NDTV Music Reviews

8x10 Tasveer

Mon, 23 Mar 2009 14:51:18 GMT

Riding high on the success of Fashion and Rab Ne Bana Di Jodi, the musical duo of brothers Salim and Sulaiman Merchant are ready with the soundtrack of Akshay Kumar-starrer 8x10 Tasveer and they seem to have brought together quite a different genre. They have also presented a mix of both fast-paced peppy numbers and free-flowing, soft melodies. The first song Aaja maahi, crooned by Neeraj Shridhar and Tulsi Kumar, starts with a western feel and English lyrics. Even though the words lack punch, the song is melodious and worth listening. The remix version of this song adds nothing but beats to the original. Up next is Haafiz khuda, which has all the qualities to win listeners' hearts with its soulful, melodious music and free-flowing vocals by Mohit Chauhan. In this number, Mohit is joined by Tulsi Kumar behind the mike. The rendition is bound to make listeners sit up and take notice. Haafiz khuda too has a remixed version, but the original is more appealing. An Akshay Kumar film and a rap number seem to go hand in hand these days. After teaming up with Bohemia in Chandni Chowk To China, the actor has shared vocals once again with the US-based hip-hop and rap star in 8X10 Tasveer. The song I got the picture is a peppy number with the same feel of the rap song in Chandni Chowk.... The remix of the same track, which is high on beats, is sure to be a hit on the DJ consoles. Kuchh is tarah, which is once again in Mohit Chauhan's and Tulsi Kumar's voice, is a hummable number that pulls one's heart strings. Soothing to the ears, this romantic track brings out the best in Chauhan. The remix version too doesn't disappoint with appropriate musical arrangements. Easily the best song of the album, Nazaara hai sets the adrenalin pumping with its strong musical backing and powerful vocals by Vishal Dadlani of the composer duo Vishal and Shekhar. The number is soaked in the flavour of rock music. The predominance of the electric guitar, especially in the middle of the song, makes it a sure shot hit with music buffs. The remix of Nazaara hai is average, nowhere close to the original. On the whole, Salim-Sulaiman have kept up their good work in 8x10 Tasveer and are definitely emerging as one of the best in the business. �

Aa Dekhen Zara

Thu, 26 Feb 2009 10:59:35 GMT

When it's Pritam Chakraborty, an album high on musical arrangements is inevitable. His latest offering Aa Dekhen Zara sounds contemporary but it lacks experimentation despite the composer having collaborated with Gourov Dasgupta of Dus Kahaniyan fame. The first song, Aa dekhen zara, a modern take on the 1981 classic by R.D. Burman has two versions in the album. The first one is more of a high-energy dance number where actor Neil Nitin Mukesh goes behind the mike, following in his grandfather's and father's footsteps. While his vocals are worth notice, the song fails to come anywhere close to the original. It sounds more like a remixed track. But the lounge version of the song crooned by Dibyendu Mukherjee and Shweta Vijay is attention-grabbing and engaging. While both versions are recreated by Gourov Dasgupta, the second one is authentic and out of the box because its soothing arrangements make it hummable. Pritam combines Western and Indian influences in Gazab. Sunidhi Chauhan sings in her trademark style along with Shaan. The song is ordinary and falls flat. The song also has a club mix, which is equally boring. Remixed by DJ Sanj, it is nothing but a package of unnecessary instrumentation adding only to the noise factor. Mohabbat aapse is easily the best song in the album. Composed by Pritam, the romantic track is sung by Akriti Kakkar. It has an indi-pop touch and impresses with its breezy sound arrangements compared to other songs. Next is Power, which is not good enough to hold the listener's attention for long. Dasgupta's composition is far from entertaining and doesn't touch a chord. A highly disappointing number. The club mix of the song is no better. Next is Rock the party, a purely club number that exudes a heard-before feeling. Sunidhi and Shweta sing the track that reminds one of the many disco songs in the past. Though the instrumentation is good, the song doesn't show any indication of becoming a favourite among music buffs. To sum up, Pritam could have done a much better job. It's time for the composer to reinvent and bring some fresh sounds to his albums.�

Death Magnetic

Wed, 24 Sep 2008 13:21:45 GMT

Believe it or not, Metallica is very far from dead. Chipping its teeth on the punishing thrash it helped give birth to, Metallica regresses in the best way on the highly anticipated Death Magnetic. Following 2003's painfully weak St. Anger and a self-obsessed documentary (Some Kind of Monster) which alienated longtime fans, James Hetfield, Lars Ulrich and Co. are more metal here than they've been since 1988's And Justice For All. Parting ways with longtime producer Bob Rock, who took them mainstream, helps. Rick Rubin, who revitalised several veteran acts, from Neil Diamond to Johnny Cash to the Dixie Chicks, has stepped in and breathed new life into the band. Is Death Magnetic on par with Metallica's classics? No, but this is as close as they'll ever come to the epic songs they once churned out with ease — only two of the ten tracks on Death Magnetic clock in at under seven minutes. Disc opener That Was Just Your Life kicks off softly with shades of Welcome Home) Sanitarium before exploding with a trademark Hetfield staccato riff. From there the thrash and complex arrangements just keep coming in waves. The End of The Line is a bit political (No consequence machine/Burn through all your gasoline) but blisters the ears throughout. Same goes for Broken, Beat & Scarred, Cyanide, The Judas Kiss and All Nightmare Long. They showcase their 1990s persona with The Unforgiven III and The Day That Never Comes and overpower with a nearly 10-minute instrumental, Suicide & Redemption. After keeping Kirk Hammett's lead guitar on the shelf for St. Anger (how could they NOT use him?) his shredding, dynamic solos remain otherworldly. And then there's Ulrich, whose drums are once again thunderous, and Trujillo's bombing bass holds it all together. The lyrical scope attempts a backward leap to Hetfield's cryptic 1980s approach, but it meanders a bit and doesn't contain one truly soaring moment. However, with an assault unlike any they've offered in 20 years, complaining about that seems like crying over spilled milk. Is this a brief eruption in what has been a 15-year downward trajectory? Perhaps, but the fiery signs of life on Death Magnetic could go a long way to helping Metallica reclaim its rightful place among the metal elite. For the shortest snapshot of Metallica's rebirth — at a breezy five minutes — disc closer My Apocalypse evokes memories of classics such as Blackened and Damage Inc.�

Ek - The Power Of One

Mon, 16 Mar 2009 10:12:37 GMT

Music buffs always expect something extraordinary from the man who created popular numbers like Bheegi bheegi (Gangster), Dhoom Machale (Dhoom) and Marjaani (Billu) among others. But composer Pritam Chakraborty seems to be losing his magical touch if one were to go by the album of Ek - The Power Of One. Bang Bang crooned by Rana Mazumdar starts well with a heavy dose of electronic sounds. The song sets the mood and keeps it intact till the end. Powerful singing and strong musical arrangements make the track a good hear. Like most Pritam soundtracks, Sambhale is soaked in Punjabi flavour. The song, which has singers like Sukhwinder Singh and Sunidhi Chauhan behind the mike, has a long prelude but picks up well. However, the number offers nothing new and fails to reach the standards set by earlier compositions of Pritam. Sona Lagda with Shashwati's honey-tucked voice instantly gives a heard-before feeling. Lack of experimentation makes the song very ordinary. It's not something that will stay with listeners for long. Up next is the remixed version of Sona Lagda in the same singer's voice. This version adds nothing to the quality of the original and falls flat in its attempt to become a chartbuster. The last song of the album, Tum saath ho, has a distinct resemblance to Pritam's earlier composition Tu hi meri shab hai from the film Gangster. This romantic number is aptly sung by Abhijeet and Shreya Ghoshal. But once again there is nothing fresh that the song has to offer. It is just a regular mushy track that every other album has nowadays. On the whole, the five-song soundtrack of Ek - The Power Of One, which stars Bobby Deol and Nana Patekar, fails to impress and doesn't have anything special to look forward to. The tried and tested formula of using particular genres in the soundtrack doesn't work too well for this album. The lyrics are average and so are the musical arrangements. �

Gulaal

Wed, 04 Mar 2009 09:44:52 GMT

Filmmaker Anurag Kashyap's latest offering Gulaal boasts of thought-provoking renditions. The songs are different, original and have substance. The album is a heady cocktail of diverse genres and innovations. Aarambh, a song soaked in the expression of revolution, sets the adrenalin pumping with its fast pace and hard hitting vocals by Rahul Ram. The musical arrangements are Indian to the core with the sounds of sitar, tabla, trumpets and bells dominating the number. This is not the kind of music you will hear every day. The highlight of the next song Aisi Sazaa is the deep and enchanting voice of Shilpa Rao. The composition touches a chord and stays with the listener for long. The use of thunder and rain add to the song's mood. This poignant rendition is sure to create a niche for itself. Rekha Bharadwaj is up next with Beedo, an energetic rustic song with the feel of a mujra. The song might not become a chartbuster but is surely worth listening to. Next comes Duniya, which can be called a rare work in terms of treatment. Piyush Mishra takes over the vocals too in this number and does a good job with his baritone voice. It has a classical touch and is impressive. Raat ke musafir gives us music that we haven't heard in years. It is a haunting number that lets the singer's voice take centre-stage. The song rides high on the powerful yet seductive vocals by Rahul Ram. Raat... is what brilliant compositions are made of. Like Beedo, Ranaji too explores the folk genre and falls in the category of a mujra. But this one is contemporary and wacky. With unusual lyrics and some brilliant singing by Rekha Bhardwaj, the song will surely attract attention. Up next is Shehar, the longest track of the album, which is categorised by lovely vocals, sparse music and a revolutionary mood. A good effort by Piyush Mishra yet again. Yaara maula is a classic. Rahul Ram, Piyush Mishra and Aushim have gone behind the mike for the song that has a strong background score without using too many instruments. The number picks up tempo and string instruments are introduced at a later stage. On the whole, the music of Gulaal is thoughtful and a welcome break from remix numbers stuffed into most albums today. An experimental soundtrack, the composer deserves kudos for creating compositions different from the routine.�

It's Not Me, It's You

Wed, 11 Feb 2009 16:31:27 GMT

Two years ago, Lily Allen was a pixie-faced singer whose saucy, reggae-ish pop debut album Alright, Still nabbed her fame, fortune and competition with fellow U.K. rebel Amy Winehouse. Now, following a clothing line, TV show and tabloid fodder (from drunken episodes to a publicised miscarriage) the 23-year-old Allen is back. She's still all sharp-tongued wit, but with an adult edge. Written and recorded by Allen and producer-keyboardist Greg Kurstin (The Bird and the Bee), It's Not Me, It's You is a blend of beat and piano-based dance-pop and darker lyrics. The album may not have the straight zing of her cheeky hit Smile, but its 12 tunes radiate clubby catchiness. Allen still touches on subjects ranging from weight to bad sex and relationships, but also tells off the paparazzi and contemplates God. The Fear, an electro single about ravenous media attention, showcases Allen at her best: sassy, funny, descriptive and a bit naughty. I'll take my clothes off and it will be shameless/ Cause everyone knows that's how you get famous/ I'll look at The Sun and I'll look in The Mirror/ I'm on the right track and I'm onto a winner, Allen sings in her classic sweet vibrato, snapping at various British papers. The nouveau-feminist ditty 22 swings on finger snaps and circus-sounding organ reminiscent of the Beatles' Sgt. Pepper's Lonely Hearts Club Band. Allen bemoans how a single woman almost 30 is viewed by society, repeating, There's nothing to do and there's nothing to say/ Til the man of her dreams comes along, picks her up and puts her over his shoulder/ It seems so unlikely in this day and age. Love itself continues to be a squeaky roller coaster in Allen's world, from I Could Say breathing sighs of relief after a break-up to Western-flavored Not Fair lamenting a man who can "never make me scream" in bed. Joan Osborne mused about God having humanlike qualities in her 1995 hit One of Us, but Allen's Him delves into more irreverent territory, asking if God has ever taken cocaine or been suicidal. This melodic tune breaks the mold of Allen's previous manifestos.�

Lay It Down

Wed, 28 May 2008 17:30:02 GMT

If Al Green's Lay It Down sounds familiar, it should. Much like his 2003's comeback CD I Can't Stop, this is a homage to and re-creation of Green's '70s glory days. That's when the quintessential love man, with producer Willie Mitchell, delivered classics like Let's Stay Together, and Call Me that inspired millions. The intentions are good. Green's vocals are still sanctified and sexy. The mournful title track and No One Like You shout out to Green's 1972 gem Love And Happiness, and the proliferation of Hammond B3 organs makes this an old school dream, which is part of the problem. While no one is expecting Lil Wayne on the hook, the participation of stylists like Thompson and Poyser along with fellow acolytes John Legend and Anthony Hamilton (who almost steals the jazzy You've Got The Love) implied that Green's trademark sound might be guided into a new direction. Not doing so doesn't make Lay It Down any less soulful. It just makes it a bit too safe. Buoyed by guitars with a juke joint twang and a finger-popping chorus, Green preaches about the transcendent power of love in Standing in the Rain.�

Sikandar

Tue, 10 Mar 2009 10:37:33 GMT

Director Piyush Jha's Sikandar has a soundtrack that has woven together different influences - Sufi, folk and even soft rock - as it brings together several composers and lyricists. Produced by Sudhir Mishra, Sikandar is set in Kashmir and stars Sanjay Suri, R. Madhavan and child actors Parzaan Dastur and Ayesha Kapur. The film's music is definitely impressive but only in parts. Allah hoo, a song with a Sufi flavour composed by Justin-Uday, is sung well by Yash Narvekar and Hrishikesh Kamerkar. The track has its promising moments but can get quite monotonous. Up next is Arzoo rendered by Mehrajuddin. More of a poetic narration than a song, it has negligent musical arrangements. Crooned by Kamerkar and Hamsika Iyer is Chaal apni, which is a decent hear. The playful song has been composed by Justin-Uday and penned by Kumaar. With a folk feel to it, this melodious number is quite hummable. Shankar-Ehsaan-Loy have created a terrific track in Dhoop ke sikke. Anushka Mani gives ample support to Shankar Mahadevan in this song, which is an amalgamation of Indian and Western influences. Prasoon Joshi has written some beautiful words for the track, which has the signature stamp of the composer trio on it. Gulon Mein has two versions. The serene one has soft rock style of music arrangements and has Mohit Chauhan behind the mike. Justin-Uday prove their capability with this number that is free flowing and soothing to the ears. The upbeat version created by composer Sandesh Shandilya and sung by KK is peppier. KK does a great job with the vocals and this can easily be called the best track in the album. The next song is Manzaraat, which is quite low on melody. The only thing going for this track is the vocals by Shilpa Rao. Despite being high on beats, "Manzaraat" may not impress too many listeners. On the whole, while a few numbers of Sikandar are really good, the others fall flat. It fails to live up to the great music one usually gets to hear in Sudhir Misra's films. �

Slumdog Millionaire

Tue, 13 Jan 2009 11:25:11 GMT

A.R. Rahman has worked on many international collaborations in the past, but other than the fact that his soundtracks make big news, they haven't broken so many records ever. Slumdog Millionaire is not just a versatile album but also an experimental one, as can be seen from the opening number Ringa Ringa - which is based on the rhythm of Choli Ke Peeche Kya Hai. Set in a brothel, Ringa Ringa hardly leaves anything to the imagination and one feels, had it not been for an A-grade international project, the song would not have even reached beyond the Indian censorboard. Jai Ho is the flagship number of Slumdog Millionaire. Now that the album has won a Golden Globe, Subhash Ghai will be certainly cursing his luck that he allowed this track from Yuvvraaj to be handed over to Slumdog Millionaire. Boasting of an amazing mix of melody and rhythm, the composition of Jai Ho is Indian at heart. No wonder, it is the promotional song of the film. The lyrics of Gulzar have successfully infused the spirit of love and life in the track and there's surely every bit of spirit in it that justifies the awards it has received. O Saaya is a background theme that helps in speeding up the pace of Slumdog Millionaire with its sheer energy. Heavy on orchestra, O Saaya moves at a fast pace and is the kind that has to be heard on a high volume to get the right effects. A few theme pieces follow next. Years ago, Rahman had composed Bombay Theme in Mani Ratnam's Bombay. And once again in Slumdog Millionaire we get reminded of the same dark yet powerful theme. Mausam - Escape is a fusion of Indian and Western classical sounds. It's a track with quite a range full of music notations that adds in heightening the impact of the narrative. The best track of the album comes in the form of Latika's Theme. It opens on a lively note shifting a one that is even more euphoric. Next comes Millionaire - a club track that is ideal for playing out loud and jiving along. Gangsta Blues is a haunting yet intriguing number that reminds one of the soundtrack of Snip, which was made close to a decade back. The concluding track Dreams On Fire is a soft and sensitive number and Rahman once again reveals why he is the chosen one by many international filmmakers. To sum it up, Slumdog Millionaire is an excellent album that deserves all the applause and accolades it has been collecting internationally. Basically, a theme album with most of the tracks being background pieces, it never makes you miss the need of any spoken words. Three thumbs up!�

The Declaration

Wed, 04 Jun 2008 11:25:08 GMT

At first glance, Ashanti seems to have the ingredients needed to be a legitimate, top-tier R&B diva: the designer-clad look, a platinum-selling pedigree and a resonant, if not booming, voice. But big name soul sisters such as Mary J. Blige, Mariah, or Beyonce need not look over their shoulders. Despite Ashanti's attributes, it's hard to identify what sets her apart. On her fourth solo album, The Declaration, Ashanti operates without frequent collaborator Ja Rule or her former mentor/producer Irv Gotti. Instead, she attempts to assert her own identity. Yet the disc doesn't manage to break any new ground, with Ashanti singing mainly over unremarkable contemporary R&B tracks about her own good loving and cheating boyfriends. The single, The Way That I Love You and its revenge fantasy video shows Ashanti's potential, with the track's tumbling piano notes and her belted vocals that exhibit believable anguish. But the woman-scorned sentiment grows tiresome when revisited on the synth-pop of Your Gonna Miss and again on the anthemic high-pitched keys of the Rodney Jerkins-produced So Over You. Meanwhile, her forays into sexy-soul territory (Good Good and Body On Me with Akon and Nelly) seem to undermine the good-girl balladry (Mother and Shine tacked on near disc's end. On the disc's intro she states, "I'm declaring me." But next time out, she'll need to dig deeper to reveal a more evolved Ashanti. �