Music Reviews

London Paris New York

EXPECTATIONS

You obviously have very good expectations from the music of London Paris New York. After all the promos have been catchy, the song that plays in the background has caught attention and most importantly it is the man of the moment, Ali Zafar, who is responsible for composition, lyrics as well as singing. With him playing the lead protagonist, it makes it four roles in all. Whew! With as many as half a dozen songs in the offering, one plays on London Paris New York with good anticipation.

MUSIC

Expectedly, the album kick-starts with the title song 'London Paris New York'. With a Kabhi Alvidaa Naa Kehna kind of start that Shankar-Ehsaan-Loy had given to the title song there, this one forms its own identity soon enough with Sunidhi Chauhan joining Ali Zafar behind the mike. A feel good urban number with a Western sound to it that is in the same mould as one experiences in many a Hollywood romcom, 'London, Paris, New York' is yet another track that can find a tagging of 'coming of age' composition. Okay, so you won't be singing this one along but if it arrives at different points in the film's narrative, it is bound to work.

Next to arrive is a conversational song 'Voh Dekhnay Mein' which belongs to the mode which is fast gaining popularity in mainstream Bollywood cinema today. This one is a Hinglish track where the guy is picking up the girl for her quirks and traits while narrating her various characteristics and even pulling her leg at places. A situational track which is basically driven by Ali Zafar's lyrics and singing with musical instruments taking a backseat, 'Voh Dekhnay Mein' is easy on ears. Honestly one does take time to warm up to 'Voh Dekhnay Mein' though but by the time the female version comes (which is almost unplugged in its presentation), you settle down with it. What also impresses is the fact that it is none other than the leading lady Aditi Rao Hydari who renders the number here and one must admit that in this barely 80 seconds duration, she does make her presence felt.

Soon after arrives a quintessential bhangra track with 'mauj-masti' written all over it. Though there are bits of Western influences here and there, it is the quintessential Punjabi flavour that forms an inherent part of 'Ting Rang'. Also, such has been the hold of Shahid Kapoor over this stage and setting that you almost associate the actor with a composition like the one that is heard here. However Ali Zafar makes the song as his own and though this one isn't the kind that would turn out to be a chartbuster outing, it adds on well to the packaging that he wanted to put together for London Paris New York.

The song that does manage to impress more though is 'Thehree Si Zindagi'. A love song which has the kind of lyrics that one does expect from an up market product like this, it is also elevated further due to the kind of sound that stays intact right through its five minute long duration. The longest track of the album, this one too is situational as well but has a heartfelt quality to it that hooks on the romantic in you. This time around Aditi Rao Hydari gets to croon for a much longer duration and though rough edges are quite audible, it is apparent that this is the way Ali Zafar wanted the song to remain to ensure believability.

What follows next surprises though because from a melodic setting, London Paris New York gets into a club mode with an element of trance and Sufi with contemporary urban elements interspersed in it. The ones who join Ali Zafar this time around are Sanam Marvi and Hadiqa Kiani, both from Pakistan. With an 80s touch to it, this song which goes by the title of 'Ooh Laa Laa' is an entirely different experience when compared to the namesake track that one had heard in Vidya Balan's The Dirty Picture. This one too is fast paced but instead of being a 'masala' outing that caters to the gallery, it instead pitches itself as a dance floor track. Not just that as Ali Zafar too gets into the rap-n-reggae mode, something that he hadn't done in the album so far or any of the other songs that he has sung for a Bollywood film so far.

The mood becomes dark soon after with 'Aaja' which is seemingly in the same mode as 'Tum Jo Mil Gaye Ho' [Hanste Zakham]. There are a couple of major differences though. While 'Tum Jo...' was a passionate love song, this one is about pain of loneliness. Also, though the start here is slow and sombre, the mood shifts a minute or so down the line with Sufi-pop taking over. From this point on it's the word 'Aaja' that holds most prominence with Ali Zafar also letting on the heat with the kind of arrangements that are fast, furious and (of course) passionate. This one should add on to the momentum of the film's narrative.

OVERALL

One thing which is quite apparent after listening through the score of London Paris New York is that Ali Zafar hasn't taken a (presumably) safe route of putting together an album that covers a wider market segment. Instead he has stuck to the theme of the film and barring an odd 'bhangra' number or so, he has attempted to come up with something that goes with the mood and theme of the album. Thankfully he hasn't changes his route drastically but still for a movie which doesn't pitch itself as a regular romcom, he manages to come up with a soundtrack that goes well with the narrative.

OUR PICK(S)

'London, Paris, New York', 'Thehree Si Zindagi', 'Oo Lala', 'Voh Dekhnay Mein'

Kahaani

EXPECTATIONS

You expect a good quality soundtrack from Kahaani. After all, it was Sujoy Ghosh and Vishal-Shekhar who had started it all with Jhankaar Beats and while the album grew on to be an anthem of sorts, comparisons were inevitable when they collaborated for Home Delivery and Aladin again. For Kahaani though any such comparisons are futile since this one has a different milieu, setting and situation. However what you do expect to hear is a soundtrack that won't compromise on the sound and would stay true to the film's theme

MUSIC

If there was 'Dilli' in No One Killed Jessica that had taken a fast-and-the-ferocious route exactly a year back, this time around it's the turn of Kolkata to unleash ferocity in Kahaani. It's the coming together of jazz, hard rock, R.D. Burman and Usha Uthup which makes 'Aami Shotti Bolchi' as an experimental outing that should elevate the graph of the narrative in Kahaani. Though predominantly in Hindi, there are tidbits of Bengali and English thrown in as well by lyricist Vishal Dadlani to make 'Aami Shotti Bolchi' a song that would go down well as the true theme song in the album.

'Alaap' at the beginning of 'Piya Tu Kaahe Rootha Re' catches one's attention because this is not really the territory that Vishal-Shekhar have been known for exploring. Alternating between the likes of Ra.One, The Dirty Picture and Anjaana Anjaani in recent times, each of which had an eye on contemporary urban or hardcore 'masala' style, they take a different route with 'Piya Tu Kaahe Rootha Re' which is a fusion classical track with a good blend of Western and Indian sensibilities and treatment. Javed Bashir gives full justice to Sandeep Shrivastava's rooted lyrics and despite this being a sad outing, he keeps the pitch up to make it a track that commands attention of the listener.

The song where one does get to hear Vishal-Shekhar for what they are known for most i.e. melody is the title song 'Kahaani'. A soft-n-smooth number where K.K. is just the right choice as a singer, 'Kahaani' brings a certain 'thehrav' to the album and continues to add on variety to the proceedings. A special mention for Vishal Dadlani's lyrics here that seamlessly blend the inner conflict of the protagonist with the setting of Kolkata that she is in, 'Kahaani' goes well with the theme and mood of the very title of the film.

Going well with RD Burman's style of composition as was evidenced in films coming from the house of Gulzar during the 70s and early 80s, 'Kahaani' also sees another solo version by Shreya Ghoshal who is clearly relishing her times behind the mike. Rest assured, if Pancham would have composed this song, it would have fallen straight into the lap of Asha Bhonsle. With Vishal Dadlani as the additional vocalist, there is a sense of totality that sets in for the song.

Anvita Dutt writes 'Tore Bina' which takes a listener back to the mood that had been created with 'Piya Tu Kaahe Rootha Re' a while ago. Yet another track that one won't necessarily associate with Vishal-Shekhar, this once again keeps the flag high for the album which is high on the quality quotient and offers one of the better theme based soundtracks in the recent times. Sukhwinder Singh also demonstrates once again that if and when he wants, he can truly break the shackles of being trapped in routine fun-masti-mazaa mode and can take a different route, as is the case here.

Last to arrive is Rabindranath Tagore's legendary Bengali track 'Ekla Chalo Re' that is rendered by Amitabh Bachchan. The actor who sparsely chooses his assignments as a singer and has made exceptions for Vishal-Shekhar (Aladin, Bbuddah Hoga Tera Baap, Bhoothnath) in the past goes all sober and mild for 'Ekla Cholo Re' which has been given a different spin by the composers. While the core spirit and movement of the song remains attached to its roots, it's the arrangements along with English portions by Clinton Cerejo that bring on a flavour that would be go well with the today's audience as well who haven't been exposed to Tagore.

OVERALL

It would be sacrilege to compare Kahaani with other soundtracks that are borne out of hardcore commercial requirements and take an expected conventional route. Sujoy along with Vishal-Shekhar resist the temptation of straying away and instead stick to the core theme by coming up with a soundtrack that keeps it close to Kahaani across the album. While this means that from commercial standpoint it would have to rely on the movie's theatrical run to make major impact in terms of physical sales/downloads, for the discerning audience who like their soundtrack to be meaningful as per the film's requirement, it is a treat.

OUR PICK(S)

Kahaani, Aami Shotti Bolchi, Piya Tu Kaahe Rootha Re

Will You Marry Me

EXPECTATIONS

It is easy to dismiss the soundtrack of a film which doesn't quite boast of superstars. However closer look at Will You Marry Me? reveals a couple of interesting facts that makes one curious to check out what the music has to offer here. First and foremost it has Sharib-Toshi along with Sachin Gupta as the composers here who have time and again scored whenever given an opportunity. Secondly, the director here is Aditya Dutt whose last film Good Luck may have been a forgettable affair but still holds the claim of making a film like Aashiq Banaya Aapne that gave Himesh Reshammiya a platform to be a huge sensation back then. Expecting that the magic is repeated with Aditya pairing up with new composers here, one plays on Will You Marry Me? which has lyrics by Shabbir Ahmed.

MUSIC

Thankfully the expectations aren't belied as Will You Marry Me? begins with a smash number in the form of 'Kalma'. Over the last few years Sharib-Toshi have managed to create their own identity and that is evident yet again in 'Kalma' as well which has a good fusion of Indian melody, Sufi flavour and Western arrangements coming in. Just the kind of song that Emraan Hashmi would have picked up for any given price, 'Kalma' is a good all around effort by the music team where Toshi Shabri also goes solo behind the mike to sing words written by guest lyricist Turaz. A perfect beginning that sees a well deserved 'remix' for itself.

What surprises is the presence of Rahat Fateh Ali Khan in the song that follows. For someone who is quite selective with his Bollywood assignments and usually sings only for top composers, Rahat picks 'Soniye' and gives the song it's right due. A sad number where Rahat is in the kind of mode that has made him so popular over the last few years, 'Soniye' arrives a little too early in the album though. While one would have expected this to be placed a little later in the album while allowing some other romantic or fun songs to pitch in much earlier, 'Soniye' (written by Shabbir Ahmed, Gaurav Dagaonkar, Sakina Khan) does manage to make it two out of two for Will You Marry Me? .

From this point on it is lyricist Shabeer Ahmed's show all the way and the first step in this direction is 'Superman'. Frankly, even though the song starts on a reasonably okay note, it starts fizzling out in a while as it starts seeming like a wannabe dance number that doesn't quite manage to hold on to it's own. Sukhwinder Singh, Jaspreet Jasz and Kshitij Tarey come together for this club track that should manage to hold audience's attention if supported by good picturisation but that's about it. Surprisingly the song arrives in the 'remix version' as well though one has to admit that its weakest part is ironically the point where the line 'We Are The Superman' arrives!

Next to arrive is Master Saleem's 'Danke Ki Chot'. A 'bhangra' track that doesn't really offer much variety, it still somehow manages to hold your attention to some extent at the least due to its very genre. Still, one would have expected this one to be one of the major highlights of the album, which sadly isn't really the case. Also, Master Saleem doesn't quite seem to be the best choice for the song though Shweta Pandit makes best of her stint behind the mike. Later even though Daler Mehendi is heard in the 'duet version', one doesn't quite end up falling for it.

Last to arrive is Sachin Gupta's 'Tu Ru Tu Ru Tu' which takes the album back to the melodic outing that it seemed once 'Kalma' and 'Soniye' were heard. There is a certain unique feel about Sachin's young voice and that is prevalent once again in 'Tu Ru Tu Ru Tu'. He is well complimented by Monali Thakur who also goes almost child like in this cute sounding love song that could have been placed earlier in the album. Okay, so this one may not be a chartbuster in the making but for the film's narrative to stay engaging, this song should add good value.

OVERALL

Will you Marry Me? is a decent album that would have to rely very heavy on it's couple of romantic numbers to gain good visibility for itself. Though the album does stray when songs like 'Superman' and 'Danke Ki Chot' arrive like an interruption. However once you are through with the entire album, it isn't really a bad idea to play 'Kalma' and 'Soniye' in a repeat mode.

OUR PICK(S)

'Kalma', 'Soniye', 'Tu Ru Tu Ru Tu'