Bollywood Music: On the Curse of Remakes

In the last five years or so, Bollywood music has become increasingly unoriginal, with melodies being repeated in the same genres of “romance”, “party/club/EDM”, or “sad/emotional” over and over again. With the exception of some great albums of recent times (Mirzya, Ae Dil Hai Mushkil, Befikre), there has been a trend towards remaking/remixing/remastering old classics (mainstream and indie/pop) from earlier decades. Here are a few just from the last year…

Haseeno Ka Deewana (Kaabil)

Tamma Tamma Again (Badrinath Ki Dulhania)

The Humma Song (OK Jaanu)

Kala Chashma (Baar Baar Dekho)

Dil Ke Paas (Wajah Tum Ho)

Laila Main Laila (Raees)

Hare Krishna Hare Ram (Commando 2)

O Jaaniya/Kaate Nahin Kat The (Force 2)

Love them, hate them, don’t care about them – your choice. For me, these are some of the questions that come up and are left unanswered:

Have Bollywood music composers lost their originality?

What does this trend mean for the future of the Indian film music industry?

Where is the identity of music composers today?

Most importantly, are music composers working on their craft as artists?

I understand if a remake of a song is related to the film’s theme (like “Yeh Mera Dil” in Don, for example), but this trend is starting to make me wonder about the purpose of recreating a random song and inserting it into an unrelated film with no relevance to the original song.

Old is gold but perhaps the new re-polished gold may only be for a few.


Music Review: Mohenjo Daro

Mohenjo Daro is easily one of the most highly anticipated films of 2016. With the combination of Ashutosh Gowariker, A.R. Rahman, and Hrithik Roshan returning to the big screen after years, this film promises to be an excellent entertainer. The official soundtrack for Mohenjo Daro has finally been unveiled, with music composed by none other than maestro A.R. Rahman and lyrics by the prolific Javed Akhtar.

Sung by A.R. Rahman, Arijit Singh, Bela Shende, and Sanah Moidutty, “Mohenjo Mohenjo” introduces the album with a bang. Typically, films have a hero or heroine entry song. “Mohenjo Mohenjo” is a location entry number, introducing listeners to the magical world of Mohenjo Daro. Rahman uses raw and rustic elements of instrumentation, perfectly mixed with powerful chorus vocals.

We were introduced to the beginning of “Sindhu Ma” in the film’s trailer. Musically and lyrically, this number has a very tribal feel, describing the value of Mother Nature and all that she has to give. The placement of lyrics in certain places is very interesting and strays from the rhythm ever so slightly. “Sindhu Ma” features A.R. Rahman and Sanah Moidutty on vocals.

One of the most dynamic songs in the entire album, “Sarsariya” interweaves a variety of percussion elements and numerous scale changes every time it returns to the chorus line. The fact that the beginning of this song is in a different language is fascinating and reflects the ancient society of Mohenjo Daro. Rendered by the melodious Shashwat Singh and the talented Shashaa Tirupati, this melody is supremely addictive and definitely my favorite so far!

“Tu Hai” was premiered a few days ago, featuring the lead pair Hrithik Roshan and Pooja Hegde in the video’s gorgeous cinematography. Sung by A.R. Rahman and Sanah Moidutty, the melody of this track is nothing super unique. Au contraire, it sounds like a combination of various Rahman melodies from other films, such as Guru’s “Tere Bina”, Lingaa’s “En Mannava”, and Rang De Basanti’s “Tu Bin Bataye.” Despite the ordinary melody, this track concludes with intensity in orchestration.

“Whispers of the Mind” and “Whispers of the Heart” are background music tracks featuring Arjun Chandy on vocals with minimal orchestration. Both numbers have a mysterious, enticing feel, drawing listeners into the exploration of Mohenjo Daro.

“Whispers of the Heart” builds on “Whispers of the Mind” by adding a rhythmic element backing the vocals.

“The Shimmer of Sindhu” featuring Keba Jeremiah and Kareem Kamalakar and “Lakh Lakh Thora” featuring Tapas Roy and Pmk Naveen Kumar are instrumental versions of “Tu Hai” and “Sarsariya”, respectively.

“Lakh Lakh Thora” is an excellent mandolin rendition of “Sarsariya”, interweaving Middle-Eastern elements throughout the track.

Final Verdict: As expected, Mohenjo Daro is a phenomenal album showcasing the talent of A.R. Rahman and all the musicians involved in any of his musical projects. “Sarsariya” and “Mohenjo Mohenjo” can be heralded as the high-octane energetic numbers, with “Sindhu Ma” and “Tu Hai” being more mellow and subtle. We are excited to see these songs on the big screen when the film releases!

Music Review: Udta Punjab

Zee Music Company and the makers of Udta Punjab have released the full soundtrack for the film. Music has been composed by Amit Trivedi, with lyrics penned by Shellee, Late Shri Shiv Kumar Batalvi and Varun Grover.

An edgy electronic track, “Chitta Ve” was the first video to be released from the album. A nice change from typical party numbers, it starts with a rap section, by Babu Haabi, and later goes into the melody, sung by Shahid Mallya and Bhanu Prtap. “Chitta Ve” is mellower than a usual high-energy pumping song, but it’ll get you moving nevertheless!

“Da Da Dasse” is a song that features cool, groovy hip-hop beats. It has been rapped by Babu Haabi and sung by Kanika Kapoor, who is an interesting choice for this song. Compared to other Amit Trivedi tracks, “Da Da Dasse” has minimalist orchestration, and there is nothing particularly new or unique about this melody.

Rendered by Shahid Mallya, “Ikk Kudi” begins with a mellifluous guitar bit that goes into a beautiful soft melody quintessential of Amit Trivedi. The guitar chords and embellishments throughout are enchanting and add dimension to the song. Definitely my favorite track in the album so far!

After the soft melody of “Ikk Kudi”, “Ud-daa Punjab” brings listeners back to the edgy grunge vibe of previous songs in the album. Amit Trivedi’s vocals have a strange but unique combination of strong power with a lazy feel. This number also features Vishal Dadlani trying his hand at rapping in Hindi and Punjabi. Unfortunately, “Ud-daa Punjab” feels repetitive, as all the stanzas are sung with the same melody and little changes in backing orchestration.

“Hass Nach Le” is a welcome change, featuring harmonium and a qawwali genre track in an otherwise edgy and electronic album. This song really suits Shahid Mallya’s voice and he has rendered it excellently, showing off his vocal prowess in both high and low octaves.

“Vadiya” is a super electronic fist-pumping club number. It is sung by Amit Trivedi himself, whose pronunciation of the song’s Punjabi lyrics could be better. The chorus line is quite addictive and trippy, suiting the vibe of the film overall.

“Ikk Kudi (Reprised Version)” features Diljit Dosanjh singing and Alia Bhatt in the empowering video of the song. It is nice to hear Diljit on vocals. It is very clear that he sings with passion and emotion.

Final Verdict: Udta Punjab is a unique album featuring 60% edgy, electronic, grunge songs with some lyrical melodies in between. Amit Trivedi has utilized a combination of his typical style with some experimentation transcending his comfort zone. Needless to say, the album will certainly suit the film and its context quite well. Looking forward to hearing and seeing them onscreen!

Music Review: Azhar

The makers of Azhar have released the full official soundtrack for the film. Music has been composed by Amaal Mallik, with one song each created by guest composers Pritam and DJ Chetas. Lyrics are penned by Kumaar, Rashmi Virag, Anand Bakshi, and Manoj Yadav.

“Bol Do Na Zara”, the first video to be released from the album, is a soulful melody featuring Armaan Mallik, whose voice sounds exquisite in this song. The guitar, piano, and flute layering in the track’s orchestration beautifully complements the melody. The mixing in this track is also fantastic, as listeners can hear almost all the instrumental elements used in the song. Definitely my favorite from the film so far!

Sung by Arijit Singh and Antara Mitra, “Itni Si Baat Hain” is a romantic track featuring cute onscreen chemistry between Emraan and Prachi in the video. Arijit Singh’s voice sounds so effortless in this song, and he easily floats between low and high vocal ranges. The male-female layering of harmonies towards the end of the melody is a nice touch by Pritam.

The beginning of “Oye Oye” got me excited about his old-world inspired melody. The chorus line for this remixed electronic track, sung by Aditi Singh Sharma and Armaan Mallik, is supremely addictive, and is complemented by Nargis showing off her sexy moves in the video!

“Tu Hi Na Jaane”, sung by Sonu Nigam and Prakriti Kakar, has somewhat of a rock vibe with the beats and constant guitars in the background. It is nice to hear Sonu Nigam’s voice after quite some time and needless to say, he does justice to it completely. Music composer Amaal Mallik utilizes an interesting blend of western musical elements (guitar) and Indian instruments (sarangi) in this track’s orchestration. Unfortunately, it is quite a long song and fails to sustain interest for its entire duration.

Sung by K.K, “Jeetne Ke Liye” has an interesting rhythm, which changes slightly towards the end of each 8-count cycle. While K.K’s range at the end of this song is absolutely incredible and a true testament to his talent as a playback singer in the Bollywood music industry, this song is generally somewhat boring to hear on its own, perhaps because it makes sense within the context of the film.

Final Verdict: Azhar is a decent album, nothing extraordinary but not terrible either. Armaan Mallik steals the show with his rendering of “Bol Do Na Zara”, which is easily one of the most well arranged tracks in this entire album. Nevertheless, we look forward to seeing this songs as part of the big picture when Azhar releases.

Music Review: Baaghi

The makers of Baaghi have released the film’s full official soundtrack! Music for the film has been composed by Meet Bros, Amaal Mallik, Ankit Tiwari, and Manj Musik, with lyrics penned by Kumaar, Abhendra Kumar, Sanjeev Chaturvedi, and Raftaar.

The first track, “Sab Tera”, was the first video song to be released from Baaghi. A melodious romantic track, there is nothing particularly new or unique in the melody but Shraddha Kapoor and Armaan Mallik’s voices, complementing the soft mellow orchestration, make this song a beautiful listen. The picturesque beach backgrounds in the video also add a nice touch to this track.

“Let’s Talk About Love” has easily become one of the most popular music videos from Baaghi in the last week, with Tiger Shroff killing it with his amazing dance moves. Sung by Raftaar and Neha Kakkar, this high energy pumping song has a jive/rock n roll feel. While it is extremely addictive, the vocals could have been mixed to be a bit louder, as the trumpet stands out a bit too much when it overlaps with the voices, which makes it hard to discern the texture of Raftaar and Neha’s voices. That being said, this is definitely my favorite track of the film so far!

“Cham Cham” is a song with many different musical elements. Sung by Monali Thakur and Meet Bros, the melody of the chorus line is one that will grow on you as the song progresses. The nadaswaram tune interspersed throughout the song is slightly random but interesting and makes me wonder how this track will be pictured in the film. I love the female harmonies section towards the middle and the speed increase at the end, which truly makes it seem like a garba song.

“Agar Tu Hota” begins like any typical Ankit Tiwari song with  a melodic buildup before the beat comes in about two minutes later. Unfortunately, this melody is slightly boring and not as soulful as other Ankit Tiwari tracks. I found myself waiting for something rhythmically or melodically interesting to happen but no such moment ever appeared.

Sung by Meet Bros, Arijit Singh, Roach Killa, and Khushboo Grewal, “Girl I Need You” sounds somewhat like an American hip-hop track, especially with the English lyrics interspersed with Hindi ones. I love the part where the lyrics speed up in this groovy track. The flute orchestration in between adds a nice Indian touch to this Western-sounding track. Compared to the rest of the song, however, the ending is a bit abrupt and anti-climactic.

Final Verdict: Baaghi is a comparatively more melodious album than many Bollywood soundtracks of recent times. “Let’s Talk About Love” easily stands out as the most unique and different because of its jive genre. Baaghi stars Tiger Shroff and Shraddha Kapoor and is slated to release in theaters on April 29, 2016.

Music Review: Dilwale

Dilwale is an upcoming Rohit Shetty directorial starring Shah Rukh Khan, Kajol, Varun Dhawan, and Kriti Sanon that is being hyped and promoted quite fervently. In anticipation of the film’s release in two weeks, team Dilwale has released the songs from the film’s soundtrack. The music has been composed by Pritam Chakraborty with lyrics penned by Amitabh Bhattacharya. Check out all the songs here!

Sung by Arijit Singh and Antara Mitra, “Gerua” was the first track unveiled with video to viewers a few weeks ago and it has just blown up to become the most popular video from the album. The beginning intro music is interesting and has somewhat of a Middle-Eastern feel, which rapidly transitions into the haunting Dilwale theme music. Despite the throwback tabla beat from the 90s and traditional orchestration, this melody is strangely addictive.

“Manma Emotion Jaage” was also released, featuring Varun Dhawan and Kriti Sanon in a hip-hop avatar in the video. A typical electronic hip-hop influenced track (with rap in the middle) sung by Amit Mishra, Anushka Manchanda, and Antara Mitra, this is a great song to workout to.

“Janam Janam” is the haunting melody featured in the film’s trailer, and the recently released video shows bits and pieces of SRK and Kajol’s romance. This song sounds just like Gerua but with a more boring melody. Even still, Arijit Singh killed it with his vocals in this one.

Rendered in the voice of Arijit Singh, “Tukur Tukur” has a typical Goan village feel and it’s a total masti-wala track that makes you want to get up and dance. Amitabh Bhattacharya’s lyrics for this one are a bit eccentric, with phrases like Vasco Da Gama inserted here and there. Nevertheless, Tukur Tukur is definitely one of my favorites from this album so far!

After the lively and peppy Tukur Tukur“Daayre”, a softer song, pales in comparison. Also sung by Arijit Singh, this monotonous track is nothing great, as it sounds like every other mellow Bollywood song. Unfortunately, even Arijit Singh couldn’t do much to uplift this dull track.

“Premika” – featuring Benny Dayal and Kanika Kapoor – is a club number that has an ever-so-slight Spanish feel with the accordion and guitar orchestration. The beginning of this track makes you think it has the potential to be so much better and more interesting than it actually is, so it disappoints listeners.

Theme of Dilwale is simply a reprise of the haunting melody of Janam Janam with club beats overlaid. Nothing special here either.

Final Verdict: All in all, Dilwale is a pretty boring album. No melody of Pritam’s stands out as being particularly unique or soulful, even though Arijit Singh has sung all but two songs in this soundtrack. Better luck next time Pritam!

Music Review: Bajirao Mastani

Eros Now has finally released the soundtrack for one of the most awaited films of the year, Bajirao Mastani. The music has been composed by Sanjay Leela Bhansali himself, with lyrics penned by Siddharth–Garima, Prashant Ingole (Gajanana), Nasir Faraaz (for the qawwali in Deewani Mastani), Ganesh Chandanshive (for the Marathi lyrics in Deewani Mastani), and Samarth Ramdas (traditional Sukhakarta Dukhaharta lyrics). Check out the entire album here!

“Deewani Mastani” was unveiled last month and has become extremely popular since the video was launched. While the Marathi intro is a bit strange, the intense orchestration sets the mood for Mastani’s (Deepika Padukone) court dance. Shreya Ghoshal has been a Bhansali favorite since her debut in Devdas. Her modulation in this song is amazing, not to mention her crisp pronunciation. As is the case with many songs in this album, “Deewani Mastani” is somewhat similar to “Ang Laga De” from Ram Leela, which may lend listeners to believe that perhaps Bhansali is copying himself musically (as many other music directors have frequently done in the past).

“Aayat” begins with an alaap in Arijit Singh’s rustic voice and is characterized by typical Bhansali melodic shifts. While Arijit Singh is an undoubtedly talented singer, this song unfortunately does not suit or do justice to his voice. “Aayat” probably could have been better rendered by someone with a voice texture like Rahat Fateh Ali Khan or Shafqat Amanat Ali.

As soothing and calm as “Aayat” is, “Malhari” is the exact opposite with high energy celebration. Vishal Dadlani is the perfect choice for this number, and he executes it well in his strong vocals. Hearing this song will just make you want to get up and dance! From the beats to the fast lyrics to the orchestration, this track has the same vibe as “Tattad Tattad” from Ram Leela.

“Mohe Rang Do Laal” (sung by Shreya Ghoshal) starts off like a typical mujra and transitions into a unique melody that is rooted in Indian classical music and dance, with Kathak bols by Pandit Birju Maharaj interwoven. While the lyrics are reminiscent of “Kaahe Chhed Mohe” from Devdas, we have to wait and see how it will be picturized in the film and if the dancers do justice to Pandit Birju Maharaj’s choreography.

“Albela Sajan” in this album is essentially a 2.0 version of “Albela Sajan” from Hum Dil De Chuke Sanam. Although the lyrics for both are the same, the melodies are completely different and this new version is structured more like a group bhajan one would hear at a temple. There is no doubt that this track’s artists (Geetikka Manjrekar, Raashi Raagga, Kanika Joshi, Prithvi Gandharva, Kunal Pandit, and Shashi Suman) are very well-trained singers. Indian classical music and bhajan aficionados will love this song.

Compared to the previous tracks in the album, “Ab Tohe Jaane Na Doongi” has a more modern touch with the use of piano and guitar background. Yet, this romantic melodious number seems to have classical roots as well, as it is based on the raga Mohanam (Carnatic) or Bhupal (Hindustani). Payal Dev and Shreyas Puranik have interesting voices that are well-suited for this melody.

“Pinga” is a song whose video has received lots of mixed reactions from many folks. Speaking strictly about the music, it has certain lavani touches, particularly the alaap in the middle and the fast tabla beats throughout. This song gets more and more addictive with multiple listens, and the increase in tempo towards the end makes it even more high energy and adrenaline-pumping. Needless to say, Shreya Ghoshal and Vaishali Made’s voices blend quite well together in this track!

The first thing that comes to mind when hearing “Aaj Ibaadat” is how similar it is to “Laal Ishq” from Ram LeelaJaved Bashir’s voice really suits this song, and the 7-beat tempo is not uncommon but difficult to discern, a nice challenge for rhythmically oriented listeners.

Unlike Pinga, “Fitoori” (sung by Vaishali Made) is the more traditional lavani track in this album. Even though it is relatively slow, the authentic lavani beats and melody come in every now and then. So far, this is definitely one of my favorites from this album.

“Gajanana” was the very first song to be unveiled from this album, and it sounds very much like an Ajay-Atul song. Co-composed by Shreyas Puranik and sung by Sukhwinder Singh, it is reminiscent of Bollywood’s other odes to Ganesha, such as ABCD 2’s “Hey Ganaraya” and Agneepath’s “Deva Sri Ganesha”.

Final Verdict: The songs of Bajirao Mastani somewhat blend together in the mind, especially the first time you hear them. Bhansali’s orchestration and melodies are soulful but repetitive and evoke feelings of deja vu. Nevertheless, it is certainly a grand album that will suit the film and nothing short of a typical Bhansali musical.

Music Review: Tamasha

After all the waiting, the soundtrack for Imtiaz Ali’s Tamasha has finally been released! The music is composed by none other than A.R. Rahman and lyrics are written by Irshad Kamil. This trio has released some great albums in the past, like Highway and Rockstar, so there are definitely high expectations for this one!

Mohit Chauhan is back with a bang in “Matargashti”, which will probably be a chartbuster like his previous success and popularity with “Masakali” from Delhi 6. The video features gorgeous shots of Ranbir, Deepika, and Corsica’s deep blue waters! There are certain phrases in the lyrics of this song – such as “chirkut zindagi” – which lend an added cuteness to this spunky track.

“Heer Toh Badi Sad Hai”, sung by Mika Singh and Nakash Aziz, has a qawwali-esque style that goes totally Punjabi at the end of the song. The picturization in the video is raw yet hilarious and makes us even more excited to watch this film!

“Agar Tum Saath Ho” is a relatively melodious number rendered by Alka Yagnik and Arijit Singh. It has a somewhat similar vibe to the song “Lukka Chuppi” from Rang De Basanti. It’s not the first time that A.R. Rahman and Arijit Singh have worked together, and we get the pleasure of hearing Arijit’s voice in higher octaves for this track.

“Wat Wat Wat” is possibly the funniest song in this entire album. Sung by Arijit Singh and Shashwat Singh, this is a total masti track with awesome fusion Bhangra beats that will make you want to shake those shoulders!

Rendered by Sukhwinder Singh, Haricharan, and Haripriya“Chali Kahani” has an unexpected start with super fast lyrics that will catch you by surprise. In addition to the nice beat changes, a quintessential Rahman touch, it is nice to hear the Tamil singer Haricharan’s voice in Bollywood.

The next song, “Safarnama” (sung by Lucky Ali), unfortunately pales in comparison to the vibrant intensity of the previous track. It fits into more of a melodious genre and has a pitch change, another Rahman signature.

“Parade de la Bastille” is basically the instrumental theme song for Tamasha. It starts off with a Middle Eastern flavor in the beginning. Then it goes into total European mode, with bagpipes and accordion (like “Matargashti”). The best part about this instrumental piece is the increase in speed at the end.

Sung by Shashwat Singh, “Wat Wat Vengeance Mix” is essentially a totally “technoed out” version of the original organic track from this album. It is probably something that could be played in a nightclub.

The last song in the soundtrack – “Tu Koi Aur Hai” – is a melodious number rendered by A.R. Rahman, Alma Ferovic, and Arjun Chandy. It begins minimalist with very little orchestration accompanying the voice. In general, this is a mellow track with some spurts of opera in between. The layering of violins and group choral singing towards the end make it sound like something beautiful that would be heard echoing in a cathedral.

Directed by Imtiaz Ali and starring Ranbir Kapoor and Deepika PadukoneTamasha releases in theaters on November 27, 2015.

Music Review: Prem Ratan Dhan Payo

The soundtrack of the most awaited film Prem Ratan Dhan Payo has been released! The music is composed by Himesh Reshammiya and lyrics are by Irshad Kamil.

The first track, “Prem Leela”, has already been released with video. Despite the rather boring melody, the lyrics more than make up for it with cute lyrics about the Ramayana. Sung by Aman Trikha and Vineet Singh, the picturization of the song is also nice as it depicts the lyrical verses quite well.

The title song, “Prem Ratan Dhan Payo”, made an appearance briefly in the film’s trailer, and the vibrant beginning of this song is nothing short of grandeur. Palak Muchhal has a very sweet voice with a somewhat similar texture to Shreya Ghoshal.

Jalte Diye”, the third track in the soundtrack, has a 7-count beat that makes it stand out from other songs. Rendered by Harshdeep Kaur, Shabab Sabri, Vineet Singh, and Anweshana, this is one of the most melodious numbers in the film.

In “Aaj Unse Milna Hai”, it is nice to hear Shaan’s voice again after some time. While the melody is somewhat predictable, it is insanely catchy at the same time. At the moment, it is probably my favorite song of the entire album.

“Jab Tum Chalo”, the next song in the soundtrack, has been sung by Mohammed Irfan, Palak Muchhal, and Darshan Raval. With a nice tune for the chorus line, this song has the vibe of an old Bollywood song from the 60s era.

The allusions to Krishna and Radha in the lyrics of “Halo Re” are adorable and definitely set the stage for romance in the film. Props to lyricist Irshad Kamil for being inspired by stories from Hindu mythology for this entire album!

“Tod Tadaiyya” has a bit of a naughty vibe from the start, which resembles the beginning of Madhuri Dixit’s sensuous number “Dhak Dhak Karne Laga”. Alongside Neeraj Sridhar, it is always a pleasure to hear Neeti Mohan’s spunky voice.

In contrast to the upbeat rhythms of “Tod Tadaiyya” is the softness of “Bachpan Kahan”, which sounds more like a lullaby. It is interesting that Himesh Reshammiya features himself in a more melodious track, as it is the opposite of fist-pumping party numbers usually rendered in his voice.

Prem Ratan Dhan Payo is a Rashri Production directed by Sooraj Barjatya, starring Salman Khan, Sonam Kapoor, Neil Nitin Mukesh, and Anupam Kher in lead roles. The film is slated to release in theaters on November 12, 2015.

Music Review: Bajrangi Bhaijaan

The soundtrack for Salman Khan’s latest flick  Bajrangi Bhaijaan is officially out! The music has been composed by Pritam Chakraborty and lyrics are penned by Mayur Puri and Kausar Munir.

“Selfie Le Le Re” is one of the most popular songs in the film thus far. It has been sung by Vishal Dadlani, Nakash Aziz, Pritam, and Aditya Pushkarna. With its spunky solid beats, it has the vibe of a techno track without being too electronic.

“Tu Chahiye” is a melodious song that has been rendered by Atif Aslam. The guitars in the beginning provide a nice acoustic introduction to this romantic track. Complementing the melody is Kareena Kapoor’s absolutely beautiful look in the video.

“Bhar Do Jholi Meri” is a qawwali number that has been sung by Adnan Sami, who displays his amazing vocal range in this song! The melody of the fast portion at the end could have been more creative instead of repeating the same lyrics in a back-and-forth qawwali fashion. However, needless to say, Adnan Sami’s improvisation is a delight to hear.

“Aaj Ki Party” is a typical street dancing song that has been rendered by none other than Mika Singh. The chorus is somewhat reminiscent of the chorus of “Dil Mein Baji Guitar” from the film Apna Sapna Money Money.

“Chicken Song” is a slightly silly but weirdly addictive track sung by Mohit Chauhan and Pritam. Look out for the yodeling at the end, which is the highlight of this song!

Sung by Zubin Nautiyal and Pritam“Zindagi” is a soft song with a very interesting melody and lends soul to the entire album.

Directed by Kabir Khan and starring Salman Khan and Kareena KapoorBajrangi Bhaijaan releases in theaters worldwide on July 17th, 2015.