Nagarjuna's Damarukam movie trailers ??

Posted by sundeep on Saturday, August 20, 2011 in movie trailers, s, video | 0 comments

As the buzz is going out on web that it Damarukam is being inspired by the book "immortals of Meluha (Shiva Triology)" written by amish If that is true look at the trailers below.. they are superb.. and one more positive vibes about this project it contains 1hr Graphical work which crosses the budget of 35 Crores.

Nagarjuna starrer Damarukam in the direction of Srinivas Reddy is progressing at a rapid pace. The unit has started out a fresh schedule in Annapurna Studios in a specially erected set, where major cast are participating. Nagarjuna will be playing 4 distinct get-ups in the movie in which one of the roles will showcase him as Auto driver.

Damarukam is based on socio-fantasy genre and is said to be Nag’s highest budget film so far. 50 minutes of run-time of Damarukam will have amazing visual effects that will be one of the highlights of the movie.

Venkat is investing on Damarukam, being made under the banner of RR Movie Makers. Devi Sri Prasad is composing the tunes for the film. Damarukam has Prakash Raj, Abhimanyu Singh in important roles and Anushka Shetty as heroine.

Damadamm Music Review

Himesh Reshammiya has a tendency to divide listeners into the love him or hate him camp with that distinctive voice of his – so if you already know you’re not a big fan of Himesh and his characteristic nasal delivery, you might be wise to steer clear of the super-sized Damadamm soundtrack, since Himesh provides vocals for every one of the 15 tracks (9 originals, 5 remixes and a “promo video track”) on the epic album. Luckily, I love Himesh, and I even love him when he goes fully nasal, so 15 tracks? NO PROBLEM!
Opener Damadamm starts out like a traditional Sufi qawali… for about 2 seconds, until a deliciously addictive disco beat kicks in and the tune is transformed into an infectiously upbeat disco-qawali.  With a veritable truckload of vocalists: Punnu Brar, Palak Muchhal, Shabab Sabri, Alam Gir Khan, Sabina Shaikh, Himesh Reshammiya, Vineet Singh and Rubina Shaikh – all contributing, the song has a likeable, anthemic vibe centred around a familiar refrain: “Damadam Mast Kalandar!”; and enough variety in the lyrical delivery to keep it from getting too monotonous. On the downside,  it IS nearly 6 minutes long, and perhaps lacks enough innovation in the composition to keep it truly interesting after a certain point. There’s also a Damadamm Remix, which just adds synths and boosts beats and isn’t a huge improvement on what is already an enjoyable,  danceable track.
Umrao Jaan is a song that’s already making waves. It’s impossible to ignore Purbi Joshi’s repeated refrain (in an exaggerated faux Far-Eastern accent) “No Touching, Only Seeing. No Kissing, Only Seeing” – and I’m really not a fan of gimmicky comedy songs (and this definitely is one). Himesh is also at his most nasal in this song (haters be warned) – but there’s something about the bhangra disco beats and layered instrumentation in the track  that keeps me from switching it off…and in fact, keeps me coming back for more. I can forgive it the annoying gimmicky chorus, is what I’m saying. (It’s been stuck in my head for days!)  The Umrao Jaan Remix adds electro effects into the mix and is probably the one I’ll end up replaying because it’s a little less grating.
The intense, romantic groove of Aaja Ve is up next. This track is given a pulsating, soft rock feel with sparing use of violin, guitar and hypnotic, heartbeat-like percussion, but the focus is really on Himesh’s emotive vocals. His fans will love it; everyone else should give this one a shot – it’s definitely one of the standouts of the album. The Aaja Ve Remix plays with the arrangement, boosting the dramatic dark rock feel of the track by increasing the violins and electric guitar in the mix, but throwing some extra beats in there for good luck.
Madhushala opens with Aditi Singh Sharma crooning seductive English lyrics of “Ishq Unplugged” (Damadamm‘s original title) before Himesh counters, the drums kick in and the track takes off . This is a really interesting song to listen to for what Himesh does with his vocal delivery – it’s like he alternates his delivery, singing in two different, very distinct voices, with Aditi Singh Sharma’s near ethereal contributions adding further contrast to this multi-layered track. The varied instrumentation and arrangement is a little bit classical and rustic, and maintains high energy throughout. If anything, the old school vibe is reminiscent of ‘Isq Risk’ from the recent Mere Brother Ki Dulhan soundtrack. A definite winner. One of my favourites on the album. It was obviously picked as a popular track because there are two remixes included: Madhushala Remix and Madhushala House Mix. Neither adds much to the song.
Yun Toh Mera Dil is a breezy, poppy love song that evokes summer and beaches and sunshine and just…happiness. Based around lazy strumming guitars and handclaps, the tone of Himesh’s voice is pleasant and low for much of this song – making it a sweet, soothing, cute little song. When he emotes, his voice sounds like it’s soaring, not straining, and definitely not nasal or grating. Some might think it cheesy, but I actually like the little chuckles  and “cuckoos” thrown in as flourishes. Sadhana Sargam makes a very brief appearance in the song, and echoes the “chuckle” flourish on her vocal delivery – it’s really cute.
If you’re a fan of love ballads like I am, then you’ll probably enjoy Hum Tum. This is a gorgeously tender track, in which Himesh basically gives the people exactly what they expect. Himesh’s delivery is restrained and soft, the melody is pretty, with luscious instrumentation and my favourite romantic soaring strings, and Vaishali Made adds a beautiful classical touch with her vocal contributions throughout the song.
Another gorgeous ballad follows in the form of Tere Bina, a showcase for Himesh’s soulful vocals in an emotive and dynamic love song. Everything I said about Hum Tum holds true for this one, except this one is more plaintive in emotional tone – it’s a classic ballad and it’s done well.
I Need My Space has yet another style of vocal delivery from Himesh, who almost sounds like he’s channelling Vishal (of Vishal-Shekhar) in his heavy rock growling in the opening of the song. It’s a pretty standard rock song – grinding guitars, pounding drums, anthemic chorus. It”s not an especially original or new sounding song (and in fact, parts of it sound really familiar in a way I just can’t pin down) – the novelty is in hearing Himesh tackle a song in a new (for him) genre with unexpected aggression.
I hate to admit it, but I am in LOVE with Mango – the love song that infamously compares a woman to a mango. It’s come under fire for its incredibly simple lyrics (by Sameer) – “I miss you baby, like mango/ Tere intezar mein, na apples na tango, just mango”. It might be my love of love songs, or it might be that say what you will about Himesh – he can write and arrange a good melody, and Mango certainly has a beautiful, deceptively simple arrangement that gets right under your skin. Aditi Singh Sharma’s strong vocals contributions to the song are awesome too in that she sounds so different to elsewhere on the album. Forget ethereal – the woman is a powerhouse.
Final track on the album is “promo video track” Bhool Jaaun – and Sachin Gupta ( gets a turn at the vocals! Heavily atmospheric and rock-influenced, what makes this track stand out is the underlying beat and the fact that Sachin Gupta handles the lead vocals, with Himesh supporting.
Damadamm is a bit of a mixed bag – but it’s actually quite nice to hear Himesh experimenting with his vocal delivery and branching out a little with genre. I can’t help but think though that a little bit of variety in lead vocalists would make the album a bit more interesting to listen to as well. I love Himesh…but 15 tracks is a lot of Himesh.
Overall though Damadamm is a decent listen with mostly solid tracks, and a couple of stellar ones. Skip the remixes unless you’re a super-fan.

Why We Think Shahid Rocks!

Shahid Kapoor’s career, though still relatively young in the scheme of things, has shown the actor in an incredible range of roles and genres. With each new film he has grown as an actor and has proven himself to be one of the best in Bollywood. Coming up this Friday is the love story Mausam, which also stars Sonam Kapoor. Directed by his father Pankaj Kapoor, the actor dedicated all of his time over a period of two years, to make it a film that he hopes will blow audiences away. Since we think Shahid rocks, we thought we would take a look at some of the pivotal and best moments in the actor’s career!

Ishq Vishk: Of course his debut film has to be mentioned. He burst on the scene with that adorable baby face and fabulous screen presence. He did a great job as a newcomer and though in some scenes his acting skills were still raw, there were some really great moments. The cute chemistry between him and Amrita Rao also made the film feel real, young and it was just to good. Ishq Vishk was a movie that was like a breath of fresh air and audiences loved it. His performance won him the coveted Filmfare Best Male Debut Award.

Fida: With his second role, Shahid proved that he was not going to be content being typecast as the cute young college guy. It was a complete 180 from Rajiv, and fans and critics were stunned at his transformation. He proved he was an actor to look out for in the future.

Shikhar: This is another role that showed he wanted to stretch as an actor. His performance is a favorites for one of our writers: “I loved Shahid in Shikhar. He portrayed his character, Jai, so well, going from an innocent boy to a guy lost in the world of money and ambition.” His performance was critically praised and it earned him a Star Screen Award for Best Actor nomination.

Vivah: Once again Shahid was paired with Amrita Rao, but this was a different time, a different story, and a completely different actor. Vivah is a beautiful yet simple film full of emotion and romance. Shahid proved he could be quiet and still make audiences literally feel his emotion coming off the screen. The scene in the hospital when he marries her and puts on her sindoor (sighhhh) is one of the best moments in the film. Vivah ranks as one of his finest and most nuanced performances and definitely one of our favorites. Fans and critics agree and Vivah went on to be one of his biggest hits.

Jab We Met: Of course this HAS to be on the list. It is on almost every Bollywood fans list of “Movies I Love” and “Bollywood movies everyone should see”. Starring Kareena Kapoor and Shahid, the two were a perfect foil for each other. Shahid was pitch perfect both as the depressed, lost Aditya who slowly comes to life in the presence of Kareena Kapoor’s Geet to the one who has to bring life and happiness back to her all the while concealing his love. Each moment was done with a delicate touch, full of emotion, energy and light that proved that Shahid as an actor had come into his own. He made every girl fell in love with him…all over again!

Kaminey: Once again he changed it up and went in a new direction, this time taking on two roles in the Vishal Bhardwaj directed dark drama. The dexterity with which he played both characters is worth a mention and then some. We gave it 4 stars and our reviewer raved about Shahid’s performance, “Shahid Kapoor has found himself in the role of a lifetime. You’ve seen him as the lost Aditya Kashyap in Jab We Met and then the shy Prem in Vivah and while he has been incredible in both roles, his portrayal of Charlie and Guddu is his best till date. While he’s mean as Charlie, he’s totally cute as Guddu. And the amount of work it must have taken to swap between stuttering and stammering is only imaginable and is visible on screen. The distinction between both brothers is clear and Shahid comes out a complete winner.” Need we say more?
A couple of special mentions: Though not a success at the box office we do feel that Shahid was really good in Dil Bole Hadippa. He played his role perfectly and his chemistry with Rani was fabulous. Did the film work? Well, not really but Shahid certainly did!
Then there is his dancing, which has to get its own special recognition. He started out as a dancer in the industry and his first big screen time was as a backup dancer in Taal. He has got the moves that puts many a Bollywood hero to shame and he is considered one of the best! Though Chance Pe Dance was not a hit, his dancing was and it showed off his incredible skill. We do love to watch that man move!
Time will tell if his performance in Mausam will rate good enough to make it on our list but we have a feeling it will be! The romance hits theaters on September 23rd!

Rascals Music Review

Rascals is an upcoming comedy directed by David Dhawan, starring Sanjay Dutt and Ajay Devgn as con-men competing to win the affections of Kangna Ranaut’s character. Described in the promotional material as a “mega-comedy”, if you’ve seen any of the trailers or even the poster, you’ll know immediately if the film is worth your pocket money: David Dhawan’s brash and energetic, super-colourful, super-loud, in your face brand of comedy isn’t for everyone, but it undoubtedly has its fans.
Vishal-Shekar have certainly created a soundtrack to fit the Dhawan brief with the Rascals soundtrack – and by that, I mean that this album is basically an onslaught of high-energy noise from start to finish.
The short album consists of four original tracks and two remixes; the entire album is heavily hip-hop and dance based. It’s definitely not one for old-school Hindi film music purists or fans of the rustic desi style currently making a resurgence.
The title song sung by Neeraj Shridhan is…well, it’s what you expect from the title song in a David Dhawan film. It’s high energy and pounding and repetitive, and it’s full of funny sound effects, and a verse sung in chipmunk voices. It will either be hilarious while and after seeing the film (and this is totally the point of a song like this – it’s not really meant to be listened to in isolation, it’s meant to introduce the characters) or you will absolutely never – and I mean NEVER – want to hear this track ever again, unless you are actively trying to drive people out of your house.
Just in case you DO have an odd urge to not only listen to the title track but actually get up and dance to it, the album includes Rascals (Dance Mix), which mercifully eliminates all the gimmicky effects (and the chipmunks) in favour of Neeraj Shridhan singing it properly over a paced up dancey backing.
Pardaah Nasheen is a pounding, percussive wall of sound from the get-go, with Neeraj Shridhar belting out his vocals anthemically over the thumping, repetitive beats. Sunidhi Chauhan features all too briefly, adding a touch of sweetness – and we get the hint, all too clearly: this album is meant to be played full volume.
There’s some crazy mixing going on in Tik Tuk – and I actually kind of like this one! There’s a hint of a bhangra beat and desi drums mixed in with choppy dance synths, sirens, sweet vocal samples from Monali Thakur and hip hop. Daler Mehndi’s repetitive staccato refrain anchors this hot, hypnotic mess, which might not be massy enough to be a huge hit but might just be different enough to make waves.
If I’m honest, I have to say I found the rap in Shake It Saiyyan off-putting. Personally, I prefer the hiphop in the Breakaway soundtrack, which features some desi AND international hiphop integrated pretty seamlessly into a Hindi soundtrack. Hearing the awkward sounding rap in this track was like hearing a audible step backwards. The rest of the track is sparsely instrumented, thumping, loud, Sunidhi Chauhan sounds like she’s singing at the top of her comfortable range for a lot of it, and the overall effect is just kind of grating. I just didn’t like this one at all.
There’s a “Hip Hop Remix” of the song is…misnamed, and manages to be even more irritating with the addition of handclaps and synthesisers. I basically never want to hear anyone ever implore me to “Swag it out” ever again.
The Rascals soundtrack might be perfectly suited to the movie, and it might be ideal music for when you need some energetic background noise – but it’s ultimately filler. There’s not a lot of depth, originality or heart to it: in the end, it is just noise.
A horribly disappointing effort from the normally solid Vishal-Shekhar; here’s hoping they saved their A game for Ra.One.

Mausam Movie Review

Ever since the first buzz of Mausam hit the news, it fast became one of the most-awaited films of 2011. Mausam brings with it two very promising firsts: A first-time director in the critically acclaimed actor Pankaj Kapur and a fresh new jodi in Kapur’s son Shahid Kapoor and star-daughter Sonam Kapoor. The intrigue and anticipation surrounding the film increased with the thought of the father and son duo jointly working on the same project for the first time. Over the past few months prior to release the movie has been caught up in a number of controversies. However, now that Mausam has finally hit the theaters, does it prove to be worth the wait?
Mausam’s story has been branded as and is a story about love that spans across a number of continents, years and, perhaps most importantly, through different seasons. Starting off in 1992, the film begins with Harry’s (Shahid) story. Harry is a young village boy residing in Mallukot and has a fascination with speed and trains. He is living his youth with his accompanying friends. When a neighbour’s (Supriya Pathak) niece, Aayat (Sonam) is forced to come and stay with her aunt from Kashmir as a matter of safety, Harry falls in love at first sight. The two share some sweet and heart-felt moments with one another before Aayat and her family are forced to move to Mumbai. Harry is left heartbroken but he is also seen to receive a letter about his entry into the army. What follows is a story whereby the two lovers meet at various intervals every few years in different places and under different circumstances.
It would be wrong to say that Mausam is your average, run-of-the-mill Bollywood love story. It is very much a movie which stands for everything Bollywood signifies about, minus the taaza masala. The first half of the movie is centred on the life of Harry and Aayat and their Mallukot activities, including the wedding of Harry’s sister and also the visit of Aayat’s refugee father. It can be said that this part of the film is probably the most watchable and this is because of the portrayal of innocence, mischief and sweet obsession that the two protagonists’ share with one another.
You’re reminded of a love story which could very easily have fit perfectly in the years it was set in and proved to be a huge success at the box office. However, hold your horses. The second half of the movie is a huge disappointment and doesn’t follow on as promisingly as the first half yearns for it to. Fate brings the two characters together a number of times but as each meeting happens, the plot becomes less and less realistic. Fate is thought to instigate these meetings but even fate wouldn’t work its wonder that many times.
Performance-wise, Shahid Kapoor is perhaps the films sole saviour. Arguably, the actor holds the whole movie on his own shoulders. Kapoor plays the role of a Harry with such perfection that you’re left feeling somewhat sad that the movie doesn’t quite live up to his immensely praiseworthy rendition. Sonam Kapoor as Aayat is believable but doesn’t quite seem to strike an uncritical chord. It’s difficult to pinpoint the reason for this but could possibly be because this is the first time she has tackled this kind of character in this sort of movie.
Pankaj Kapur, in his directorial debut, has given the kinds of settings and locations in Mausam which have huge significance in the “seasonal” look the movie needed. As Kapur has also written the movie, his understanding and vision seem to go a long way and this can be seen in the overall feel of the movie and the intricacies he has sought to show in each of his characters, both individually and in the relationships they have with each other. Overall, Kapur has achieved a very accomplished effort in his first movie and it is yet to be seen whether we will see this talent of his at the forefront again.
With Mausam, you are made to travel from Mallukot to Scotland and from Switzerland to Ahmedabad and you take with you Harry’s and Aayat’s pyaar. The biggest and most important aspect of Mausam is that the love story within should have been seen to resonate and it would have if it hadn’t been complicated with the various periods the two have to spend apart. It is this and the number of times that the two come together which gets tedious about makes what should have been a simple story unnecessarily long-winded.
If, like most Bollywood fans, you love a good love story then Mausam (minus the seasons) will make you want to fall in love again. However, if what you’re after is a story which you could list for years to come as one of the most touching love stories given by Indian cinema, I’m sorry to say that Mausam doesn’t quite hit the spot. Although a strong and impactful love story, the movie sadly seems to get lost in its own fat

Hum Tum Shabana Music Review

Sachin-Jigar of F.A.L.T.U and Tere Sang fame are back on the front lines of Bollywood music with Hum Tum Shabana, a comedy starring Shreyas Tadpade (Golmaal Returns), Tushaar Kapoor (the Golmaal movies) and Minisha Lamba (Yahan and Bachna Ae Haseeno).
The album is made up of seven tracks, inclusive of two remixes. It features the lyrical styling’s of Sameer and the vocal talents of Anoushka Manchanda (‘Mit Jaaye Gham’ – Dum Maaro Dum), Mika Singh (‘Pyaar Do’ – Thank You), Palaash Sen (of Euphoria), Tochi Raina (‘Gal Mithi Mithi Bol’ – Aisha), Suzanne D’Mello (‘Jee Karda’ – Singh is King), Jigar Sariya (‘Rab Milaya’ – Teree Sang) along with Raghav who is making his foray into Bollywood music.
Hum Tum Shabana costars Sharad Saxena (BodyGuard) and Statish Kaushik (Road, Movie) and has been directed by Sagar Ballary (Bheja Fry). It hits cinemas on 23 September 2011.
The album starts off with a bang with Music Bandh Na Karo. It is a decent attempt by Sachin-Jigar to re-create the youth anthem ‘Char Baj Gaye’ from F.A.L.T.U, but it does not get your blood pumping quite like ‘Char Baj Gaye’. Regardless, it is still a fun filled club/dance number sung with energetic appeal by Anoushka, Palaash and Abhishek Nailwal. Therefore, is gaane ko definitely bandh na karo. Why this track needed a remix is not entirely clear since it is already fast-paced and loud from the get go. Regardless, there is a remixed version of it by Kiran Kamath which is rather unspectacular, in that it does not achieve anything that the un-remixed version did not already achieve.
Next is the Hey Na Na Na Shabana by Raghav, a trendy contemporary track that is contagiously hummable. While Raghav has sung several Hindi songs in his musical career this is undoubtedly his first number for a Bollywood film and I really hope he continues to collaborate with Bollywood composers after this. Needless to say, Sachin-Jigar could not have found a better vocalist for this song. While the lyrics would not be wining a nobel anytime soon, they are still cute and the music is easy on the ears making this song an instant favourite. In contrast, the track’s remix, by Akhil Talreja is quite unremarkable. Further, it drowns out Raghav’s vocals which is rather disconcerting.
Thank You Mr DJ is up next, a relatively uneventful sung by Mika and Suzy Q. It is more of brawny chant/drawl suited to a crowd of spectators at a sporting event than a song. All one can hope it that it might be more appealing in the context of the film’s narration.
Anoushka Manchanda then enters the picture with the mind blowing Piya Kesariyo. The track’s pseudo-classical lyrics impressively vocalised by Anoushka against the backdrop of a clever fusion of head banging rock and light-Indian classical is what makes it outstanding. It is vulnerable and powerful, loud and soft, all at once. In short, it is ‘Maula Mila De’ and ‘Morey Siya’ (Teree Sang) on adrenalin. Hats off to Sachin-Jigar for such a brilliant composition!
The album closes with Tochi Raina’s Kaari Kaari, a pumped up Punjabi dance number written by Mayur Puri. Sachin-Jigar pull out all the stops with this track and with the recent popularity of songs like ‘Gal Mithi Mithi Bol’ (Aisha) and ‘Sadi Gali’(Tanu Weds Manu) ‘Kaari Kaari’ will definitely win hearts.
In summary, Hum Tum Shabana is quite a decent album and another feather on hats of Sachin and Jigar. ‘Piya Kesariyo’ and ‘Hey Na Na Shabana’ are the definite winners while the partygoers will eat up ‘Music Bandh Na Karo’ and ‘Kaari Kaari’ without question. ‘Thank You Mr DJ’ on the other hand might not find a lot of takes. In any event, Hum Tum Shabana is a sound effort from Sachin-Jigar so give it a go!

Love BreakUps Zindagi Music Review

Diya Mirza, Zayed Khan and Sahil Sangha. What do these three individuals have in common? A brand new spanking production house trading as Born Free Entertainment which is making its debut into the Indian Film Industry with Love Breakups Zindagi. Indicative of being a romantic dramedy , Love Breakups Zindagi is directed by Sahil and stars his partners in crime, Zayed (Main Hoon Naa) and Diya (Parineeta).
The premise of Love Breakups Zindagi is youthful, urban and fresh, qualities that have been greatly reflected in its soundtrack. The Brothers Merchant, namely, Salim-Sulaiman, fresh from their roaring success of Band Baaja Baraat have composed for the film while veteran lyricist Javed Akhtar has penned the lyrics. The album is made up of 5 tracks, one of which is a remix, and features the vocal talents of Sonu Nigam (‘Shukran Allah – Kurbaan), Benny  Dayal (‘Tu Hi To Meri Dost Hai’ – Yuvvraaj), Shreya Ghosal (‘Teri Ore’ – Singh is Kinng),  Shafqat Amanat Ali (‘Bin Tere’ – I Hate Luv Storys), Shruti Pathak (‘Mar Jawan’ – Fashion), Shrradha Pandit (‘Genda Phool’ – Delhi 6) and Salim Merchant (‘Ayvi Ayvi’ – Band Baaja Baraat).
Love Breakups Zindagi, which also stars Cyrus Sahukar (Aisha) and Tischa Chopra (Taare Zameen Par) releases on 7 October 2011.
The soundtrack commences with the optimistic Rozana by Salim Merchant that radiates positive vibes with every note. It is a very hopeful number that sees beauty, opportunity and goodness on a daily basis in things as mundane as mornings and nights. Written, performed and composed with equal parts zest and soul, Rozana is perfect for the daily commute (as depicted in the promo) to work and back. It has the ability to psych you up for the day and wind you down for the night. The track’s enthusiasm for life is impressive if not contagious. Rozana is also available as a remix, courtesy of DJ A-Myth that just speeds up the number a little and adds a few extra beats.
Next is Rab Rakha, that is just sheer beauty from the get go. It has already won the hearts of hundreds what with its promos hitting the music channels in the recent weeks past and rightly so. Salim, Sonu and Shreya effectively re-create the magic witnessed in ‘Shukran Allah’ (Kurbaan) with Rab Rakha. The track reflects a myriad of themes, in that it serves a situational number, a light dance track, a romantic duet and a prayer all rolled into one. It is as impressive lyrically as it is musically. We definitely have another Merchant masterpiece on our hands with this one.
Next is Love Love Love, a cute little boppy number by Benny and Shruthi that will get your feet tapping in no time. The track has a very sunny disposition in terms of lyrics, music and vocals. It is a street-side-symphony of sorts that is in love with the feeling of falling in love. Benny and Shruthi’s youthful vocals add to the freshness of the track.
The album ends on a sombre note with Chhayee Hai Tanhayee, a melancholic qawali sung to perfection by Shafqat Amanat Ali, Shrradha Pandit and Salim Merchant. As morose as they are, Javed Akhtar’s lyrics are first rate. It is a real pity that it is the shortest track in the soundtrack.
All in love, Love Breakups Zindagi, practices what it preaches in that it has songs of love, life and all that lies in between. Rab Rakha and Chhayee Hai Tanhayee obviously come out on top while Love Love Love and Rozona are close runner-ups. In any event, there is something to be loved about each track from the soundtrack and the Merchant brothers continue to remind us why they are considered as one the best musical duos of the current era.

Breakaway/Speedy Singhs Music Review

Breakaway (also known as Speedy Singhs) is Akshay Kumar’s latest production project: an Indo-Canadian co-production slated to release at the end of September. The film, starring newcomer Vinay Virmani, Anupam Kher, Russell Peters and Rob Lowe, is centered around a young Indian-Canadian hockey player and the difficulty he encounters trying to balance the two cultures he has grown up with. His father wants him to work for the family business and devote himself to religious past-times, instead of pursuing a career in hockey (a sport most beloved by Canada).
This idea – this melding versus clashing of cultures – informs the soundtrack too.
RDB – a Canada and UK based bhangra outfit – are at the reins for the Breakaway soundtrack album and have composed an album that is unmistakeably desi at its core, but seamlessly mixes in hip-hop and dance.
The album opens with Ne Aaja Ve, a breezy dance track sung in a mixture of English and Punjabi by Veronica (with an array of vocal contributions, including a rhythmic “Balle balle balle!” from H-Dhami). The thumping beat and simple, hypnotic, repetitive vocals are kind of misleading – the more I listened to this one the more intriguing the complex beats became, not least how H-Dhami’s various Punjabi vocals are used as beats in their own right. It’s surprising a remix hasn’t been included on the album.
Attempts to combine rap/hiphop with Hindi have been, shall we say, hit and miss in the past – sometimes they are just kind of awkward, especially when someone who doesn’t know how to rap attempts rapping (I won’t name names). The second track on the album, Shera di Kaum has been highly anticipated since producer Akshay Kumar announced rapper Ludacris was on board for a collaboration with RDB. And it doesn’t disappoint. We’ve all seen the sports movies where the sports team needs to get psyched up into winning the big game: if all it takes is a song to get them pumped and feeling like winners, Shera di Khom will be it. Combining rock and rap (in English and Punjabi) against a building, intense background of wailing electric guitars, spitting synths and pounding drums, the overwhelming message is “Never lose, never fear, overcome all and persevere.” It’s not pushing the envelope much – but you can totally see how this will fit into the film and I actually love this kind of slightly cheesily motivational song.
The track I actually MUCH prefer though, in terms of a track I will listen to over and over again, is track 3, Sansar, a short but definitely intense burst of triumphant bhangra infused hiphop. RDB take a bhangra groove and build the track over the top: laying down a simple, banging beat, then letting J-Hind, Kat Eyez & Smooth battle it out with lightning fast verbal dexterity. LOVE this track: favourite on the album.
Veer da Viha is the closest to a straightforward standard Punjabi number on the album. It’s upbeat, and kind of raucous, with Jassi Sidhu handling the vocals with help from an apparent roomful of cheerful, shouting, “brrrrrrrr”-ing friends. The most interesting touch on the track is the subtle addition of brass-band flourishes along side all the bhangra goodness.
The final track on the album is Jassi Siddhu’s take on a Punjabi CLASSIC: Rail Guddi. This is a dance track, but synths and mix effects have been used pretty sparingly to emphasise the chugging “train” feel of the track and to preserve the overwhelmingly Punjabi flavour of this classic. This isn’t a song you listen to. It’s a song you form a human train to on the dance floor. Enough said. Feel the nostalgia, kick off your shoes and join the chain. If anything, this one is about fun.
Overall, the Breakaway soundtrack is kind of awesome – if you like your bhangra a little less rustic (thank you, and goodbye every single recent track feeling the need to imitate the Dabanng soundtrack) and a little more club ready. If you like hiphop, club music and bhangra, and even better, all three at once, you’ll like this album. If not – best steer clear.