Gori Tere Pyaar Mein Music Review

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Tracks: 9 (7 Original, 2 Remix)

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Lyricist: Anvita Dutt, Kausar Munir, Kumaar

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Music Director: Vishal-Shekhar

Vishal and Shekhar are in familiar territory here. And that familiarity is evident throughout the soundtrack. The first track, 'Tooh', sung by Mika, Mamta Sharma and Vishal-Shekhar, is a likeable track that's already on the charts. Next, is 'Dhat Teri Ki' rendered by Sanam Puri and Aditi Singh Sharma, a laidback track with the potential to be a catchy club hit.

Shankar Mahadevan and Shalmali Kholgade sing Chingam Chabake, a flirty track that sounds somewhat feminist (word-wise at least), with the chori chichori who is chhedoing the guy, full masti mein. This one, too, is on our charts. The romantic Naina, sung by Kamal Khan and Neeti Mohan, follows, evoking the right sentiments but stopping short of sounding sappy. Neeti's part brings an unexpected twist to the track. Dil Duffer has Nitesh Kadam and Shruti Pathak come together on a track that is breezy and stays with you. Moto Ghotalo has Sukhwinder Singh doing what he does best on a rustic track. He has Sanah Moidutty for company.

Perfectly up Singh's alley, the track is situational and fun with a Gujarati gaanv ambience. DJ Rishabh remixes Dhat Teri Ki and puts in sounds that renders the effort redundant. Kiran Kamath then remixes Chingam. Pointless because he follows it up with a mashup, something that's his stronger suit. With a lot of the expected and a few novel touches, Gori Tere Pyaar Mein! makes the right noises.

Verdict: Gori Tere Pyaar Mein! makes the right noises
Ratings: 3/5

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Ram-Leela Music Review

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Tracks: 10 (Eros Music)

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Lyricist: Siddharth – Garima

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Music Director: Sanjay Leela Bhansali

Probably the most coherent album to emerge out of Bollywood (thematically, at least) this year, Ram-Leela, almost makes you believe that Sanjay Leela Bhansali (SLB) has thoroughly enjoyed creating the music.

Starting out with Ang Laga De, sung by Aditi Paul and Shail Hada, the track has a haunting quality that stays with you long after the song ends. Dhoop, sung by Shreya Ghoshal, is high on poetry with a tinge of pining. The playful Ishqyaun Dhishqyaun, sung by Aditya Narayan, feels like the 90s all over again, reminiscent of the campy chhed-chaad songs we used to hear back then. And one means that in a good way. There's a rock-like interlude in between, before it reverts to the folksy. Aditya impresses but he has to be prepared for comparisons with his father, given that he sounds so much like Udit in parts.

Laal Ishq, sung by Arijit Singh, is one of those tracks that seem situational and moody, but has a for-all-times quality. The instrumentation on this one is top-notch. Lahu Munh Lag Gaya, sung by Shail Hada, is as Gujju as it gets, with the chorus getting us all nostalgic about Hum Dil De Chuke Sanam's Aankhon Ki Gustakhiyaan. The arrangement is decidedly different, but the essence still lingers.

Aditi Paul returns with Osman Mir, on Mor Bani Thanghat Kare, with words originally penned by Rabindranath Tagore. While it works for the most part, the instrumentation in the middle lets it down. Nagada Sang Dhol, sung by Shreya Ghoshal and Osman Mir, is a treat to listen to, but could well do without the hark-back to Dholi Taro.... Shail returns to solo singing duty with Poore Chand, and it's easy to see why.

Another sentimental track, you have to be in the mood to listen to it. Ram Chahe Leela has Bhoomi Trivedi rip into a track that sees SLB at his least derivative. With lyrics (by Siddharth-Garima) like "inka funda toh simple, goli maare to panga, aankh maaro toh pyaar" it's easy to not take it seriously, but it's a powerful track that has to be listened to, to be believed.

Tattad Tattad, sung by Aditya Narayan, is a cracker of a track, far more contemporary than its companions on this soundtrack. With folk and classical influences and doses of the familiar and surprising.

Verdict: Ram-Leela's an interesting mix.
Ratings: 4/5

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Raanjhanaa Music Review

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Tracks: 8

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Lyricist: Irshad Kamil

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Music Director: A.R. Rahman

The music of director Anand.L. Rai's movie "Raanjhanaa" has eight tracks. Since the movie is based in Benaras, composer A.R. Rahman has included the regional flavour in most of the tracks. Use of a lot of instruments in all the songs is also evident.

The soundtrack kicks off with "Raanjhanaa", a high on energy number. Sung by Jaswinder Singh and Shiraz Uppal, it is not exactly a sugarcoated romantic number but its rhythmic beats make you tap your feet and you may put the song on loop. The music is powerful and gives you goosebumps. It has a bit of a classical touch to it and the singers meet the expectations of the listeners.

Shreya Ghoshal's melodious voice greets the listeners in the next track "Banarasiya". With a lot of regional influence, it is soothing and soulful. The lyrics and the singer balance the song and raise the bar.

People can express their love even better with Javed Ali's track "Tum tak". Keerti Sagathia and Pooja Av join him behind the mike. A very beautiful romantic number, it is about one-sided love. It can be touted as one of the high points of the album.

Next is "Piya milenge". Sukhwinder Singh sings it beautifully. Even though it is not a sad song, it has intended or unintended dullness. Somewhere in the middle, a tinge of Sufi music comes in and it sounds nice. Towards the end, the song becomes very passionate and lyrics intense.

This is followed by "Aye sakhi", sung by Aanchal Sethi, Vaishali, Chinmayi and Madhushree. What sounds like a conversation between girlfriends, the song has a pure classical touch in the beginning but gradually blends into a Bollywood track. An average track, it may not live up to music lovers' expectations.

Singers Neeti Mohan and Rashid Ali compliment each other in the next track, "Nazar Laaye". A soothing romantic number, it has a kind of freshness. Not too loud or too slow, it creates a happy and romantic feel. The lyrics are cute and the song ends on a beautiful note.

The Rahman flavour is prominent in "Tu mun shudi". Sung by Rabbi and Rahman, it begins with hip-hop beats and has an element of funkiness. More like a "boys song", the unique number has an interesting composition.

The last track is "Aise na dekho" and Rahman's voice has never sounded more lovable. With the expressive song, the listeners can take a trip down memory lane.

Like any other album, the music of "Raanjhanaa" has few low points, but otherwise it is thoroughly entertaining. Romance is purified in every song and the album has the capacity to grow on the listeners. The use of various instruments has saved the album from becoming cliched love compositions. The music has undoubtedly taken over the singers and lyrics.

Verdict: Listen to it for a unique experience in expressing love.
Ratings: 3.5/5

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Gippi Music Review

Read the Exclusive Gippi Music Review by Nikhil Chandan

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Tracks: 5

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Lyricist: Anvita Dutt Guptan

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Music Director: Vishal-Shekhar

The album boasts of wide range of talent, musical duo Vishal-Shekhar have composed the songs sung by people like Udit Narayan, Sukhwinder Singh, Neeti Mohan, Hard Kaur and the duo themselves!

The album has a range of songs to appeal to all sorts of people. The stand out track is Pehn Di Takki, an upbeat, techno dance number along the lines of Disco Deewane. Vishal Dadlani lends his voice to this one, the Punjabi lyrics & the beats of the song will make this the next dance number!

Mann Bawra is another notable track - the music, the lyrics and the vocals connect straight to the heart. This masterpiece is sung by Shekhar Ravjiani, lovestruck souls are sure to connect to this one.

Another track worth mention is Baby Se Babydoll – it has a strong desi vibe. The lyrics are a mix of Bhojpuri, English & Hindi, paired with the funky music, this one keeps the party going! The blend of desi & contemporary makes this a song that is sure to stick in your mind.

Other tracks like Dil Kaagzi - that has a certain waltz-y feel – and We Are Like This Only – the unapologetically loud and in your face song – round off the album. The subtler beauties – Mann Bawra & Dil Kaagzi are what make the album stand out and take it to a whole other level.

Verdict: On the whole, you might not rush to the stores to buy the music CD’s, but it’s a great pick to stream & enjoy!
Ratings: 3/5

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Chashme Baddoor Music Review

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David Dhawan is coming up with "Chashme Buddoor" remake and he has roped in Sajid-Wajid to compose music for the new version. The duo has tried to reproduce the spunk of the 1980s!

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Tracks: 7 (5 Original, 2 Remix)

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Lyricist: Jalees Sherwani, Neelesh Misra, Kausar Munir

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Music Director: Sajid-Wajid

"Har ek friend kameena hota hai" is a satirical take on the popular mobile network jingle that states the exact opposite about friends. In the track, Sonu Nigam's voice is a refreshing change. It feels like a smooth journey with giggles galore, thanks to Kausar Munir's lyrics.

"Dhichkyaaon doom doom" opens with Ali Zafar singing the title words and you are transported directly to the sweet love of the 1980s. The track has such a running-around-tree-ambling-on-mountain feel to it, which Shreya Ghoshal accelerates even further. You fall in love with the song instantly ... go hear!

There is also another version of the song with Wajid adding his romantic charm to the track.

Next track is trip down Bollywood music's lane. Titled "Early Morning", the song would make you go all Raj Kapoor. Add to that Sonu's butter smooth vocals and Jalees Sherwani's contemporary lyrics, it is definitely memorable but not for long. This may be called the title track as the words, 'Chashme Baddoor' feature in the track.

The remix version of the track offers you rap, old world charm and contemporary beats - you cannot miss this one.

Next is "Ishq Mohalla", sung by Mika Singh. The song boasts characteristic orchestra from the era of Laxmikant Pyaarelal. The orchestra is so brilliantly done that it just might spread like a viral in the future baraats!

A song with a rock touch to it, 'Andha ghoda race main dauda' adds more fun to the album. A very different track when compared to the rest of the album, it serves as a good tail-ender for " Chashme Baddoor". Neuman Pinto does a good job behind the mike and takes the track to the league of "DK Bose".

Verdict: "Chashme Baddoor" as expected does not have a single dull moment and keeps you smiling through and through. Revisit the simple joys of the 1980s with this one!
Ratings: 3/5

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Dabangg 2 Music Review

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One can see that there is an obvious attempt by the makers to replicate musical situations from Dabangg as-is in the film's sequel as well. They don't even attempt to conceal this endeavor and this is the reason why 'Dagabaaz Re' is set in the same mode, situation and setting as 'Tere Mast Mast Do Nain'. Soft, smooth and soulful is how 'Dagabaaz Re' turns out to be, what with Sameer's lyrics pretty much capturing the small town feel with elements around 'Chulbul' thrown in as well. With a 60s feel to it, the song has Rahat Fateh Ali Khan and Shreya Ghoshal coming together for this less-on-instruments and more-on-melody song which is just the right recipe for those who were looking at Dabangg 2 carrying the Dabangg 2 legacy forward. Meanwhile Shadaab Faridi's voice can be heard intermittently in the song.

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Tracks: 8 (5 Original, 3 Remix)

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Lyricist: Sameer, Jalees Sherwani, Ashraf Ali, Irfan Kamal

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Music Director: Sajid-Wajid

In Dabangg, the song which was set in the 'police thaana' was 'Humka Peeni Hai'. In the sequel, the setting remains just the same though it is the turn of Malaika Arora Khan to join Salman in his escapades as he gets 'ready' for his 'seeti' act. With a ferocious start to it, 'Pandeyjee Seeti' is a quintessential UP-Bihar song written by Jalees Sherwani which has Wajid letting his hair down as the voice of Salman Khan. Reminding one of 'Chalat Musafir Moh Liya Re Pinjare Wali Muniya (Teesri Kasam, 1966)', the song has a folk base to it with Mamta Sharma and Shreya Ghoshal adding further spice to the proceedings. This isn't all as one also gets a hint of Govinda's 'UP Waala Thumka Lagaoon' from Hero No. 1. Though the song (also appearing in a 'remix') is quite fast paced and hardly has a breather to offer in those four minutes of play, one waits to see how it is picturised before being sure of its long life.

The kind of start that 'Fevocol Se' takes, one is rest assured that if Kareena Kapoor Khan goes the whole hog in the song then it has in it to be one naughty-n-seductive song that would go a long way. With Sajid-Wajid and Ashraf Ali's lyrics perfectly in synch as 'Munni Badnaam Hui', the song has Mamta Sharma singing just the way only she can, especially in the way she kick-starts rather seductively. Wajid is an ideal companion as well in this song which has everything from references like 'Aaja Mere Raaja' and 'Saare India Ko Tune Ghulam Kiya Re' to 'Tandoori Murgi' filling in those five minutes. A winner all the way, it has Keerthi Sagathia, Uvie and Shadaab Faridi being heard in the background with the 'remix version' further ensuring that this one would stay on for some good time to come.

There is 'thehrav' that comes in the form of 'Saanson Ne' which is undoubtedly the best of the enterprise. Easy on ears while taking forward the 'Chori Kiya Re Jiya' mood, it is yet another wonderful rendition by Sonu Nigam who is increasingly getting the best song on every album if trend over the year gone by is any indication. In fact this Irfan Kamal written song is the kind that can be comfortably placed in a repeat mode and enjoyed immensely. With Tulsi Kumar doing a very good job as well along with Sonu, this love song is a complete package that demonstrates once again the kind of hold that Sajid-Wajid have over Indian music.

The title track of Singham and Khiladi 786 have been based on 'Hud Hud Dabangg' and life pretty much comes back full circle for the entire team of Dabangg with the song appearing in its new avtar. Jalees Sherwani is the lyricist for Dabangg Reloaded which is all the more ferocious with a Western element added to the musical arrangements as well. Surprisingly though, Sukhwinder Singh keeps his energy in check for this and isn't as vociferous that one normally expects from him. Still, this title song (along with the 'remix') is the kind that should set the tone of Dabangg 2 and visually it should be as dramatic and forceful as one expects from the film.

Verdict: Dabangg 2 delivers as a promised
Ratings: 3.5/5

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Talaash Music Review

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For a suspense-thriller, the Talaash soundtrack is pleasantly bereft of brass-and-horns blaring spy music. After scoring the sparkling Delhi Belly and chiming in neatly for Aamir Khan's popular talk show Satyamev Jayate, composer Ram Sampath rustles up a gratifying soundtrack that enjoys circling around love rather than hover around mystery.

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Tracks: 6 (5 Original, 1 Remix)

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Lyricist: Javed Akhtar

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Music Director: Ram Sampat

The seductive, lingering ambience of Muskaanein Jhooti Hain doffs a hat to the crime noir OSTs via a simple yet charming tune. Deep notes of an upright bass set the tempo for a jazzy, bluesy slow jam, fired up by Suman Sridhar who sounds like a foxy enchantress. Many may feel the mood mirrors Mikey McCleary's Bartender 'Bollywoodreinvented' songs, but Ram sprinkles enough minor notes and smoky synths to cue this one into the whodunit genre. Javed Akhtar's fine lyrics provide the icing: Kal inhi galiyon mein...In masli kaliyon mein...Toh yeh dhoom thi; Jo rooh pyaasi hai... Jis mein udaasi hai...Woh hai ghoomti; Sabko talaash wohi... Samjhe yeh kaash koi. At 3.20 minutes , it ends sooner than you'd want it to but is still the zaniest of the lot.

Hona Hai Kya is the lone 'suspenseful' number, almost screaming out its need to be mysterious. The electronica arrangement though stylishly pulled off may seem a tad overbearing for some, and there's more than a fleeting resemblance to snatches from Shankar-Ehsaan-Loy's Don. Ram's vocals are effective but there's little intrigue in this one to keep you coming back for more. The vibrant Jiya Lage Na sounds eclectic in its expansive atmosphere of a free-flowing bandish tempered with racy electronica. Sona Mohapatra sounds endearing as always, Ravindra Upadhyay puts up a cool show and Akhtar's pen lends voice to the longing: Main muskaoon, Sabse chhupaoon, Vyakul ho din-rayn ...Kab se naa aayi naino mein nindiya, Mann mein na aaya chain.

Soft keys, bass and guitars hum a melody of lovesick wistfulness in Laakh Duniya Kahe, which charts a route similar to Delhi Belly's Tere Siva. But the sincerity in Ram's voice and a charming chorus is what takes this standard soft rock ballad a notch higher. Javed Akhtar's lines come off like a lyrical sequel to Tum Ho Toh from Rock On!! but are soothing nevertheless: Laakh duniya kahe, Tum nahin ho...Tum yahin ho, Tum yahin ho.

Again, Jee Le Zaraa is your regular, dime-a-dozen indipop fare that stands out mostly for Vishal Dadlani's smoothly-jagged vocals. The lyrics are an uninteresting spiel on how your heart is asking you to 'live' life, while the remix is strictly passable.

While it's tough to deftly follow up a refreshing, trend-bending album like Delhi Belly, Ram stacks up a sleek, above par track-list for Aamir's next.

Verdict: There may not be standouts here and yet there is much to indulge in, if good music is what you are in Talaash of.
Ratings: 2.5/5

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Jab Tak Hai Jaan Music Review

The beginning of the album does throw you in an unfamiliar zone though with 'Challa'. Just when one expected 'santoor' to be doing the trick (something which is expected in a Yashji film, especially since the time when he collaborated with Shiv-Hari three decades back), it is actually a guitar on the forefront. Rabbi Shergill is the chosen one and though one would have still adjusted to his voice if it was for a montage sequence, it is surprising to actually see Shahrukh Khan lip-synching on him. Yes, the music is indeed very catchy (which is a relief) but the heavy duty lyrics as well as peculiar singing style of Rabbi does take time to settle in.
Read the Exclusive Jab Tak Hai Jaan Music Review

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Tracks: 9

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Lyricist: Gulzar

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Music Director: A R Rahman

The way 'Saans' begins, listener is taken into the Yuvvraaj zone, what with the pace being extremely slow and Shreya Ghoshal required to take her own time stressing on 'saans' before coming to the point. In fact in a strange way one is also reminded of (hold your breath!) Nadeem Shravan's 'Itna Bhi Na Chaho Mujhe' from Saif Ali Khan-Pooja Bhatt's long-in-the-making-and-forgotten film Sanam Teri Kasam. In fact 'Saans', with Mohit Chauhan as Shreya's partner turns out to be its much slower version and though it does come on its own in the 'antara' portions, it doesn't quite throw in the kind of results one would have expected from a Yash Chopra musical. Later there is a two minutes 'reprise version' of the song featuring as well but since the original itself doesn't create much impact, one doesn't quite long for revisiting it.

By the time 'Ishq Shava' arrives, one ends up wondering if A.R. Rahman was asked to basically compose his style of music with Yashji actually taking a backseat. Reason being that this number doesn't have any trace whatsoever of the kind of legacy that Yashji carries. Even on repeated listening one fails to find the legendary director anywhere in the compositions so far and that's a pity because when it comes to a film from the house of THE Yash Chopra, expectations are that of some vintage stuff in the offering. However this Raghav Mathur and Shilpa Rao song is hardly that and could have been a part of just any film.

Just when one thought that Jab Tak Hai Jaan wasn't quite an album that one expected it to be arrives 'Heer' which is a beautiful composition by Rahman. Yet another Punjabi number, it has Harshdeep Kaur doing quite well in this happy-sad rendition which has a folk flavour to it. A smooth flowing number, it only becomes further soulful in the 'antara' portions and pretty much transports you into the world that one looks forward to stepping in for this film. This is one song which has in it to rule in the charts once the film turns successful at the box office.

Neeti Mohan is the chosen for the dance number 'Jiya Re' which sounds like the one that would fit in Anushka Sharma's effervescent personality. Though yet again one does feel that it doesn't quite carry a 'special' tag that one had been looking for in each and every song coming out of Jab Tak Hai Jaan, it still manages to hold on its own. Having said that, one has to hear the song multiple times to get a hang of it and still it can't be said with utmost certainty that it would turn out to be a chartbuster in the offering.

Title song 'Jab Tak Hai Jaan' arrives quite late in the day and yet again the beginning portions do remind one of the kind of sound that Yuvvraaj carried. The song begins in the vocals of Javed Ali and while the start is slow, there is a rhythmic flow that it acquires as it proceeds. Though Shakhtisree Gopalan's entry into the song at the two minute mark is rather abrupt, one just hopes that in the film's context it does aid in giving the film's narrative some smooth flow. However it has to be added that for a title song of one of the biggest films to have come out of Bollywood, this one doesn't quite cover the distance.

A three and a half minutes 'instrumental' piece 'Ishq Dance' could well have been the 'The Dance Of Envy' [Dil Toh Pagal Hai] moment of the album. However (and ironically), it comes across as a mix of Helen's dance number from The Great Gambler (remember the 'secret code dance film' sequence at Prem Chopra's den?) and 'Hothon Pe Aisi Baat' (Jewel Thief). One just hopes that the dance moves on screen are enticing enough to elevate this instrumental's perspective.

The conclusion is quite good though with Shahrukh Khan rendering the poem 'Jab Tak Hai Jaan'. In fact this is the only song where one experiences vintage Yashji in action where right from Gulzar's lyrics to Shahrukh's voice modulation to Rahman's arrangements justify the entire team coming together to create something magical. Expect this one to be huge, especially after the film's release.

Verdict: Jab Tak Jai Jaan turns out to be a mixed bag
Ratings: 3/5

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Son Of Sardaar Music Review

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The album kick-starts on a high note with the title song 'Son Of Sardaar'. With addictive beats bringing the song on course in the very first minute, this Hinglish number written by Shabbir Ahmed has been given an out and out 'bhangra' treatment by Himesh Reshammiya who also comes behind the mike along with Aman Trikha. With a folk base to it, the song starts off quite well but has an uneven pace to it due to which it doesn't become the crackerjack number that one would have expected at the very beginning. Still, just the sound of three key words - Son of Sardaar - does manage to get the song and it's 'remix' noticed.

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Tracks: 11 (7 Original, 4 Remix)

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Lyricist: Shabbir Ahmed, Sameer, Irshad Kamil, Manoj Yadav, Ashwani Dhir

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Music Director: Himesh Reshammiya, Sajid-Wajid, Sandeep Chowta

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Singers: Aman Trikha, Himesh Reshammiya, Mika Singh, Bhavya Pandit, Yo Yo Honey Singh, Vikas Bhalla, Aman Trikha, Vineet Singh, Mamta Sharma, Rahat Fateh Ali Khan, Ajay Devgn

The song that does turn out to be a notch above is Sameer written 'Rani Tu Mein Raja' and it's 'remix version'. Starting off quite well with Yo Yo Honey Singh putting his rap to good effect here, the song gets on track without wasting a single moment, what with Mika Singh rendering it at his energetic best. A rhythmic number with a good touch of melody to it, 'Rani Tu Mein Raja' is further enhanced by newcomer Bhavya Pandit who brings in the right blend of fun-n-naughtiness in her voice which goes well with the song's fun quotient. Also, it is clear that Himesh has been inspired by Lakshmikant-Pyaarelal School of music here.

Lyricist Shabbir Ahmed returns with 'Po Po' and on just reading the credits one does wonder what the song would indeed have to offer. As it turns out, 'Po Po' continues the Punjabiyat of the album with Hindi-English-Punjabi combo put to good use here. A quintessential 'desi' dance number which is high on energy and is poised to find its way in celebrations at North Indian households as well as discotheques/clubs, it has Vikas Bhalla, Aman Trikha and Himesh Reshammiya clearly having fun while singing at a high volume.

The song that follows pretty much seems like an extension of 'Po Po' with the tune being varied just a little. 'Tu Kamaal Di Kudi' written by Manoj Yadav has a similar celebration feel to it and Vineet Singh along with Mamta Sharma can pretty much be visualised dancing to this one even inside the studio. While the song manages to hold your attention and also convey loud and clear that the idea behind the soundtrack of Son Of Sardaar was to keep the tempo high right through its duration, one does end up wondering whether the film would actually fit in so many 'bhangra' numbers one after another in its running length!

Well, one does get the answer with 'Bichdann', a song which is clearly the best bet of the album. A vintage Himesh Reshammiya number, 'Bichdann' starts with Ajay Devgn rendering a couple of lines before Rahat Fateh Ali Khan takes over. A soulful number boasting of some very good arrangements, 'Bichdann' is a beautifully composed, written (by Sameer) and sung that also manages to bring certain 'thehrav' in the album. If you have liked the songs of 'Ahista Ahista' and 'Kajraare', this is the one (along with 'reprise') for you. It has the potential to cover the kind of distance that 'Main Jahaan Rahoon' [Namastey London] did.

The mood is sustained with Irshad Kamil written 'Yeh Jo Halki Halki Khumariya' which continues from where 'Bichdann' left with Rahat Fateh Ali Khan continuing to be in good form. This one sounds like a much easygoing version and has a much more romantic feel to it than being pensive. A Sufi number with a slight Western touch given to as well, 'Yeh Jo Halki Halki Khumariya' has a good melodious touch which should ensure a good success in the long run. Meanwhile one waits to see how this is incorporated in the film.

An experiment that doesn't quite all the way though is Ajay Devgn's narration of 'Kabhi Kabhi Mere Dil Mein Yeh Sawaal Aata Hai' which has dominated the film's promotion for months now. While lyricist Ashwni Dhir's hailing of Sardars has made a very good impression when heard in the film's promos, Sandeep Chowta's 'Funk' version and 'House Track Trance' version in the album doesn't really make the desired impact. In fact it would have been retained as-is, the overall effect would have been much better.

Son Of Sardaar lives up to its promise of a high-on-energy soundtrack with not many dull moments in its 50 odd minutes duration. While the entire album has a North Indian flavour to it (as expected) with 'bhangra' numbers dominating it all through, there are a couple of Sufi numbers that add on to the 'paisa vasool' element. Moreover the songs are also expected to do quite well in the context of the film and even though they may not come with a 'memorable' tag, they do well to ensure that the screen indeed lights up when they play on along with the film.

Verdict: Son Of Sardaar lives up to its promise of a high-on-energy soundtrack with not many dull moments in its 50 odd minutes duration
Ratings: 3.5/5

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