mein’ would have been dismissed right away had it not been created for a Bhandarkar film. The tune, which has a rooted feel throughout and has no Western influences, doesn’t have anything unique to offer and at most remains to be situational with a restricted shelf life.

Lastly arrives Lata Mangeshkar’s ‘Daata Sun Le‘ which is set in the same mode as ‘Itni Shakti Hamein Dena Daata’ [Ankush]. Seemingly set in a jail with inmates coming together and praying, ‘Daata Sun Le’ moves at an extremely slow pace, something which suits the genre that it belongs. What amazes though is to hear the 80 year old singer getting the right pitch at various junctures even at this age. No wonder, composer Shamir Tandon doesn’t allow many instruments in the background and let’s the vocals hold centre-stage.

OVERALL

Jail won’t quite go the whole distance like Fashion which actually had music as an integral part of the narrative and also boasted of more than a couple of chartbuster tracks. However, it does have some decent songs with ‘Sainya Ve’ boasting of popular appeal and ‘Daata Sun Le’ keeping those happy who are fans of Lata Mangeshkar and followers of devotional tracks.

OUR PICK(S)

Sainya Ve, Daata Sun Le

Ratings:

Music: (2.5/5)
Lyrics: (2.5/5)

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London Dreams (2009): Music Review

By Joginder Tuteja, September 22

EXPECTATIONS

There are bound to be very good expectations from London Dreams. After all, it is a film which has a musical background to it, has composers Shankar-Ehsaan-Loy at the helm of affairs and brings them together with Prasoon Joshi from whom one expects poetic lyrics. Add to that, the fact that each of the earlier films of Vipul Shah [Singh Is Kinng, Namaste London, Waqt - Race Against Time and Aankhen] has boasted of immensely successful music and one can’t help but expect London Dreams to present some chartbuster tracks as well.

MUSIC

Now this one is a full on ‘rock on‘ track in the offering. Pun intended. After all ‘Barson Yaaron ‘ completely and truly belongs to the rock genre. With a stage setting to it, it has some elaborate music arrangements that get the right ambience on to make it a track which befits a big screen presentation. Of course, in the first few listening it seems to be just a carry forward from Rock On. However, as one listens to ‘Barson Yaaron‘ a few times over, you do realize that it has a setting to it which is just so relevant to the theme of London Dreams. With an unconventional pairing of Vishal Dadlani and Roop Kumar Rathod behind the mike, ‘Barson Yaaron is also special as it ends with the rock version of ‘Hanuman Chalisa’. Definitely a first and something which is bound to create frenzy in theaters for Salman Khan fans.

‘Man Ko Ati Bhavey’ follows next and your immediate reaction is – ‘Now what’s that?’ Then you allow yourself a complete listening at least because you realize that everything is possible in Salman Khan’s world. Reason being that ‘Man Ko Ati Bhavey’ has a true ‘Bhojpuri’ feel to it with Shankar Mahadevan too going unabashed in his rustic rendition that never once slips away from the song’s mood, setting and genre. The rhythm starts working for the listener after a while and a couple of listening later; you also start to grasp the lyrics. Just like ‘Barson Yaaron’, this one too grows you on after a while and once that happens, it is impossible not to find yourself humming it around even when the music is not playing. A sure shot chartbuster which finds a deserving ‘remix version’ for itself!

It’s time for some Punjabi music to make its way into the album and this happens through ‘Tapkey Masti’. A point to be noted though is that this one is not a conventional ‘bhangra’ track that gets into a regular ‘aahun aahun shaava shaava’ mode. Instead, it takes a slightly different route and even though there is a slight rock background to this one as well, ‘Tapkey Masti’ (which is also heard in the ‘remix version’) continues to give the feel of the rustic world that it belongs to. Singer Feroz Khan too sticks to the song’s genre and delivers as required.

New entrant Mohan is given the responsibility of singing the title song of London Dreams which is interestingly titled ‘Khanabadosh‘. He does quite well in this yet another unconventional tune that brings back rock into the album. If the initial parts of the song are good, its 100 seconds down the line when ‘Khanabadosh’ really comes on its own. There are multiple layers along with various twists and turns in the song, something that makes one listen ‘Khanabadosh’ quite carefully. Some truly unconventional and difficult-to-hum-around lyrics only make this song the kind that starts becoming more and more familiar only after a few listening. That’s the reason why one doesn’t quite mind the ‘remix version’ that arrives at the latter stages of the album.

For those who were missing the kind of trademark compositions that Shankar-Ehsaan-Loy are known for, there is ‘Khwab Jo‘. A serene track that gets into the dynamics of a ‘khwab’ and how, when, why and where is it actually a ‘khwab’ and not a ‘haqeeqat’, ‘Khwab Jo’ by Rahat Fateh Ali Khan and Shankar Mahadevan is an out and out poetic track by Prasoon Joshi. One wonders the kind of pain that Shankar-Ehsaan-Loy must have gone through in order to spin a tune around the lyrics. A smooth moving number that has a melodic base to it, ‘Khwab Jo’ sees the fusion of Indian classical with soft rock that becomes more and more apparent as one reaches the song’s end.

The opening of ‘Yaari Bina‘ followed by the music that follows instantly reminds one of ‘Hum Tumhe Chahte Hai’ [Qurbaani] . However, the similarity ends as quickly as it appeared for this ‘qawalli’ which again reaches its peak 100 seconds down the line. Coming together of Roop Kumar Rathod and Milind makes for another unconventional outing behind the mike. A song that pays homage to friendship and terms one’s life as truly useless without a friend on your side, ‘Yaari Bina’ appears situational and the kind that would aid the dramatic outing for the film’s main leads.

Abhijeet Ghoshal gets a solo for himself in the form of ‘Jashn Hai Jeet Ka’. A rock song with an Indian base to it, especially when it comes to rendition by Abhijeet, ‘Jashn Hai Jeet Ka’ appears to be a passionate outing for the actor on whom the song would be picturised. A song about moving ahead in life all by yourself sans any support, ‘Jashn Hai Jeet Ka’ is quite 70s musically though it is presented in a contemporary manner. One waits to see how the song turns out to be on screen.

In the world of solo numbers, Zubeen Garg gets one for himself too in the form of ‘Shola Shola‘. Starting off on a relatively slower note, it shows a slight jump one minute down the line. ‘Shola Shola’ too reminds one of the music of the 70s, especially with the coming together of chorus during the key words ‘Shola Shola’. However, it’s the contemporary setting that helps the song to a fair degree in terms of being presented to today’s youth. Just like ‘Jashn Hai…. ‘ this one too falls under the ‘wait and watch’ category.

OVERALL

First things first – The music of London Dreams requires not one, not two, not three but at least five odd listening before it starts growing on you. At first instance the music seems to be going all over, especially due to the fact that most of the tunes are plain unconventional and nothing that one has heard in a mainstream Bollywood film before. By the second instance one starts wondering if the expectations were really worth it as you aspire for something more comfortable and easy on ears in terms of recollection value.

By the third and the fourth instance, you actually start warming up to some of the songs from the album and give them a keen hear. And once you are into the album the fifth time over, you realize that London Dreams does carry some good stuff to make heads turn. The album won’t necessarily take a thunderous beginning at the music stands. However, the songs are bound to find much better acceptance if the film succeeds at the box office.

OUR PICK(S

‘Man Ko Ati Bhavey’, ‘Barson Yaaron’, ‘Khanabadosh’

Ratings:

Music: (3/5)

Lyrics: (3/5)

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Main aurr Mrs Khanna (2009): Music Review

By Joginder Tuteja, September 7

EXPECTATIONS

When a movie stars Salman Khan and Kareena Kapoor and belongs to the romantic genre, it is expected that it will boast of at least a couple of romantic numbers. Slight apprehensions do come from the fact that the director at the helm of affairs is a newcomer (Prem R Soni). However, considering the fact that the music has been composed by Sajid-Wajid (who have time and again given at least one chartbuster for each of the Salman films), Main Aur Mrs. Khanna does make you reasonably excited about the final prospects.

MUSIC

10 seconds into the song ‘Don’t Say Alvida’ and you know for sure that Sajid-Wajid have a hit in hand at least in the form of this title track. Belonging to old school of music which has a timeless quality to it and has more often than not always worked, ‘Don’t Say Alvida’ is a contemporary Bollywood love song while boasting of an out and out Indian melody. Coming close to the kind of music that one has heard in Salman’s films like Har Dil Jo Pyaar Karega and Chori Chori Chupke Chupke, ‘Don’t Say Alvida‘ has Sonu Nigam at his best. The singer is heard in lesser number these days but when he croons a marvelous track like ‘Don’t Say Alvida’, you don’t mind the quantity. Shreya Ghoshal joins a little later in the day while Suzanne D’Mello is primarily a backup vocalist here. Still, they do make their presence felt in this Junaid Wasi written song that also appears in a well done ‘remix’ version and also a 90 seconds slow-n-sad version (a Shreya Ghoshal solo).

It’s time to get into a ‘Kajraare’ [Bunty Aur Babli] mode with Sunidhi Chauhan bringing on ‘Happening‘. Even though the title gives an impression of an English number in the offering, ‘Happening’ is mainly a catchy term that plays throughout this ‘qawalli’ which is written by Jalees Sherwani. Picturised on Preity Zinta (yes, she too has an important role to play in the film), ‘Happening’ is a foot tapping number that takes just a couple of listening to register with the listener. A good number which has been created for the masses and yet doesn’t turn vulgar at all, ‘Happening’ is fun, foot tapping and quite enjoyable for its duration. The number which also appears in a ‘remix version’, ‘Happening’ also has Wajid, Uvie, Farhad and Raja Mushtaq joining the show and deserves to be promoted aggressively.

From love, romance and dance, mood of the album becomes somber with ‘Rabba‘. With Rahat Fateh Ali Khan at the helm of affairs, you do expect the kind of outing that ‘Rabba’ would provide. A slow moving soulful track that does has a serene feel to it in spite of a sad theme, ‘Rabba’ is situational and yet effective. Jalees Sherwani spins a tale around the condition of the protagonist who has lost love in his life and is trying to explore things that went wrong. In the lines of ‘Tanhai’ [Dil Chahta Hai] and ‘Ye Dooriyan’ [Love Aaj Kal], ‘Rabba’ makes for a good hear.

The opening five seconds of ‘Tum Ne Socha‘ do remind of the sound of ‘Soniyo’ [Raaz - the Mystery Continues] . However all similarity ends quite soon and Sajid-Wajid create a tune that does make you appreciate it during the first listening itself. One is assured that Wajid is taking his job quite seriously as a singer, courtesy his rendition of ‘Tum Ne Socha’ where he is indeed good. A soft rock track where he changes pitch from being subtle to full throated, ‘Tum Ne Socha’ is a very pleasant sounding duet with Shreya Ghoshal joining Wajid behind the mike. A beautiful contemporary song that has Arun Bhairav penning the lyrics.

Finally, the album ends on a fun note with the ‘dhol beats’ of ‘Mrs. Khanna’ being straight out of ‘Pretty Woman’ [Kal Ho Na Ho] . A fun track that is picturised on Sohail Khan and Kareena Kapoor, ‘Mrs. Khanna’ has a good rhythm to it which is straight out of the David Dhawan school of music. Heavy on orchestra, something that goes perfectly well with the genre of the song, ‘Mrs. Khanna’ is entertaining and should be a riot on screen if picturised well. Written by Jalees Sherwani and Suzanne, the number has Shaan and Sunidhi Chauhan as the prime singers with Bappi Lahiri, Neuman Pinto and Suzanne D’Mello also chipping in.

OVERALL

Main Aur Mrs. Khanna is a satisfying affair and you don’t have any reasons to complain whatsoever. One expected at least a couple of chartbuster songs and Main Aur Mrs. Khanna remains consistent throughout with not a single number that doesn’t work. The best of the lot though is ‘Don’t Say Alvida’ followed by ‘Tum Ne Socha’ that are custom made for the romantic hearts. Meanwhile, ‘Happening’ should take further care of the album sales.

OUR PICK(S)

‘Don’t Say Alvida’, ‘Tum Ne Socha’, ‘Happening’

Ratings:

Music: (3/5)

Lyrics: (3/5)

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All The Best (2009): Music Review

By Joginder Tuteja, September 7

EXPECTATIONS

Masti. Masala. And some ‘dhamaal’. That’s exactly what one expects from the music of All The Best. Movies and music coming from the house of Rohit Shetty have a certain template feel to them. His films like Golmaal, Golmaal Returns and Sunday have been youthful entertainers with good music. This is what one looks forward to from All The Best as well which, as the title itself suggests, is a movie about celebration and letting your hair down. With composer Pritam and lyricist Kumaar at the helm of affairs, you know exactly what you are getting into.

MUSIC

Drum beats mark the beginning of ‘Dil Kare‘ that have the cry of All The Best creating the much required rhythm all throughout the song’s duration. A number that is set exactly in the manner of ‘Socha Hai’ [Rock On], whether lyrically, musically or thematically, ‘Dil Kare’ is a heavy duty rock track that is mounted on a really lavish scale. Suraj Jagan is a good choice for a number like this though one feels that K.K. at the helm of affairs would have further added zing to ‘Dil Kare’. Roopam Islam is there as a backup vocalist in the opening number of this album that gets into top gear from the very onset and also gives it a euphoric ending with a high voltage ‘remix version’. Expect the track to make it to the DJ’s list in a matter of few days from now.

Well, wait for K.K. is over with ‘Haan Main Jitni Martaba‘ which does have a very strong rock beginning to it, especially with the heavy bass doing the trick. However, the moment K.K. comes behind the mike, the scene changes for better. ‘… Martaba’ turns out to be a love song set in a rock genre that has a sound good enough to make you root for it after the first listening itself. With newcomer Yashita being the female vocalist bringing the perfect sound for a rock rendition, ‘… Martaba’ turns out to be one of the best songs to have come out this year. Also, it boasts of the kind of lyrics that Kumaar has excelled in over the last few years that he has been active. He makes best use of the platform made available to him and spins a romantic tale that is given a ‘rock solid’ (pun intended) contemporary treatment by Pritam. A winner which also makes an impression in the ‘remix version’.

One of the major reasons for the promos of All The Best to have made the kind of strong impression is the music that plays along with them. The beats of title song ‘All The Best‘ are the ones that catch your attention in the promos and on listening to it’s full length version, you know that the funda of Rohit Shetty, Pritam and Kumaar was clear i.e. to create an instant impression amongst the youth by bringing in a funky sound aided by some full-on orchestra. Rana, now turning out to be a regular with Pritam, Soham (who recently created his own What’s Your Raashee) and Antara come together for ‘All The Best’ that goes perfectly well with the celebration theme of the film and should again boast of some wide spread choreography and eye catchy picturisation.

Mood of the album shifts again with Clinton Cerejo getting a rock solo for him in the form of ‘Kyon‘. This time around the proceedings are really soft and slow with minimal musical instruments aiding Clinton’s rendition. Even though the song has a sad setting to it which is about changing times and drifting friends, ‘Kyon’ is yet another very good number after ‘…. Martaba’. Tailor-made for youth and boasting of the kind of sound that worked so very well for the music of Life In A…Metro, ‘Kyon’ is the kind of number that film maker of any biggie would be glad to place in his product.

Over the years, Neeraj Sridhar has been heard singing in a particular style and sound for many a Pritam hits. In case of ‘You Are My Love‘, he does bring in a definite change in both the departments. Also Pritam incorporates a certain child like innocence in the making of this song which is high on orchestra, is quite urban and contemporary and yet boasts of simplicity. An ensemble piece that also sees the coming together of Kunal Ganjawala, Rajesh, Alisha Chinoy and Megha, ‘You Are My Love’ is a celebration track about the coming together of friends in happy times.

OVERALL

One expected a decent time pass score for All The Best which would make an instant impression and ensure that audiences are entertained as they play on screen. For this purpose, Pritam does compose songs like ‘Dil Kare’, ‘All The Best’ and ‘You Are My Love’. However, there is a pleasant surprise in store with ‘… Martaba’ and ‘Kyon’ turning out to be two of the purest compositions by Pritam and Kumaar that bring in further quality to this album.

OUR PICK(S)

‘Martaba’, ‘Kyon’, ‘Dil Kare’

Ratings:

Music: (3/5)

Lyrics: (3/5)

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Radio (2009): Music Review

By Joginder Tuteja, August 31

EXPECTATIONS

In the last couple of years, Himesh Reshammiya has been lying low when it comes to composing music. The same man who once gave more than three dozen chartbusters in a row had just one major soundtrack releases last year in the form of Karzzzz, the music of which did become immensely popular. Meanwhile, Himesh got selective in his assignments and worked only on those films where he came up with a package deal of an actor, composer and singer. It’s the same package deal in the offering with Radio. One change though – instead of Sameer being his partner as a lyricist, it’s Subrat Sinha who has been roped in.

How does the album turn out? Well, it’s as simple as this – One can’t take the composer out of Himesh Reshammiya. He surprises, and how, with an altogether different approach to music that he takes with Radio. He was a trendsetter 4 years back; and now he may well create a new trend if the songs of Radio are any indication.

MUSIC

A much sober and subdued Himesh is heard in ‘Mann Ka Radio‘, the opening track of the film. In the first listening, all one ends up focusing is on lyrics that go as ‘Mann Ka Radio’. Frankly, it’s hard to digest. However, as one gives the number a few repeat hearing, it’s the music and the singing (in Himesh’s new voice) that takes centre stage. What further impresses is the overall soft mood of the song that does the trick. Once the song reaches it’s ‘antra’ portion, one gets to hear a little of Himesh in his vintage style as well. The ‘remix version’ only elevates the song further as it heads straight for the club. A good beginning.

It’s a Western bhangra fusion feel that ‘Zindagi Jaise Ek Radio‘ carries. Based on the folk flavor of Punjab and carrying a similarity feel to it, ‘Zindagi Jaise Ek Radio’ is high on rhythm with the ‘dhol’ beats ensuring that the ‘bhangra’ mood is set right away. Himesh gets into his full throated rendition with this number (which also appears in a ‘remix version’) that does come with a sense of deja vu but one doesn’t mind that due to it’s foot tapping ability.

The real album begins though from this stage on as there are six straight songs that bring that side of Himesh that hasn’t been heard in the present times. It’s the sound of guitar strings which begin ‘Jaaneman’, a soothing number that is sung in almost an unplugged manner. A brilliant track that announces loud and clear the melodic mood that the album develops from here on, ‘Jaaneman’ has minimal instruments in the background with Himesh holding centre-stage. His voice too sounds all smooth-n-silky which makes ‘Jaaneman’ an ideal number for a candle light dinner. Shreya Ghoshal joins Himesh in this romantic outing and makes sure that ‘Jaaneman’ turns out to be one of the best songs to have arrived this year.

Looking at the lyrics of ‘Piya Jaise Ladoo Motichur Wale‘, one would have imagined this to be a celebration number. However, there is a pleasant surprise in store as it turns out to be a semi-classical track which has Rekha Bhardwaj beginning the proceedings. A love song which again has just Rekha’s voice on the forefront with emphasis on the quality of rendition rather than any musical instruments bringing on the beats, ‘Piya Jaise…’ too demonstrates Himesh’s stranglehold over classical music. One wonders where was this aspect of Himesh lost over the years?

In fact Himesh even curbs himself as a singer and only brings him on the scene a couple of times while allowing Rekha to hold centre-stage. Yet another excellent track which only makes one start expecting a lot more from Radio. In fact ‘Piya Jaise…’ would be the last to warrant a ‘remix version’ but Himesh Reshammiya and Akbar Sami make it happen and present it in a format that would make an entry into the lounges and clubs.

Feeling of some pure and unsaid love continues with ‘Koi Na Koi Chahe‘ and by this time one gets to know that all the beats and the musical instruments were reserved for the ‘bhangra’ number in the start – ‘Zindagi Jaise Ek Radio’. That’s because from that point on, none of the songs had focus on anything other than the vocals, something that shows in ‘Koi Na Koi Chahe’. A ‘raaga’ based love song, this Himesh Reshammiya and Shreya Ghoshal track goes perfectly well with the mood that has been set in Radio so far.

The sound of piano marks the beginning of ‘Teri Meri Dosti Ka Asmaan‘ and one knows there and then that Himesh has indeed set his heart in for creating the soundtrack of Radio. If one liked the music of his last brilliant album Ahista Ahista then one is bound to grab Radio too with both hands, courtesy a song like this which continues the unadulterated feel of the album. Subrat Sinha too spins some interesting lyrics for this number that has Shreyal Ghoshal getting that little girl act well with Himesh giving her company in a full throated rendition.

It isn’t every day that another male singer makes an appearance in a Himesh Reshammiya album; let aside sharing the stage with him. Well, impossible happens in case of ‘Damadji Angana Hai Padhare’ where Kailash Kher gets this opportunity. A number that has a folk base to it, ‘Damadji…’ has Kailash beginning the proceedings. However, two minutes into the song and Himesh enters the scene while bringing a different pitch and momentum. Yet another number that is attached to the roots and stays Indian throughout, it should make for a good situational outing.

It’s back to a romantic duet with Himesh and Shreya coming together for ‘Shaam Ho Chali Hai‘. After ‘Janeman’, this is the love song that impresses most and deserves to be promoted to the hilt. With a touch of wait and sadness to it, this one too carries a certain ‘pure’ feel to it and stays unconcerned about any commercial trappings. Carrying the kind of sound (that does remind of ‘In Dino Dil Mera’ – Life In A Metro) that is bound to work well with the youth of today who are looking at hearing something different from the usual club outings that are being presented in many a album in recent past, ‘Shaam Ho Chali Hai’ deserves a repeat hearing.

Before the album concludes, Himesh presents himself a solo in the form of ‘Rafa Dafa Kiya Nahi Nahin Jaaye‘. A number about moving on in life, this one is a good attempt by Subrat Sinha as he pens something different from the ‘dard-e-tanhai’ genre that has been beaten to death. A slow moving track that is primarily for situational appeal, it doesn’t harm the overall flow of Radio which ultimately turns out to be much more than just a satisfying album.

OVERALL

Radio, in one word, is ‘brilliant’. In three words, it can be described as ‘Himesh is Back’. And in one sentence, it would be right to say that ‘Himesh creates something that what he is capable of doing so’. One wonders whether he too was aware of this fact that he had it in him to compose and sing songs like ‘Janeman’, ‘Piya Jaise’, ‘Shaam Ho Chali Hai’ and ‘Koi Na Koi’, all in one single album. He makes a huge impression with Radio that is sure to hit the top spot in the charts in quick time. Strongly recommended!

OUR PICK(S)

‘Janeman’, ‘Shaam Ho Chali Hai’, ‘Piya Jaise’, ‘Mann Ka Radio’, ‘Koi Na Koi’

Ratings:

Music: (4/5)

Lyrics: (3.5/5)


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Blue (2009): Music Review

By Joginder Tuteja, September 14

EXPECTATIONS

One doesn’t quite comment upon expectations when a product gets together forces like A.R. Rahman and Akshay Kumar in a project which is touted to be one of the costliest ever to have come out of Bollywood. One just plain and simple puts on the album and waits with bated breath to check the kind of variety in store from the seven songs to follow (with thankfully no remixes thrust in).

MUSIC

The most awaited song of the year, ‘Chiggy Wiggy‘, marks the beginning of the album. Why most awaited? Because it not only has Kylie Minogue singing a song for a Bollywood film but has her making a dance appearance while shaking a leg with Akshay Kumar. During the shooting of the song there was quite some frenzy created about her arrival in Mumbai. No wonder one expects nothing but outstanding in Abbas Tyrewala written ‘Chiggy Wiggy’.

What one gets to hear is a song which is a departure from a Rahman composition. That’s because while the first half of the song, where Kylie is heard in her pop avtar, ‘Chiggy Wiggy’ appears to be a Pritam tune with all the peppy effects thrown in. This is not all as the moment Sonu Nigam jumps into the fray; well literally, it suddenly turns into the kind of tune that one associates with Sajid-Wajid or Anand Raj Anand. ‘Bhangra’ mood takes over and while the final result is indeed massy and ensures a ’seeti-maar’ outing, one waits to hear what Rahman has to offer in songs to follow.

It isn’t a long wait as Sukhwinder Singh gives a subtle kick start to ‘Aaj Dil’, a love song set on a beach. Just like dozens of Rahman songs heard in the past, this one takes its own time to register with the listener. Not at all an easy song to have been composed, written and sung, one can well imagine the kind of effort that lyricist Mayur Puri and singers Sukhwinder Singh and Shreya Ghoshal would have put in this song that has a slight Western touch to it. In the first few hearing ‘Aaj Dil’ appears to be a late 90s style composition by Rahman but after a dozen odd hearing, the song just sits pretty much in your head and it is impossible to get rid of this addictive tune.

The song that carries a chartbuster appeal to it though is ‘Fiqrana‘. An amazing composition that has a terrific ‘mukhda’ followed by an equally effective ‘antara’, ‘Fiqrana’ has Vijay Prakash at the helm of affairs who makes most of the opportunity provided to him. He has sung quite a few songs in the past but this one is going to be his ticket to fame for sure. This is also a loss of opportunity for Farhan Akhtar who was the first choice as a singer for the song. An urban contemporary number that boasts of a catchy tune that takes just a couple of listening to be registered, ‘Fiqrana’ is all set to be a hit up the sleeves of Akshay Kumar on whom the song is picturised. Watch out for the song once it arrives on screen.

Rashid Ali, the man who made a terrific impression with his song ‘Kabhi Kabhi Aditi’ [Jaane Tu Ya Jaane Na] last year, gets another solo for himself in the form of ‘Bhoola Tujhe‘. One would have expected the music of a thriller like Blue to be all fun and frolic but ‘Bhoola Tujhe’ surprisingly turns out to be a slow and sad number about the protagonist who is wondering aloud about things that went wrong in his life. A core situational song with a Western base to it which can’t be expected to go beyond the narrative of the film.

It’s a lot of metal and rap and reggae with the arrival of ‘Blue Theme‘. Written by Raqeeb Aalam and Sukhwinder Singh, this one is a quintessential Rahman number that can’t be expected to be replicated by any other composer. There are quite a few variations in this theme track that boasts of number of unconventional voices like Blaaze, Raqeeb Aalam, Sonu Kakkar, Jaspreet Singh, Neha Kakkar and Dilshad. Together, this ensemble gathering ensures that the track has good enough spunk and energy to play during multiple points in the film.

After a vociferous ‘Blue Theme’ comes a soft and sober outing in the form of ‘Rehnuma‘ which has it’s start reminding of ‘Khuda Hafiz’ [Yuva]. However, the similarity ends soon after with the background suddenly coming close to that of the Bond theme. Nevertheless, this Abbas Tyrewala written song doesn’t see any shift in momentum and the mood continues with Sonu Nigam joining Shreya Ghoshal. This is yet another track that requires quite a few listening for the tune to be finally grasped by the listener. In terms of production values though, there is definite sophistication that ‘Rehnuma’ carries.

There is a complete departure though in ‘Yaar Mila Tha‘ that is an out and out fun-n-naughty number. In fact one wonders why did the song have to arrive so late in the day since it carried enough potential to be there at the top of the album. It is refreshing to hear Udit Narayan in this number that has Madhushree sounding so close to Alka Yagnik that one is tempted to check the credit details on the album cover. A fun outing between a married couple, ‘Yaar Mila Tha’, which is written by Abbas Tyrewala, has a complete Indian appeal to it and just like ‘Chiggy Wiggy’ which kick started the album, this one too hardly sounds like a Rahman composition even though the background vocalists follow his school of composition.

OVERALL

Blue is a good album and has all in it to make a good impression at the music stands. In a way, the album comes at just the right time when there is quite some variety in store this Diwali. While All The Best has a rock base to it and Main Aur Mrs. Khanna boasts of a melodic outing, Blue practically mixes up genres and ensures at least four popular songs in ‘Fiqrana’, ‘Chiggy Wiggy’, ‘Yaar Mila Tha’ and ‘Aaj Dil’.

OUR PICK(S)

‘Fiqrana’, ‘Chiggy Wiggy’, ‘Yaar Mila Tha’, ‘Aaj Dil’

Ratings:

Music: (4/5)

Lyrics: (3/5)

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