Music Review: Kalank (2019)


Kalank
Directed byAbhishek Varman
Produced byKaran Johar
 Sajid Nadiadwala
 Hiroo Yash Johar
 Apoorva Mehta
Written byHussain Dalal (Dialogue)
Screenplay byAbhishek Varman
Story byShibani Bathija
StarringMadhuri Dixit
 Sonakshi Sinha
 Alia Bhatt
 Varun Dhawan
 Aditya Roy Kapur
 Sanjay Dutt
Music bySongs: Pritam
 Score: Sanchit Balhara &  Ankit Balhara
Lyrics ByAmitabh Bhattacharya
CinematographyBinod Pradhan
Edited byShweta Venkat Mathew
Production CompanyFox Star Studios
 Dharma Productions
 Nadiadwala Grandson Entertainment
Distributed byFox Star Studios
Release date 17 April 2019
Running time 166 minutes
CountryIndia
LanguageHindi

It is 2019, the audience is starved for original music; the current craze of music is defined by oddball remixes. There is rarely an album that gets released that doesn’t have at least 90% remixed oldies and the other 10% beat-based songs that sound like remixes already, there is loads of new talent, but are they making something worthwhile, something that will be remembered way beyond the films releases. Are the new actors / actresses going to carry their legacies through remixed oldies?

We should thank the likes of Pritam Chakraborthy, Vishal-Shekhar, A. R. Rahman, Amit Trivedi and a few other music directors who refuse to commit multi composer films; heard the phrase ‘Too many Cooks, spoil the broth’? Ultimately this is what will carry the Bollywood legacy forward, we need heart and soul, not flashy glamour.

Once Such Album, full of heart and soul is Kalank, that just released this past weekend. With the film coming up this week, viewers have been teased and tantalised with the sounds and visuals of the film. It looks and sounds gorgeous, epic!

Filmmaker Yash Johar’s fifteen-year-old dream project ‘Kalank’ had been revived by his son Karan Johar in early 2018; which has been directed by Abhishek Varman of ‘2 States’ fame. The multi-starrer will star the much-loved ‘Saajan’ jodi of Madhuri Dixit and Sanjay Dutt , current crazes Alia Bhatt and Varun Dhawan beside Aditya Roy Kapur and Sonakshi Sinha.

Kalank’ is an epic emotional historical drama set in the 1940s and goes beyond borders. Karan’s father Yash had reportedly been hands-on with the research on the project as he was rumoured to have even travelled to Lahore to create a Pakistan from the ’40s. While Shibani Bathija has written the story, Abhishek has written its fluid narrative and screenplay. At its initial launch the the film was supposed to star Shah Rukh Khan, Rani Mukerji, Ajay Devgan and Kajol. However, things didn’t work out.

KJo also mentioned in his Instagram post that Kalank was a dream project of his father. Sharing the first look of Kalank, Karan wrote, “A film that was born in my heart and mind 15 years ago….a film I passionately believe in…the last film my father worked on before he left us….it was his dream to see this film come through….I couldn’t fulfil his dream then….my spirit was broken….but today his wish has found a relationship with celluloid….the story of turbulent relationships and eternal love has found a voice….the film has been woven, nurtured and visualised by Abhishek Varman….and the film Is Kalank!” With such a huge and celebrated star cast and an epic story, an epic soundtrack was necessary to fulfil this dream.

Pritam has had a dream run at Dharma Productions, with two of his soundtracks staying at the top the charts with great original music that has set his bar quite high in terms of composition, relatability to the common person and the quality of his compositions. “Yeh Jawani Hai Deewani” and “Ae Dil Hai Mushkil” were mega albums when they released in 2013 and 2016 respectively; the public went crazy and Pritamda (lovingly know in the Indian Film Industry) won almost all the music awards those years. Will Pritamda’s third outing in Dharma’s “Kalank” live up to the expectation? Let us delve into the tracks and see what awaits our worthy ears.

The Tracks of Kalank are:

No.TitleArtistLength
1Ghar More PardesiyaShreya Ghoshal & Vaishali Mhade5:20:00
2First ClassArijit Singh & Neeti Mohan4:38:00
3Kalank (Title Track)Arijit Singh5:12:00
4Tabaah Ho GayeShreya Ghoshal5:42:00
5Aira Gaira (Extended)Antara Mitra, Javed Ali & Tushar Joshi5:42:00
6Rajvaadi OdhniJonita Gandhi4:01:00
7Kalank (Duet)Arijit Singh & Shilpa Rao5:12:00
8Ghar More Pardesiya (Radio Edit)Shreya Ghoshal & Vaishali Mhade*4:19:00
9Aira GairaAntara Mitra, Javed Ali & Tushar Joshi4:50:00
10Kalank (Bonus Track)Arijit Singh & Shilpa Rao5:09:00
Total Length  0:50:05

I will review these tracks as per my preference of the Album.

Tabaah Ho Gaye” was the fourth track release through the net, and suffice to say Madhuri Dixit fans were overjoyed to witness their star in action, a perfectionist when it comes to dance; with Saroj Khan at the helm of the choreography what more could a fan ask for? This is easily my favourite track from the album for many reasons and it includes that this track truly reflects the time period of film and the style of singing and music could easily be one the very recent best.

Amitabh Bhattacharya has penned poignant heart-wrenching lyrics for this track, and Pritamda has beautifully thrown a challenge to all the artists involved, he cleverly composes this track with a slightly faster rhythm, set to semi-classical music and ghazalesque singing by Shreya Ghoshal. What is also interesting to note is the gamut of instruments that Pritamda has used to create this song, not the conventional shastri sangeet instruments; but we will get into this as we dissect the future classic that will be known as as “Tabaah Ho Gaye“.

Pritam presents the opening Of “Tabaah Ho Gaye” in a vast orchestral sound-stage, giving the aural atmosphere of grandness and remains loyal to to its semi classical structure. Not The Santoor, but the Turkish Qanun (Played by Turkish exponent Tamer Pınarbaşı) opens the track, a string of Sargams ensue by the all-female chorus together with the German Glockenspiel (Played by Aditya Dev & DJ Phukan), that match the swaras on point. The Indian equivalent of the Glockenspiel would be the Jal Tarang; it is so amazing to hear how well these two instruments work together. A soft thud of the Dholak is heard, then the Sitar strums with Violins, Violas and hints of Cello captivate you with angelic humming by the chorus, they reach a mid-crescendo pause. The angelic Voice of Shreya Ghoshal appears, her restrained rendition, her lyric that of heartache and pain so vibrantly articulated by Amitabh Bhattacharya. Shreya sings her heart out especially the line ‘Tum Magar Bewafa Ho Gaye‘, hear the anguish in her voice, it makes your heart spin. Take note of the tabla beat as the title of the song is repeated, it is in ektaal and represents that moments where Bahaar Begum’s sadness reaches her lips. In the promo of the Video we see a devastated Madhuri Dixit entering her home, and throws off her Dupatta.

Di Nahi Dua Bhale
I May Not Have Prayed For You
Na Di Kabhi Baddua
But Neither Have I Cursed You
Na Khafa Huey Na Hum
I Never Got Angry With You
Hue Kabhi Bewafa
Nor Have I Been Unfaithful To You

Tum Magar Bewafa Ho Gaye
But You Have Cheated Me
Kyun Khafa Ho Gaye
And Got Angry With Me, Why?
Ke Tumse Juda Hoke Hum
Separating From You
Tabaah Ho Gaye
Has Destroyed My Life
Tabaah Ho Gaye!
Has Destroyed My Life
Tabaah Ho Gaye!
Has Destroyed My Life
Tabaah Ho Gaye!
Has Destroyed My Life

The Chorus maidens plea to their Begum’s hurt and hauntingly sing; the dholak presenting an added melancholic atmosphere of wounded hearts. Begum immediately answers her maidens with grudging grief that he is someone else’s love now. Pritam increases the the intensity of the percussion beat to represent Bahaar Begum’s heart as she pours out her pain.

Phir Akhiyan Mein Preet Ki Teri Reet Jaga Jaana
O Dear, Come Light Up The Flames Of Love In My Eyes Again.
Mohe Chhod Ke Jaane Ki Khatir Hi Laut Ke Aa Jana
At Least Come Back Once Even If You’re Meant To Leave Me Again

Phir Akhiyan Mein Preet Ki Teri Reet Jaga Jaana
O Dear, Come Light Up The Flames Of Love In My Eyes Again.
Mohe Chhod Ke Jaane Ki Khatir Hi Laut Ke Aa Jana
At Least Come Back Once Even If You’re Meant To Leave Me Again

Haan… Ghair Ke Humnawa Ho Gaye
Yes… You Are Someone Else’s Love Now
Kyun Khafa Ho Gaye
Why Did You Get Upset With Me?
Ki Tumse Juda Hoke Hum
Separating From You
Tabaah Ho Gaye…
Has Destroyed My Life
Tabah Ho Gaye!
Has Destroyed My Life
Tabah Ho Gaye!
Has Destroyed My Life
Tabah Ho Gaye!
Has Destroyed My Life

The interlude to the next antara is introduced with the Pakhawaj creating a melodic pattern of love, Tarana with the Glockenspiel follow, with various string instruments creating an orchestral incandescent ether. The Sitar comes to the fore and eludes to memories of nostalgia. Shreya sings the antara with copious amount of heartache, hear her enunciation of certain words that create an even greater bearing. Amitabh Bhattacharya’s lyric in this stanza especially, is filled with poetic beauty, making you realise the extent of Bahaar Begum’s anguish. Pritam creates a melody full of life, yet so painstakingly full of hurt, he has really amazed me with the layers of this composition, so much thought into the instruments and taal / laya of the beats. But its when the singing comes to an end that this track takes a huge jump for me in terms of Pritam’s capability.

Haan Sajde Mein Humne Maanga Tha Umar Bhi Humari Lag Jaaye Tumko
In My Prayers (Sajde refers to prostration) I Wished That God Would Bless You With The Remaining Years Of My Life Too
Khud Se Hi Tauba Karte The, Nazar Na Humari Lag Jaaye Tumko
I Used To Forsake Myself From Seeing You, So That I May Not Cast An Evil Eye On You

Haan Sajde Mein Humne Maanga Tha Umar Bhi Humari Lag Jaaye Tumko
In My Prayers (Sajde refers to prostration) I Wished That God Would Bless You With The Remaining Years Of My Life Too
Khud Se Hi Tauba Karte The, Nazar Na Humari Lag Jaaye Tumko
I Used To Forsake Myself From Seeing You, So That I May Not Cast An Evil Eye On You

Hum Magar…
Hum Magar Nagawara Kis Tarah Tumhe Ho Gaye
But I Have Become Intolerable To You
Ki Tumse Juda Hoke Hum Tabaah Ho Gaye
Parting From You Has Destroyed Me
Tabah Ho Gaye!
Destroyed Me
Tabah Ho Gaye!
Destroyed Me
Tabah Ho Gaye
Destroyed Me!

Proximately after the final lyric verse, we get a split second pause and then the thunder rolls out, Bols are recited by the male chorus singers matched precisely by the tabla, in Kathak Tarana style. We have been presented with this in the video that was released and Madhuri Dixit performs exemplary, matching every intonation with her Mudras, Nazakat and Harkat; this is where Bahaar Begum uses dance to portray this painful love that she has endured, her facial expressions are testament to her ability, she leaves us exasperated and wanting more, but do we get more? Yes, we do! Thank you Pritamda! Another split second pause, the Qanun flourish begins a dramatic entry of the Pakhawaj with the Tabla, the bols move to Teentaal, and what we have here is something out of this world, every Madhuri fans’ dreams answered, I am sure when we witness this piece to Madhuri dancing, we will all be left in shock as Bahaar Begum expresses her hurt in dance. A couple of seconds in, the Sitar casts its spell on us, and one of the most beautifully heart-aching Alaaps i have ever heard by Shreya Ghoshal, I am so grateful for this. Madhuri Dixit and Shreya Ghoshal have given the next generation something solid to remember. The exasperation in Shreya’s voice when she ends the song with ‘Tabaah Ho Gaye‘ is gut wrenching. Shreya Ghoshal sings so gracefully, it makes me wonder how composers are not using her voice to its potential; her alaap intertwined singing and her diction, even the word ‘Tabaah‘ has emphasis on the ‘h’ at the end. Pritamda take a bow!

Song Credits:

Bagpipes & Ney – Meira Segal
Qanun – Tamer Pinarbasi
Sitar – Aparna Doedhar, Umashankar Shukla & Zuber Sheikh
Glockenspiel – DJ Phukan & Aditya Dev
Bass – Raj Kumar Dewan
Tabla – Ishteyak Khan, Mushtak Khan, Sanjeev Sen, Iqbal Azad, Yusuf Mohammed, Mohammed Shadab Yusuf, Navin Sharma, Musharaf Khan, Madhav Pawar and Krishna Musale
Dholak – Ishteyak Khan, Mushtak Khan, Sanjeev Sen, Yusuf Mohammed and Navin Sharma
Pakhawaj – Madhav Pawar & Krishna Musale
Multi Percussion – Pratap Rath, Abhijeet Kholi, Vijay Jadhav (Sr.), Anup Shankar and Suresh Soni
Strings (Bangkok, Thailand) at Studio28
Violin 1 – Chalat Limpisiri, Thanaporn Sathienwaree, Pacharapol Techatanachai, Karn Watcharaprapapong, Bodin Pukang, Ittipat Pisalchaiyapol, Khajeepaan Jangjamras & Anapat Vuthithanthaveekij
Violin 2 – Pittaya Pruksacholavit, Pongsit Karnkriangkrai, Napat Nanasombat, Teesin Puriwatthanapong, Varissara Tanakom, Patcharapan Sombuntanon, Kittipith Kaivikai & Tassanai Punprasert
Viola – Suvijak Chotikool, Nawattasit Kanjanajai, Thachapol Namwong, Pongthep Jitduangprem, Surachon Lerdlop, Jitsamon Shattrakom, Nitivadee Kaosard & Yuwadee Kanchanasatit
Cello – Nichapa Nilkaew, Teerakiat Kerdlarp, Vannophat Kaploykeo, Saran Charoennit, Roypim Thavornsuwan & Vorapon Thannuekmeesinkul
ContraBass – Rutawat Sintutepparat & Prawwanisita Neesanant
Conducted By – Trisdee na Patalung

Chorus – Suzanne D’Mello, Harjot Kaur, Ana Rehman, Nikita Ahuja, Shreya Phukan, Nikhita Gandhi, Aashima Mahajan & Sana Aziz

Ghar More Pardeisya‘ was the audience first glimpse into the soundtrack of Kalank, and it got a rapturous response with almost 20 million views within the first few days. There is no doubt in my mind that this song has great mass appeal with its upbeat composition and superb singing. Having Madhuri Dixit and Alia Bhatt on screen also helped create the hysteria. Pritam has been taken out of his comfort zone with this film and this is what he had to say about composing for a period film:

“This is my first song picturised on kathak visuals and this is a Raag based song. The dance is the backdrop of Ramayan where this is a love song of Sita.”
“I have collaborated with lot of Indian musicians which is very exciting and I rarely get to do this kind of stuff. Also the young audience today who are 19-20 year old, they don’t get to hear Bollywood songs which are raag based, in classical and in pure kathak form. So I hope this song works and can promote more of kathak and classical music among the youth”

Sung with gusto by Shreya Ghoshal And Vaishali Mhade, Pritam composes this beauty in the celebratory Raga Bageshri. I have to hand it to Pritam, using Bageshri to depict the crux of the song. Bageshri is a Hindustani classical raga; normally sung during the late night, which is meant to depict the emotion of a woman waiting for reunion with her lover. It is said to have been first sung by Mian Tansen, the celebrated court singer of the Emperor Akbar in the sixteenth century. From the mind of Mian Tansen, the courts of Emperor Akbar to hearts and minds of listeners in 2019. Mian Tansen’s legacy continues by way of Pritam’s music.

Some Technical Elements:

Sa Re Ga Ma Pa Dhi Ni – Swaras / Sargams

Tarana – Stringing sargams / swaras together based on Raga Notation

Jugalbandi – Competition or Muqabala where two or more vocalists / instrumentalists sing / play to outdo their counterpart

Shreya Ghoshal sings the opening verse in sur whilst the mandolin and glass trickles entice the music, Sitar strums and Dhol beats are added, the male chorus fervently joints in, then the magic starts, Shreya sings the opening Tarana in Raga Bageshri to sitar flourishes intertwined with bols, the atmosphere is that of victory and celebration, it can be felt in the music. Shreya continues this celebration with heavenly vocals, she works wonders with Amitabh Bhattacharya’s lyrics and infuses energy into it. Interludes of Bengali wedding ululating can be heard and it heightens the fervour. This is a Kathak dance piece and Pritam ably composes a great track for the actors to portray onscreen.

Pritam again must be commended by the way he has composed the sitar pieces played by renowned Sitar player Niladri Kumar hailing from the Maihar Gharana, here he uses the acoustic ‘Zitar‘ to bring Pritam’s composition alive. This is third time Pritam uses Niladri Kumar in his compositions after ‘Gangster‘ and ‘Life In A Metro‘ and this time displays his voracity for Shastri Sangeet. Tabla player Akhshay Jadhav must also be commended for his versatility on the instrument, it carries the song on its shoulders.

Shreya Ghoshal sings another Tarana in Teentaal just before the next verse, but hear how she carries the meend of the last swara, just magic. The Sitar and Tabla usher in the Jugalbandi with the introduction of Vaishali Mhade, she is an able singer that brings the competition alive. Shreya brings the Jugalbandi singing Tarana in teentaal, with Vaishali matching the Raga Bageshri notation, they sing separately until they reach unison in duet, what a beauty. It is easy to discern the vocals and onscreen Shreya represents Madhuri Dixit while Vaishali sings for Alia Bhatt.

Shreya Ghoshal and Vaishali Mhade take turns singing the verse, its an ode to the relationship they share with great back and forth between the actors on screen. The Sitar and Tabla during these pieces seems to placate the situation.

We are treated to a round two Jugalbandi between the songstresses just after the explosive interlude with Bols. We have Alia dancing her heart out and Madhuri standing proudly watching the spectacle, There is so much cohesive artistry going on aurally and visually; superb singing, dancing and world play. Are we really in 2019? Take Another bow Pritamda!

Raghukul Reet Sadaa Chali Aayi
Praan Jaaye Par Vachan Na Jayi

Jai Raghuvanshi Ayodhyapati
Ram Chandra Ki Jai
Siyavar Ram Chandra Ki, Jai
Jai Raghuvanshi Ayodhyapati
Ram Chandra Ki Jai
Siyavar Ram Chandra Ki Jai

Ta Di Ya Na Dheem
De Re Ta Na De Re Nom
Ta Di Ya Na Dheem
De Re Ta Na De Re Nom
Ta Di Ya Na Dheem

Raghuvar Teri Raah Nihaarein
Raghuvar Teri Raah Nihaarein
Saaton Janam Se Siya

Ghar More Pardesiya
Aao Padhaaro Piya
Ghar More Pardesiya
Aao Padhaaro Piya

Ta Di Ya Na Ta De Re Na Dum
Ta Di Ya Na Ta De Re Na Dheem
Ta Di Ya Na Ta De Re Na Dheem
Ta Da Re Na De Dheem Ta Da Ni

Maine Sudh-Budh Chain Gawake
Maine Sudh-Budh Chain Gawake
Ram Ratan Paa Liya

Ghar More Pardesiya
Aao Padhaaro Piya
Ghar More Pardesiya
Aao Padhaaro Piya

Dheem Ta Dheem Tanana Dere Na
Dheem Ta Dheem Tanana Dere Na
Dha Ni Sa Ma, Sa Ga Ma Dha, Ni Dha Ma Ga Pa
Ga Ma Pa Sa Sa, Ga Ma Pa Ni Ni
Ga Ma Pa Ni Dha Pa Ma Ga Re Ga Ma Dha Pa
Re Ma Pa Dha Ma Pa Ni Ni Dha Pa Ma Pa Ga Ma Re Sa Ni Sa Re Re Ma Ma Pa Pa Dha Dha Ma Ma
Ni Ni Ni Re Sa Ni Dha Ni Dha Pa Ma Pa Dha Ni Dha Pa Ma Ga Re Ga Re Sa Ni Sa Re Re Ga

Na To Maiya Ki Lori
Na Hi Phaagun Ki Hori
Mohe Kuch Doosra Na Bhaaye Re
Jabse Naina Yeh Jaake
Ik Dhanurdhar Se Laage
Tabse Birha Mohey Sataye Re

Haa…
Na To Maiya Ki Lori
Na Hi Phaagun Ki Hori
Mohe Kuch Doosra Na Bhaaye Re
Jabse Naina Yeh Jaake
Ik Dhanurdhar Se Laage
Tabse Birha Mohey Sataaye Re

Duvidha Meri Sab Jag Jaane
Duvidha Meri Sab Jag Jaane
Jaane Naa Nirmohiya

Ghar More Pardesiya
Aao Padhaaro Piya
Ghar More Pardesiya
Aao Padhaaro Piya

Haa, Gayi Panghat Par Bharan
Bharan Paniyan Deewani
Gayi Panghat Par Bharan
Bharan Paniyan

Gayi Panghat Par Bharan
Bharan Paniyan Deewani
Gayi Panghat Par Bharan
Bharan Paniyan

Ho Naino Ke, Naino Ke Tere Baan Se
Murchhit Huyi Re Hiraniya
Jhoom Jha Na Na Na Na
Jhana Na Na Na Na
Bani Re Bani Main Teri Joganiya

Ghar More Pardesiya
Aao Padhaaro Piya
Ghar More Pardesiya
Aao Padhaaro Piya

Song Credits:

Sitar – Niladri Kumar
Sarod – Roopak Naigaonkar
Ravanahatha – Chandan Singh
Tabla – Akshay Jadhav
Tabla Tarang – Sanjeev Kanitkar
Mandolin & Various Pluck Instruments – Tapas Roy
Vocal Design – Suchismita Das & Tushar Joshi Tarana Design – Sudeep Jaipurwale
Chorus – Ashwin, Aaroh, Anurag, Himanshu, Aniruddh, Akashdeep, Kaushik, Shloke, Shubham, Manoj, Animesh, Abhishek, Ritu and Ritvik

We are treated to a second outing of ‘Ghar More Pardesiya‘ via a radio edit on the album, it is one minute less in time. Pritam has trimmed off the male chorus piece at the beginning and much stays the say same, except the format of the Tarana, its is no longer in Jugalbandi, but rather in Duet form where Shreya and Vaishali sing in unison. There is a special way that the way this track is put together and enhances the celebration. Thank goodness no remix!

Enas (EA Creatives) Stunning pencil and charcoal rendition of Madhuri Dixit’s Bahaar Begum

There are two versions of Aira Gaira on the soundtrack, with one being an extended mix, that is just a minute longer in duration. Once again, no remixes (thank goodness), the extended version has a solo piece at the end the Javed Ali sings beautifully, and for the purpose of this review i will review the extended version.

Aira Gaira is a playful song, and it’s lyrics are not as seeped in poetic justice as the previous two songs, but the execution of the song by Pritam uplifts these lyrics to amazing heights, yet towards the end when Javed Ali gets to sing his solo, the lyrics allude to the actual happenings in the film, and feels much more punchy then the previous verses. So far Pritam’s creativity has really captivated me, the range of instruments, some that i am hearing for the first time, but most of all the compositions are fresh and have a charm to them.

The Rabab opens Aira Gaira, giving it a North-Indian Afghan flavour, bouts of chorus dum-chika-dum introduce Antara Mitra, she sings vivaciously and her powerful voice suits the style perfectly. When the percussion begins, it is mayhem, it just makes you feel like getting up and dancing. Javed Ali and Tushar Joshi sing their parts together for the initial verse, and do so energetically.

The interludes are filled with Harmonium and Clarinet fragments, giving it a Qawalli feel at times; this keeps the energy running high. The Clarinet is played by yesteryear’s Suresh Yadav who has had many solo LP releases based on Clarinet film-song instrumentals. These fragments create authenticity and nostalgia of Naushad Ali’s songs from the 1940’s that used these instruments.

Anatara Mitra carries the song and showcases her prowess over the mike, also the way she pronounces the lyrics creates such an unique feeling of Jashn. Tushar Joshi sings skillfully too; but is overshadowed by the talented Javed Ali. Javed’s solo in the end extends to an amazing Ghazal feel, and the music slowly plays down whilst this is happening, it happens so freely, you almost welcome the silence just hearing him croon, hitting all the right highs and lows. On a roll Pritam!

Haan…
Billori Nigaahon Se Kare Hai Sau Ishaare

With His Cat-Like Eyes, He Is Making A Hundred Signals /Signs
Khidki Ke Neeche Naaspeeta Seeti Maare
Underneath My Window, The Damned One Is Whistling
Billori Nigaahon Se Kare Hai Sau Ishaare
With His Cat-Like Eyes, He Is Making A Hundred Signals
Khidki Ke Neeche Naaspeeta Seeti Maare
Underneath My Window, The Damned One Is Whistling
Ishq Mein Hua Hai Thhoda Andha Thhoda Behra…
Being In Love, He Has Become A Little Blind And A Little Deaf
Saiyyan Mera Aira Gaira Natthu Khaira
My Lover Is A Fool(A Ruffian/An Incompetent Person/A Useless Being)

Phool Sa Chehra Irani Aur Lehja Hindustani
Her Face Is Like An Iranian Flower But Her Mannerisms Are Indian
Jheel Si Teri Aankhon Mein Ek Hulchal Hai Toofani
In Your Deep Eyes, There Is A Storm Brewing
Aa…
Dekh Mehfil Mein Aaye Hain Jaan Ki Dene Kurbaani

Look We Have Come To Your Gathering, Ready To Sacrifice Our Lives
Ek Mehbooba Ki Khaatir Aaj Do Do Dilbar Jaani
For The Sake Of One Woman, Two Big Hearted Lovers Have Arrived

Jinke Dil Ke Engine Tere Tation Pe Hai Thehra
The One Whose (Locomotive) Engine Of The Heart Has Halted On Your (Train) Station
Ho… Jinke Dil Ke Engine Tere Tation Pe Hai Thehra
The One Whose Engine Of The Heart Has Halted On Your Station
Samjhe Kaahe Aira Gaira Natthu Khaira… (X2)
Why Do You Consider That Person To Be A Fool?

Raat Leke Aayi Hai Jashntaari Aaye Haaye Haaye
The Night Has Brought With Itself A Reason For Celebration
Kaam Ghalat Karne Ki Hai Apni Baari Aaye Haaye Haaye
Now It’s My Time To Do Wrong / Immoral Things
O… Raat Leke Aayi Hai Jashntaari Aaye Haaye Haaye
The Night Has Brought With Itself A Reason For Celebration
Kaam Ghalat Karne Ki Hai Apni Baari Aaye Haaye Haaye
Now It’s My Time To Do Wrong Things

Aaj Naache Gaayein Zara Ishq Vishq Farmaaye
Let’s Sing And Dance Today And Showcase Our Love
Aur Jaan Jalaane Waali Bhaad Mein Jaaye Saari Duniya Daari
May The Heartburning Worldly Affairs Go To Hell
Aaye Haaye Haaye, Aaye Haaye, Aaye Haaye, Aaye Haaye….

Ho Dil Ke Aaine Mein Jhaanke Sundari Ka Chehra (X2)
In The Mirror Of The Heart, There Is An Image Of A Beauty’s Face
Ishq Mein Hua Hai Thhoda Andha Thhoda Behra
Being In Love, He Has Become A Little Blind And A Little Deaf
Saiyyan Mera Aira Gaira Natthu Khaira (X3)
My Lover Is A Fool

Billori Nigaahon Se Kare Hai Sau Ishaare
With His Cat-Like Eyes, He Is Making A Hundred Signals
Khidki Ke Neeche Naaspeeta Seeti Maare
Underneath My Window, The Damned One Is Whistling
Billori Nigaahon Se Kare Hai Sau Ishaare
With His Cat-Like Eyes, He Is Making A Hundred Signals
Khidki Ke Neeche Naaspeeta Seeti Maare
Underneath My Window, The Damned One Is Whistling
Ishq Mein Hua Hai Thhoda Andha Thhoda Behra
Being In Love, He Has Become A Little Blind And A Little Deaf
Saiyyan Mera, Saiyyan Mera
My Lover, My Lover
Saiyyan Mera Aira Gaira Natthu Khaira (X2)
My Lover Is A Fool

O… Waqt Ka Yeh Sitam Hai… Tumhaare Toh Hum Hain…
This Is Caused By The Acts Of Time, I Am Truly Yours
(This Is Caused By The Acts Of Time, I Only Consider You As My True Love)
Tum Agar Ho Amaanat Kisi Aur Ki…
If You Belong To Someone Else
Bas Mohabbat Tumhaari… Hai Daulat Humari…
Your Love Is My Only Wealth
Tum Agar Ho Viraasat Kisi Aur Ki…
If You Are Someone Else’s Inheritance
Jis Din Nikle Jaan Humari…
The Day When Life Escapes My Body
Ek Baar Milne Aana Tum Leke Ijaazat Kisi Aur Ki…
Come To Meet Me One Last Time, Taking Someone’s Permission
(Come To Meet Me One Last Time, Taking The Permission Of Your Partner)
Leke Ijaazat Kisi Aur Ki…
Taking Someone’s Permission

Song Credits:

Bulbul Tarang – Rashid Khan
Mandolin & Various Pluck Instruments – Tapas Roy
Sitar – Salman Khan
Clarinet – Suresh Yadav
Flute – Shubham Shirule
Ghungroo Waala Tabla (Qawwali Tabla) – Vijay Jadhav (Jr.)
Tabla – Ishteyak Khan, Sanjeev Sen & Mohammed Shadab Yusuf
Dholak – Mohammed Shadab Yusuf, Girish Vishwa, Yusuf Gulam Mohammed & Hafeez Ahmed Khan
Multi Percussions – Pratap Rath, Abhijeet Kholi, Vijay Jadhav (Sr.), Sachin Dhamankar, John Hunt and Suresh Soni
Nizami Bandhu (Nizamuddin Qawwals) – Chand Nizami, Shadab Faridi Nizami and Sohrab Faridi Nizami
Qawwali Conducted by Akashdeep Sengupta
Vocal Production – Tushar Joshi

This was the only song not introduced to public with promotions, and released when the complete album dropped this weekend. ‘Rajvaadi Odhni‘ came as a complete surprise, a fast paced dance track based on Rajasthani music basics, and it stuns, the song grows quickly on you and is a sure hit.

The Rajasthani flute (played by Nirmalya Humtoo Dey) opens this beauty with Kamaycha (played by Sher Khan) beats , setting the theme of the track. A chorus follows, Ravanahatha , Khadtal, Sarangi, Dhol and Tabla blasts into the track with Jonita Gandhi crooning ‘Rajvaadi Odhni‘ with utmost glee. Jonita has sharp voice that gives shape to Roop’s heart; she has probably experienced first love, and this comes across instinctively.

Pritam infuses Rajasthani instruments throughout the track and includes voices of Babu Khan and Kailash Khan of the ‘Rajasthani Group‘. They imbue life into this track as the singing continues. Jonita Gandhi creates such a lively atmosphere with rendition.

The Lyric ‘Laayi De Laayi Laayi De‘ might seem familiar from Sanjay Leela Bhansali’s ‘Hum Dil De Chuke Sanam’sNimbooda Nimbooda, no doubt that it is used there, but here it is used as the Rajasthani Group original song. So familiarity might be the only thing to connect the two songs, but they are as different as the sun and moon are. Pritam has taken care to suffuse a wonderful melody into the track.

Latak Matak Chali
You Walked With A Tempo
Dil Ko Patak Chali
You Walked Crushing Hearts
Pakde Kalaayi Koi
If Someone Caught Hold Of Your Wrist
Baanh Ko Jhatak Chali
You Flicked Your Hand And Walked On

Zara Idhar Chali, Zara Udhar Chali
You Walked A Little In This Direction And A Little In That Direction
Gadar Machaya Tune, Jahaan Jidhar Chali
You Caused Havoc Wherever You Walked To
Chhod Chhad Naihar Ki Galiyan
Leaving The Home Of Your Father
Kaun Hai Woh Jis Piya Ke Ghar Chali
Who Is That Lover Whose Home You Are Walking To?

Mann Tarse Re…
The Heart Is Thirsty
Rang Barse Re…
Colours Are Raining
Mann Tarse Re, Tarse Re, Tarse Re…
The Heart Is Thirsty
Rang Barse Re, Barse Re, Barse Re…
Colours Are Raining
Chain Ke Looteri Hoon Main, Nindiya Ki Chorni…
I Am The Thief Of Peace/Rest, I Am The Stealer Of Sleep

Laayi De…
Bring Me
Laayi De, Laayi Laayi De Mohe Rajvaadi Odhni (X2)
Bring Me An Odhani From Rajasthan
(Odhani/Dupatta Is A Cloth Covering The Top Of A Dress And Sometimes Even Used As A Veil)
Laayi Laayi Laayi De, Laayi Laayi De Mohe Rajvaadi Odhni
Bring Me An Odhani From Rajasthan
Laayi De, Laayi Laayi De Mohe Rajwaadi Odhni
Bring Me An Odhani From Rajasthan

Zara Idhar Chali, Zara Udhar Chali
You Walked A Little In This Direction And A Little In That Direction
Gadar Machaya Tune, Jahaan Jidhar Chali
You Caused Havoc Wherever You Walked To
Chhod Chhad Naihar Ki Galiyan
Leaving The Home Of Your Father
Kaun Hai Woh Jis Piya Ke Ghar Chali
Who Is That Lover Whose Home You Are Walking To?

Ho… Baandh Ke Payaliya Paaon Mein, Paaon Mein…
Tying Anklets In My Feet
Chhan Chhanati Jab Main Jaaun Re… Haaye…
When I Walk With A Tinkling Sound
Toh Hawa Ka Jhonka Bolo Re, Bolo Re…
Then The Gust Of Wind Says That
Aa Savaari Main Karwaaun Re…
It Will Offer Me A Free Ride (To Whichever Destination I Am Headed For)

Ho… Baandh Ke Payaliya Paaon Mein, Paaon Mein…
Tying Anklets In My Feet
Chhan Chhanati Jab Main Jaaun Re…
When I Walk With A Tinkling Sound
Haan Toh Hawa Ka Jhonka Bolo Re, Bolo Re…
Then The Gust Of Wind Says That
Aa Savaari Main Karwaaun Re…
It Will Offer Me A Free Ride

Jab Naachun Re…
When I Dance
Jag Soche Re…
The World Thinks
Jab Nachun Re, Nachun Re, Nachun Re…
When I Dance
Jag Soche Re, Soche Re, Soche Re…
The World Thinks
Aa Gayi Sheher Mein Kaise Jungalon Ki Morni…
That A Wild Peacock From The Jungle Has Come To The City

Laayi De…
Bring Me
Laayi De, Laayi Laayi De Mohe Rajvaadi Odhni (X3)
Bring Me An Odhani From Rajasthan
Laayi Laayi Laayi Laayi De Mohe Rajwaadi Odhni
Bring Me An Odhani From Rajasthan

(Vocals In Rajasthani Folk Language)

Laayi De, Laayi Laayi De Mohe Rajvaadi Odhni (X3)
Bring Me An Odhani From Rajasthan
Laayi De, Laayi De, Laayi De Mohe Rajwaadi Odhni
Bring Me An Odhani From Rajasthan

Song Credits:

Ravanahatha – Chandan Singh
Sarangi – Dilshad Khan
Swarlin – Abhijit Mazumdar
Flute – Nirmalya Humtoo Dey
Bhapang & Morchang – Mukadar Khan
Khartal – Zaheer Khan
Bass & Electric Guitar – Roland Fernandes
Team Babu Khan (Rajasthani Group)
Singer – Babu Khan & Kailash Khan
Alaap – Idu Khan
Morchang & Bhapang – Sheru Khan
Algoja & Mulri – Sher Khan
Khartal – Salim Khan
Sarangi – Idu Khan
Kamaycha – Misari Khan

When the teaser release mid-March many people went crazy when they heard Arijit’s line towards the end ‘ Kalank Nahi, Ishq Hai Kaajal Piya‘. It sent the music world into a frenzy and with reason; Arijit Singh and Pritam combo has proved quite successful previously and with this track as well, they do not let their audience down, It is a heartfelt track composed with meaningful lyrics and lives up to the hype and expectation.

We have no less than three versions of the title track on the soundtrack, a solo version by Arijit Singh, a duet with Shilpa Rao and a Bonus track in duet with Arijit Singh and Shilpa Rao.

Version I – Solo By Arijit Singh

Pritam creates a love ballad and begins with the acoustic guitar, a soft romantic strum serenades its listeners. The moment Arijit Singh croons, you know that this track is a winner, the lyrics are moving and will resonate with anyone who has experienced love and its thorns. The Mukhda has of the track has a semi classical feel to it, and the introduction of percussion midway into this first verse impactfully drives your heartbeat.

The flow into the interludes with a bevy of string instruments happens so naturally and maintains this transcendent rhythm. The whole feel of the song has much bearing on melody; when the next antara is sung , it also flows beautifully with Arijit taking us on a beautiful journey of the characters hearts. Amitabh Bhattacharya’s lyrics are deep and leave you thinking; Ponder over the reality of this line ‘Ik Tarfa Shayad Ho Dil Ka Bharam, Do Tarfa Hai Toh Yeh Sanjog Hai‘ and Arijit carries this dream to us with his melodious voice.

Pritam has composed this track with influences within the genres of Hindustani Classical / Qawalli / Sufi and comes off melodiously profound; the same can be said about Amitabh Bharttacharya’s love poem full of metaphors about unrequited immortal love, Feel the Dard Bhara Pyar, soak up your mind and soul.

Version II – Duet By Arijit Singh & Shilpa Rao

There is really not much difference between the two versions, the duet version remains exactly the same as the solo version, with Shilpa Rao singing in from the second antara, but much can be said about Shilpa. She is a stupendous singer with a deep resonating, sharp, clinical voice that will melt your heart. I remember first hearing her sing in ‘Dev D‘, and was pretty much taken by her vocal prowess, it seems that this song just got twice as good with her addition. If i were to choose between the two version, i would choose this version.

Hawaaon Mein Bahenge
We Will Flow Away With These Winds
Ghataon Mein Rahenge
We Will Live In The Skies
Tu Barkha Meri
You Are My Rain
Main Tera Baadal Piya
And I Am Your Cloud, My Beloved
Jo Tere Na Huve Toh
If I Don’t Become Yours
Kisi Ke Na Rahenge
I Will Not Become Anyone Else’s
(If I Don’t Have A Relationship With You, I Will Not Have A Relationship With Anyone Else)
Deewani Tu Meri
You Are My Crazy Lover
Main Tera Paagal Piya
And I Too Am Your Crazy Lover, My Beloved

Hazaaron Mein Kisi Ko Taqdeer Aisi
Such Good Fortune Is Attained By Those Who Are One In A Million
Mili Hai Ik Ranjha Aur Heer Jaisi
One Is Like Ranjha And The Other One Is Like Heer
(This Is A Reference To Heer-Raanjha/Raanjhanaa, A Famous Romantic Couple In Indian History, Similar To Romeo-Juliet. But Here Heer Is Referring To The Girl And Raanjha Is Referring To The Boy)
Na Jaane Ye Zamaana Kyun Chaahe Re Mitaana
I Don’t Know Why The World Wants To Erase This
Kalank Nahi Ishq Hai Kaajal Piya… (X2)
Love Is Not Like A Stain, It Is Like Kohl(Eyeliner/Mascara)
(Love Is Not Something One Should Frown Upon, It Is Something That One Must Be Proud About)
Piya, Piya, Piya Re… Piya Re… Piya Re…
O My Beloved! O My Beloved!
Piya Re, Piya Re, Piya Re, Piya Re…
O My Beloved! O My Beloved!

Duniya Ki Nazron Mein Yeh Rog Hai
In The Eyes Of The World, It Is Like A Disease
Ho Jinko Woh Jaane Ye Jog Hai
The Ones Who Fall In It Understand That It Is Like Yoga/Meditation
Ik Tarfa Shayad Ho Dil Ka Bharam
If It Is One-Sided, Then It Can Be The Illusion Of One’s Heart
Do Tarfa Hai Toh Yeh Sanjog Hai
But If It Is On Both Sides, Then It Is Destiny
Layi Re Humein Zindgani Ki Kahaani Kaise Mod Pe
On What Turning Has The Story Of Life Brought Us
Huve Re Khud Se Paraaye
We Have Become Unknown To Our Own Selves
Hum Kisi Se Naina Jod Ke
After Striking A Gaze With Someone Else
Hazaaron Mein Kisi Ko Taqdeer Aisi
Such Good Fortune Is Attained By Those Who Are One In A Million
Mili Hai Ik Ranjha Aur Heer Jaisi
One Is Like Ranjha And The Other One Is Like Heer
Na Jaane Ye Zamaana Kyun Chaahe Re Mitaana
I Don’t Know Why The World Wants To Erase This
Kalank Nahi Ishq Hai Kaajal Piya… (X2)
Love Is Not Like A Stain, It Is Like Kohl

Main Tera, Main Tera, Main Tera, Main Tera…
I Am Yours, I Am Yours, I Am Yours
Main Gehra Tamas Tu Sunhera Savera
I Am A Deep Dark Trench, You Are A Glowing Morning
Main Tera O… Main Tera…
I Am Yours, I Am Yours, I Am Yours
Musaafir Main Bhatka Tu Mera Basera
I Am A Lost Traveller, You Are My Refuge
Main Tera O… Main Tera
I Am Yours, I Am Yours

Tu Jugnu Chamakta, Main Jungle Ghanera
You Are A Shining Firefly, I Am A Deep Jungle
Main Tera Aa…
I Am Yours
O Piya Main Tera, Main Tera, Main Tera
O My Beloved, I Am Yours, I Am Yours
Main Tera… O… Main Tera…
I Am Yours, I Am Yours
Ho… Main Tera, Main Tera, Main Tera
I Am Yours, I Am Yours, I Am Yours
O… Main Tera, Main Tera, Main Tera…
I Am Yours, I Am Yours, I Am Yours
Ooo… O… Oo…

Song Credits:

Harmonium – Arijit Singh
Tabla – Sukanto Singha & Vinayak Netke
Rabaab, Mandolin & Various Pluck Instruments – Tapas Roy
Kanun – Tamer Pinarbasi
Acoustic & Electric Guitar – Aditya Shankar, Roland Fernandes
Spanish Guitar – Pedro Medina Morejon De Giron
Bass – Raj Kumar Dewan, Roland Fernandes & Sunny M.R.
Strings (Bangkok, Thailand) at Studio28
Violin 1 – Chalat Limpisiri, Thanaporn Sathienwaree, Pacharapol Techatanachai, Karn Watcharaprapapong, Bodin Pukang, Ittipat Pisalchaiyapol, Khajeepaan Jangjamras & Anapat Vuthithanthaveekij
Violin 2 – Pittaya Pruksacholavit, Pongsit Karnkriangkrai, Napat Nanasombat, Teesin Puriwatthanapong, Varissara Tanakom, Patcharapan Sombuntanon, Kittipith Kaivikai & Tassanai Punprasert
Viola – Suvijak Chotikool, Nawattasit Kanjanajai, Thachapol Namwong, Pongthep Jitduangprem, Surachon Lerdlop, Jitsamon Shattrakom, Nitivadee Kaosard & Yuwadee Kanchanasatit
Cello – Nichapa Nilkaew, Teerakiat Kerdlarp, Vannophat Kaploykeo, Saran Charoennit, Roypim Thavornsuwan & Vorapon Thannuekmeesinkul
ContraBass – Rutawat Sintutepparat & Prawwanisita Neesanant
Conducted By – Trisdee na Patalung
Chorus – Tushar Joshi, Akashdeep Sengupta and Aniruddh Anantha

Version III – Kalank (Bonus Track)

Let me start by saying this, the Bonus track wins hands down for me, the lyric has changed, the lovers are not using metaphors anymore, they are describing their true feelings captured euphorically by Arijit Singh and Shilpa Rao; Amitabh Bhattacharya creates an even stronger bond with the listeners.

The music has also changed, Pritam has formulated a new-age, ambient sound to go with the genres that he has composed in, and it works wonderfully. There’s a wonderful use of a slight echo that takes this track to a new level, masterful use of the violins create an impassioned plea for love.

Chhupa Bhi Na Sakenge
I Won’t Be Able To Hide It
Bata Bhi Na Sakenge
I Won’t Be Able To Tell/Describe It
Hue Hain Yun Tere Pyaar Mein Pagal Piya…
I’ve Fallen In Love With You So Madly
Jo Tere Na Hue Toh
If I Don’t Become Yours
Kisi Ke Na Rahenge
I Will Not Become Anyone Else’s
(If I Don’t Have A Relationship With You, I Will Not Have A Relationship With Anyone Else)
Ki Ab Na Kisi Aur Se Laage Jiya
Now I’m Not Able To Attach My Heart With Anyone/Anything Else

Hazaaron Mein Kisi Ko Taqdeer Aisi
Such Good Fortune Is Attained By Those Who Are One In A Million
Mili Hai Ik Ranjha Aur Heer Jaisi
One Is Like Ranjha And The Other One Is Like Heer
(This Is A Reference To Heer-Raanjha/Raanjhanaa, A Famous Romantic Couple In Indian History, Similar To Romeo-Juliet. But Here Heer Is Referring To The Girl And Raanjha Is Referring To The Boy)
Na Jaane Ye Zamaana Kyun Chaahe Re Mitaana
I Don’t Know Why The World Wants To Erase This
Kalank Nahi Ishq Hai Kaajal Piya… (X2)
Love Is Not Like A Stain, It Is Like Kohl(Eyeliner/Mascara)
(Love Is Not Something One Should Frown Upon, It Is Something That One Must Be Proud About)
Thokar Pe Duniya Hai Ghar-Baar Hai
I Don’t Care About The World Or Even About My Home
Dil Mein Jo Dilbar Ka Darbaar Hai
I’ve Made A Palace For My Beloved In My Heart
Sajde Mein Baithe Hain Jitni Dafa
Whenever I Have Bowed Down To Pray
Woh Meri Mannat Mein Har Baar Hai
My Beloved Is There In My Prayers Every Single Time
Usi Ka Ab Le Rahe Hain Naam Hum Toh Saanson Ki Jagah
I Am Taking/Uttering His Name Instead Of Breathing
Kyun Jaane Ek Din Bhi Laage Humko Baarah Maason Ki Tarah
A Single Day Feels Like A Year To Me

Jo Apna Hai Saara
Whatever I Had
(Whatever Belonged To Me)
Sajaniya Pe Waara
I Have Given/Sacrificed It For The Sake Of My Beloved
Na Thha Mere Kisi Aur Ka Aanchal Piya
I Had No One Else To Protect(Take Care) Of Me
Hazaaron Mein Kisi Ko Taqdeer Aisi
Such Good Fortune Is Attained By Those Who Are One In A Million
Mili Hai Ik Ranjha Aur Heer Jaisi
One Is Like Ranjha And The Other One Is Like Heer
Na Jaane Ye Zamaana Kyun Chaahe Re Mitaana
I Don’t Know Why The World Wants To Erase This
Kalank Nahi Ishq Hai Kaajal Piya… (X2)
Love Is Not Like A Stain, It Is Like Kohl

Main Tera, Main Tera, Main Tera, Main Tera…
I Am Yours, I Am Yours, I Am Yours
Main Gehra Tamas Tu Sunhera Savera
I Am A Deep Dark Trench, You Are A Glowing Morning
Main Tera O… Main Tera…
I Am Yours, I Am Yours, I Am Yours
Musaafir Main Bhatka Tu Mera Basera
I Am A Lost Traveller, You Are My Refuge
Main Tera O… Main Tera
I Am Yours, I Am Yours

Tu Jugnu Chamakta, Main Jungle Ghanera
You Are A Shining Firefly, I Am A Deep Jungle
Main Tera Aa…
I Am Yours
O Piya Main Tera, Main Tera, Main Tera
O My Beloved, I Am Yours, I Am Yours
Main Tera… O… Main Tera…
I Am Yours, I Am Yours
Ho… Main Tera, Main Tera, Main Tera
I Am Yours, I Am Yours, I Am Yours
O… Main Tera, Main Tera, Main Tera…
I Am Yours, I Am Yours, I Am Yours
Ooo… O… Oo…

Added Song Credits:

Music Programmed and Arranged – Prasad Sashte
Strings Arranged – Prasad Sashte
Tabla – Vinayak Netke

First Class‘ was the second song to be unleashed to the public, and with Arijit Singh at the helm, the janta went crazy again, We have been subjected to similar tracks in other period films where the Hero proclaims his masculinity and is all praise for himself, and this can go either way, but luckily if not for Pritam’s melodious tune, Arijit Singh and Neeti Mohan, this could have went completely south for me.

There is something catchy about how Arijit and Neeti sing ‘Baaki Sab First Class Hai‘ that allows me to keep listening to the track. Amitabh Bhattacharya’s lyrics try to uplift its message, but few lines are worth remembering.

What i enjoyed most was listening to Pritam’s usage of the Ney, Bagpipes and Qanun (love how the track ends with the Qanun). This is a playful track meant to just have fun and enjoy.

Mere Hothon Se Dhuaandhaar Nikalti Hai Jo Boli
The Fiery Words That Come Out Of My Mouth
Jaise Jaise Bandook Ki Goli
Are Just Like Bullets Shooting Out Of A Gun
Mere Tevar Mein Hai Tehzeeb Ki Rangeen Rangoli
In My Mannerism, There Is A Colourful Culture(Refinement)
Jaise Jaise Ho Eid Mein Holi
It’s Just Like The Mixture Of Holi In Eid
(Holi Is A Hindu Religious Festival, The Festival Of Colours Which Marks The Beginning Of Spring While Eid Is An Islamic Religious Festival.)
Mere Hothon Se Dhuaandhaar Nikalti Hai Jo Boli
The Fiery Words That Come Out Of My Mouth
Jaise Jaise Bandook Ki Goli
Are Just Like Bullets Shooting Out Of A Gun
Mere Tevar Mein Hai Tehzeeb Ki Rangeen Rangoli
In My Mannerism, There Is A Colourful Culture(Refinement)
Jaise Jaise Ho Eid Mein Holi
It’s Just Like The Mixture Of Holi In Eid
Mere Jeevan Ki Dasha
This Is The Condition Of My Life
Thoda Raston Ka Nasha
There’s A Little Bit Of Intoxication Of The Streets(Journey)
Thodi Manzil Ki Pyaas Hai…
And A Little Bit Of Thirst For The Destination
Baaki Sab First Class Hai (X3)
Everything Else Is First Class
Haan Kasam Se, Baaki Sab First Class Hai
Yes, I Swear! Everything Else Is First Class

Pal Mein Tola Pal Mein Masa
It Is So Unstable(Ever Changing)
Jaisi Baazi Waisa Pasa
As The Bet Is, So Is The Dice
(As Per The Bet, I Chose The Dice)
Apni Thodi Hatke Duniyadaari Hai…
My Way Of Living Life Is A Little Different(Than Others)
Karna Kya Hai Chandi Sona
What To Do With Gold And Silver
(I Don’t Care About The Riches Of The World)
Jitna Paana Utna Khona
You Will Lose As Much You Earn
Hum Toh Dil Ke Dhande Ke Vyapari Hain…
I’m The Merchant Who Deals In The Business Of Hearts
Meri Muskaan Liye
Taking/Using My Smile
Kabhi Aati Hai Subah
Sometimes Mornings Arrive
Kabhi Shamein Udaas Hai…
And Sometimes Evenings Become Sad
Baaki Sab First Class Hai (X3)
Everything Else Is First Class
Haan Kasam Se, Baaki Sab First Class Hai
Yes, I Swear! Everything Else Is First Class

Ho Sabke Hothon Pe Charcha Tera
Your Mention Is Present On Everyone’s Lips
Bant Ta Galiyon Mein Parcha Tera
Flyers In Your Name Are Distributed In The Streets
Yun Toh Aashiq Hain Laakhon Magar
There Are Millions Of Lovers But
Sabse Ooncha Hai Darja Tera
You Are (A Lover)Of The Highest Order(Amongst All)
Jeb Mein Ho Athanni Bhale
Even If You Have 50 Cents In Your Pocket
Chalta Noton Mein Kharcha Tera
Your Expenditure Is In Currency Notes
Yun Toh Aashiq Hai Laakhon Magar
There Are Millions Of Lovers But
Sabse Ooncha Hai Darja Tera (X2)
You Are Of The Highest Order
Meri Taareef Se Chhupti Phire Badnaamiyan Meri
My Infamy Is Hiding Behind My Acclaims(Commendations/Praises)
Jaise Jaise Ho Aankh Micholi
Just Like In A Game Of Hide And Seek
Mere Tevar Mein Hai Tehzeeb Ki Rangeen Rangoli
In My Mannerism, There Is A Colourful Culture(Refinement) In It
Jaise Jaise Ho Eid Mein Holi
It’s Just Like The Mixture Of Holi In Eid
Mere Jeevan Ki Dasha
This Is The Condition Of My Life
Thoda Raston Ka Nasha
There’s A Little Bit Of Intoxication Of The Streets
Thodi Manzil Ki Pyaas Hai…
And A Little Bit Of Thirst For The Destination
Baaki Sab First Class Hai (X3)
Everything Else Is First Class
Haan Kasam Se, Baaki Sab First Class Hai
Yes, I Swear! Everything Else Is First Class
Haan
Yes

Song Credits:

Mandolin & Various Pluck Instruments – Tapas Roy
Guitars – Pawan Rasaily
Bulbul Tarang – Rashid Khan
Bagpipes & Ney – Meira Segal
Spanish Guitar – Pedro Medina Morejon De Giron
Qanun – Tamer Pinarbasi
Clarinet & Saxophone – ID Rao
Bass – Jivitesh Kharbanda
Tabla – Ishteyak Khan, Mushtak Khan, Navin Sharma, Shridhar Chari and Sharafat Hussain
Dholak – Ishteyak Khan, Mushtak Khan, Iqbal Azad, Yusuf Mohammed, Mohammed Shadab Yusuf, Anoop B, Navin Sharma, Bhajan Singh, Sachin Damankar, Shridhar Chari, Sharafat Hussain, Shashikant Sharma, Surender, Sushant and Naim Sayed
Dholki – Vijay Chavan & Vijay Jadhav (Jr.)
Multi Percussions – Pratap Nath, Abhijeet Kholi, Vijay Jadhav (Sr.), Sachin Damankar and Bhajan Singh
Balkan Musicians (Budapest)
Tambura Cello & Saaz – Alitta Sazub
Accordion, Hulusi Bagpipes and Recorder – Sulejman Katecük
Alto Saxaphone & Clarinet – Davul Shifra
Trumpet – Engie Bredics
Music Recorded by György Mohai (at Pannonia Studio Budapest, Hungary)
*Hook Melody based on Traditional Indian Folk
Vocal Design – Tushar Joshi & Arijit Singh
Vocal Conductors – Tushar Joshi & Kaushik Das

Pritamda’s third outing at Dharma Productions should make him feel really proud of his achievements, if we count back and look at the styles of music that makes up Kalank; Mujhra, Ghazal, Qawalli, Hindustani Classical, New-Age, Ambient, Ballad and Hatke, this was a mammoth task and would have been a really tough assignment for anyone in the music industry, especially looking at the current state of film music. Originality is hard to come by and here Pritam gives us new creations that are to be cherished for a very long time indeed. Not only that, Pritam had to contend with composing for legend Madhuri Dixit. Truly a spectacular effort and this effort will pay off, for earnest music is much better then a fast fly-by-night soundtrack that wouldn’t last the month after the film’s release.

To stream & download Full Songs
Gaana http://bit.ly/2P9GK24
JioSaavn http://bit.ly/2XdRakl
Wynk Musichttps://bit.ly/2GlcLBM
iTunes https://apple.co/2v0l8MC
Apple Musichttps://apple.co/2v0l8MC
Google Playhttp://bit.ly/2VHSj3j
Amazon Prime Musichttps://amzn.to/2Gecsat
Hungama http://bit.ly/2Z82EaI
Spotify https://spoti.fi/2VMsIWP
YouTube Musichttps://bit.ly/2Go2ftr

Pritam’s rousing score for Kalank gets an 8/10:

Rating
★★★★★★★★

Disclaimer: All images / videos copyright by Zee Music Company / Dharma Productions / Fox Star Studios / Sajid Nadiadwala & Grandson

2 Comments Add yours

  1. Wow!! This review / analysis of the album is par excellence!! As a fellow music blogger, I Really appreciate you for taking out your time and writing this 👌👌👌 I know how tough it is! 😊

    Liked by 1 person

    1. Thanks Rujul, much appreciated for this beautiful comment! When music is your passion, then the writing flows, it is tough, but seeing appreciation like this, it is all worth it. Thanks!

      Like

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