Thank You music review

By Satyajit, Glamsham Editorial

THANK YOU, this title will surely ring bells for all good and humorous reasons, as it comes from the stables of a filmmaker who has been consistent in delivering out frothy slapstick entertainers. Director Anees Bazmee pitches out another rib-tickler that has all the ingredients to attract footfalls into the theatres. Ensemble of bankable A-list actors, grandeur of exotic foreign locations, crazy slapstick comedy and to spice it all, it has Pritam's peppy music to make everything notable in days to come.

In Bazmee's flicks music has always been mechanical or situational but still have grounded screenplay to its fullest potential. THANK YOU opens to minimal musical expectations but all the above mentioned features makes it as one of most anticipated musical releases. Can this THANK YOU be another WELCOME surprise for listeners? Just check this out...

It all started off with rehashed version of "Apni toh jaise taise" ((HOUSEFULL (2010)), a racy 70's dancing track that stole limelight and was instant big surprise chartbusting hit. What is following next is "Pyar Do Pyar Lo", a sensational 80' disco cabaret hit from Feroze Khan's JAANBAAZ with similar blazing nasal twang of Mika Singh? This soundtrack is amusing "club-remix" style of disco-tadka with initial similar punch-lines but with hilariously bawdy "antaras" to create frolicsome feel for varied comical situations. Pritam delivers an above-average funky number that has archetypical 80's disco feel number that should be fuelling out humor quotient. Mika Singh's vocals works perfectly again and so do its chirpy lyrics, it will really be enterprising to see how it works on big screen.

CHECK OUT: THANK YOU Movie Preview

"Pyar Do Pyar Lo (remix)" by Abhijit Vaghani works and it's because it's a quintessentially disco number and added disco-beat fillers zing adds to the zealous dancing feast. It works for its formulaic massy feel and if "magic" works well in slick choreographic moves or "tongue-in-cheek" humor then do expect this number to be next big thing on the musical charts.

"Munni", "Sheila" and now its "Razia" to create ruckus on floor! Following the guidelines of raunchy "item-songs" with garish rustic feel, Pritam tries to create decorum with situational sounding "Razia". This one comes with more narrative moves and in duet mode with yelling tones of Master Saleem and Ritu Pathak's, varying high and loud. Massy feel galore again in Ritu Pathak's loud-throated voice, it will be again a visual feast type of dancing track that should up all catalyzing commercial prospects by attracting front-benchers. Ashish Pandit's earthen feel lyrics may not be as tangy as one expects but works instinctively with the "crowd-pleasing" mood of the song.

Abhijit Vaghani's DJ antics delivers out another hip-shaking feast in "Razia (Remix)" with infused African tribal sounds, beat-juggles, electronic fillers and DJ spins, giving it a true disco feel.

Bombay Viking magic is back! Neeraj Sridhar's Indi-Pop days gets a major boost as this time he gets a chance to rejuvenate golden bygone eras of Bollywood with trendy-feel orchestrations in "Full Volume". Pritam tries to give this a "Zor Ka Jhatka" (ACTION REPLAYY) discotheque feel in Richa Sharma's nasal twang with Hard Kaur's emceeing doing extra bit to give it thriving zest. Neeraj Sridhar's enthused singing is the biggest highlight and it gets a strong support of upbeat hip-hop jives, crazy chorals and infectious drumming at intermittent phases, giving it a cheerful outlook. It's effervescently peppy entertainment on ears; its scintillating "on-screen" display will be adding more colors to this "livewire" feel song, thanks to Pritam's funky tones and Neeraj's lively singing that makes it happen.

"Full Volume (remix)" is peculiar "dhol" beat drumming "club-remix" attribute by Harry Anand that comes with slow-tempo mixing well with voices, chorals with amiable crazy sounds and rhythms, giving it extra hilarious cum amusing tones. A well crafted promotion for this song is highly anticipated!!!

In one of the film awards function, director Sajid Khan mimicked Shabbir Kumar's style of singing and it suddenly transformed into singer's comeback through "I don't know what you do" in HOUSEFULL (2010). This time it's the specialist Sonu Nigam, also famous for his mimicry singing, behind the mike in mimicking out Shabbir Kumar in "My Heart is beating". It's nowhere inspirational to 70's Priti Sagar's sweetly toned track "My Heart is beating" (JULIE (1970)) but a retro feel route to 60's music. Pritam's composition is huge inspirational lift from 60's Mohammad Rafi hits, preferably from vintage romantic tinge of Shashi Kapoor and Shammi Kapoor evergreen numbers. Like spunky caricatured "I don't know what you do", it too carries "teasing-pleasing" musical flair to flare up humor-quotient in the flick. Kumaar's wordings are optimally amusing and gel well with nonsensical comical feel, a witty slapstick hilarious move will carry it to higher limits.

CHECK OUT: Akshay Kumar loses his cool on a journalist

"My Heart is beating (remix)" comes like a vociferous title track with deliriously snazzy "club-remix" touches, mixing well with the composition. This version is presumed to be tailor made for the ending or beginning titles and should be favorites among film promos and teasers.

Finally some serious music that talks melody! The last attribute of the album comes out in form of "Pyar Mein", a tenderly paced ballad with strong infectious Spanish flamengo feel. Javed Ali along with Neeraj Sridhar soothes this out in nimble tones, where arrangements belong to Enrique Iglesias style of music with peculiar Spanish guitar riffs, delivering out a somber mushy appeal. The breeziness in intrinsically Spanish musical appeal delivers out spells of romantic mushiness that works out progressively with likable voices. "Pyar Mein" may not be as sporadically catchy as Pritam's earlier ballads were, but this has creative finesse of chartering out new genre with some quality works.

THANK YOU is reasonably enjoyable massy album that entertains and enthralls. The album may not be the finest from Pritam in recent times but has delivered bountiful of amusing numbers in the form of "Pyar Do Pyar Lo", "Razia", and "Full Volume". It will be really engaging to see all the stars dancing to its bombastically punched tunes and if things works on big silver screen, then do expect a couple of soundtracks making it big on the charts.

Rating - 3/5

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Tanu Weds Manu music review

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By Satyajit, Glamsham Editorial

BAND BAAJA BAARAAT blew the trumpet of success for marriage season and now it's TANU WEDS MANU to make it happen with all its pomp and show. Low profile, average face value, new musical prodigies but much-accepted genre of "romantic comedy (rom-com)" to entertain, TANU WEDS MANU sounds like an interesting fare to happen. It pitches budding composer Krsna to be the leading musical man with writing potentials of new lyricist Rajshekhar to deliver the needful. Can Krsna and Rajshekhar be the "chosen-ones" in cadre of this year's happening talents? Does this rom-com have potential verve to entice young listeners? Expectations may not be humongous but feel is immensely positive, as we charter into the musical terrains of this fun-filled rom-com with fingers crossed...

When it comes to quintessentially Punjabi folk-singing, names like Sukhshinder Shinda, Mehsopuria, Jazzy B, RDB and Lehember Hussainpuri have made their strong vociferous dominance with their thick-toned baritones, exuding out a vibrant folksy celebratory feel. The overtly hyped "Sadi Galli" belongs to this genre with streaming voice of Lehember Hussainpuri, gesturing all out glitzy happening of marriage celebrations. Few years back, RDB rocked the charts with this number with almost similar sounding arrangements and now it gets packed well into this rom-com entertainer. For all contemporary "bhangra" lovers, it's already a big rage and should be a very "scintillating" factor in pumping up the "glam-quotient" of the flick. "Sadi Galli", a frivolously cracker of dancing cum feasting entertainment, is presumed to be next big commodity for DJ's tables and is likely to be hot sizzler for festive occasions, especially in North India (preferably in Punjabi speaking regions). Go for it!!!

Romance is the flavor of this season and duet is the most anticipated melodic verve to arrive in Mohit Chauhan's sonorously oozed vocals in "Yun Hi". Newbie Krsna makes his first original dent in this tender-paced number that is modestly arranged with varied instrumental flows. Conceptualized to be dreamy duet track, it has primarily Mohit's subtle singing at fore with synchronized classical Indian textured instrumentals, mellowing amiably in modestly penned wordings. Ujjaini's sublime back-up voice is soothing and comes intermittently to add feminine touches in this simplistically designed love track. Overall, it's a decent sounding song that plots out the graph of love-chemistry and its relative happening in its four minute plus display.
Sufism has defined divinity in multifarious ways; its endeavors are fast emerging voluble in Hindi filmdom and the next promising enterprise to arrive is "Rangrez". After hearing to earthen feel of "Des Mera Rangrezi" (PEEPLI LIVE), the word "Rangrez" lingers in senses and this eloquently beautifying number has shades of "Sahib Mera Rangrez" (Saint Kabir's poem) with brilliance of expressive voice and literate poetic wordings. Krsna gleams out as potential vocalist this time as he modulates as well as varies his tones, matching well to the desired needs of a perfect Sufi "qawalli". Upcoming Rajshekhar's poetic finesse is equally admirable as lyrics unravel from the mystifying feel of coloring ("Rang rang de rang de chunari pe rang, Kar muhe kapaas pe rang naa rukey, Rang itna gehra tera ki jaan-o-jagar tak ko bhi rang de, Jigar rang de...) to refined Urdu verbatim ("Meri raah bhi tu, Mera rahbar tu, Mera sarwar tu, Mera akbar tu, Mera mashriq tu, Mera maghrib tu, Zaahid bhi mera, Murshid bhi tu...), exulting out myriad shades of spirituality in remarkable Sufism tonality. Krsna's command over breath-control and classical "alaap" rendition in the latter stages, adds to this graceful composure of this remarkably delivered soundtrack. "Rangrez" spells pure magic for classy listeners and all credits to the combined melodic brilliance that makes it happen for quality-music hearing ears.

The magic moves on to the second version by Wadali Brothers (Puranchand Wadali and Pyare Lal Wadali), a quintessentially classical offerings that should do grace for live-concerts. For all Sufi music lovers and classical music literates, "Rangrez" is immensely likable listening treat that should open vistas for more classy works in Bollywood music. Rhythm-divine!!!

In an era where "Munnis" and "Sheilas" raunchiness has rocked the charts, it becomes impossible to expect the sublimity of decent feminine emotions interwoven in Indian classical musical attire making its impeccable impact. After delivering out an outstanding "Rangrez", Krsna's composing prowess regales again and delivers a gem of performance from purist Roop Kumar Rathod in "Piya". In terms of expressive tonality, supple arrangements and appealing situational feel, this classically refined song brings memories of melancholic sounding "Aaoge Jab Tum" (JAB WE MET -2007) and impresses to the core. Rajshekhar's literary strength in interweaving sentimental shades in refined wordings makes remarkable presentation in lines like ("Megh nahin bijuri bann barse, Mohe ek chama naahin arj ae, Baathal sang kar ke jiya ra, Bole jaa mann basiya...) to the beloved pathos ("Aswan sang mora beh gaya kajra, Utri mehndi, Sookha gajra, Mann basant ko patt jhadh kar woh, Le gayo, Le gayo, Le gayo, Le gayo rang, Rang rasiya...), exemplifying the gist of pure love-relationship. Roop Kumar's pristine voice is extremely penetrative and so does the beautiful concoction of "sarangi", flute, tabla and harmonium displays, making this one of the finest in its genre. Krsna's adroitness in foraying into classical works excels and gives sufficient reasons of lauding up this remarkable track that has quality workmanship as its trump-card. Noteworthy!!!

Chirpy, vivaciously familial and quirky in nature, the fun-filled "Mannu Bhaiya" comes moreover like a cheerful "teasing-pleasing" endeavor that shows the high spirits of bridegroom's dear-ones. Sunidhi Chauhan's booming vocals leads the show with frivolous earthen voices of Ujjaini Mukherjee and Niladri Debnath, giving out a typical "Delhi-wala" folklore feel, similar to "Sasural Genda Phool" (DELHI-6). The added back-up vocals of Manjeera, Rakhi Chand and Vivek Naik adds colors to the show. In terms of composition and arrangements, this playful amusing number reminds of ethnic feel of "Kangna Re" (PAHELI -2005) and jester out loads of cheery musical happenings for silver screen. Amusing!!!

In listing of Punjabi folklore singing, "Jugni" has always been most prolific musical-piece that has caught every "bhangra-beat" lover's attention. It is graced up this time with Mika Singh's nasal twang with cherubically bubbly wordings ("Jugni kardi western dance, Gentleman de naal romance, Munde labh de phirde chance, Oye phir mere ae ve jugni...), serenading out playful characteristics of lead female protagonist. Like "Sadi Galli", its striking features are strong electronically punched fillers that are mixed well with traditional Punjabi instrumentals, exuding out a frolicsome signature tune for the track. For all its peppiness and "masti", do play it loud and enjoy this lively track that should give optimum reasons to shake booty on floors. Enjoyable!!!

To sum up, TANU WEDS MANU is an entertaining musical "wedding card" that enthralls, excites and finally impresses with its melodic gestures. Krsna succeeds potentially in churning out a successful musical feast that has pleasing "bhangra-beat" grooves in "Sadi Galli" and "Jugni" but the noteworthy aspects are impressive Sufism and classical musical feel in songs like "Rangrez" and "Piya". Rajshekhar's lyrical attributes also deserve special mention that gel appreciably with quality singing. This rom-com is expected to be getting boost from its musical offerings and it will be interesting to view all these numbers on big-screen. Hoping for this hot "n" happening marriage to prosper on big screen...till then Happy Listening!!!

Rating - 4/5

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Game music review

By Satyajit, Glamsham Editorial

ICC World Cup Cricket has gripped the nation but Bollywood is all prepared to pitch out its GAME! In genre of stylishly packed action thrillers, debutante director Abhinay Deo plots out a game of deceit, intrigue, lust and greed with heavy dosage of glamour and slick action thrills. Music...! It has dependable triumvirate Shankar-Ehsaan-Loy leading the castle along with notable Javed Akhtar as the lyricist for the flick. So far, the track record of this musical team has delivered bountiful of success for the producers (Farhan Akhtar and Ritesh Sidhwani) in the form of DIL CHAHTA HAI (2001), LAKSHYA (2004), DON-THE CHASE BEGINS AGAIN (2006), ROCK ON!! (2008), LUCK BY CHANCE (2009) and KARTHIK CALLING KARTHIK (2010). If one goes by the high standards and remarkable records, GAME is predicted to be next big musical bonanza to hit audio stands. Will this be another winning 'game' for the producers and composers? Will this album live up to high expectations? Let's charter out its musical terrains...

Bollywood tryst with 'Bond-ish' theme title track makes another quirky move as Vishal Dadlani's gruffly toned vocals mixes well with electronically synchronized arrangements in 'It's a Game'. Few years back, S-E-L had their share of luck and success in tracks like 'Dhokha' and 'Johnny Gaddar' ((JOHNNY GADDAR (2007)) and this one too makes notable expression. It has infectious 'Bond-ish' signature tuneful appeal that is not only haunting but also appealing with back-up support of seductive feminine chorals and ballistic arrangements. Vishal's coarsely emoted voice plays a 'cool' mouthpiece for eventful happening, a predictable rollicking background score or suitable score for ending or beginning titles.

The second version comes out as 'It's a Game', a female version having the effective support of Sunita Sarathi's ('My Wish come true' (KISNA (2005)), 'Khuda Hafiz' (YUVA (2004)) vocals. It comes closer to international hit track 'Golden-eye' (Tina Turner) and makes sensuously loud impact with intimidating tuneful orchestrations, giving it added dark shades. S-E-L may not have given the finest in this genre but has delivered needful that should be making optimum impact in those compelling moments of the film.

Down the memory lane, the glitzy fast-paced track 'Kya Maine Socha Tha' (Hindi version of 'One Love' in RAKHT (2004)) created rage with Shaan's youthful voice playing loud and giving 'item-boy' image to Abhishek Bachchan with success. Javed Akhtar's poetic pen tries to rewrite those theme-lines again in 'Kab Maine Yeh Socha', a serene-sounding love ballad pitching Shaan's soothing vocals with Anusha Mani's deliriously saucy voice. It's impressive in its subtle orchestral maneuvers and reminds of some of S-E-L lovely tracks like 'Tumhi Dekho Naa' (KABHI ALVIDA NA KEHNA) with delicately played piano drills, melodramatic violin chorals as its striking features. Despite lacking the 'novelty factor' in its composition, it entertains well with tender romantic hues in expressive vocals and comforting arrangements. For its urbane-cool ambience and tender youthful appeal, do expect this number to be one among 'chosen-one' in Valentine's Day collections.

Game of Seduction and Deceit! Seductive cabaret and salsa moods take centre-stage with a feel of 60's bygone era in Shreya Ghoshal's quivering-cum-alluring voice in 'Mehki Mehki'. The song is conceptualized to be 'eye-candy' item-song that changes its mood from archetypical jazz feel to Arabic belly-dancing grooves. Kshitij's appealing voice (sounding similar to KK) is another highlight that infuses life in this dancing-feast type of soundtrack. S-E-L's composition plays to the situation and can be presumed to be more of visual delight on big silver screen.

'Mehki Mehki (remix)' is enthralling surprise and makes itself a striking enterprise with bouncy 'club' disco beat fillers making mood merrier. This version has striking echoing impacts, effective beat-juggles and racy DJ spins, giving sufficient energy and zeal to shake booty on floors.

Unraveling into 70's action-packed era with its peculiar thrilling melodic feel, S-E-L play it in contemporary Bollywood's thriller format in delivering out another situational soundtrack in 'Kaun Hai Ajnabi'. KK along with Aditi Singh Sharma renders out this 70's stylized song with feel of Bond-ish style thematically arranged composition. Like all previous soundtracks, this one too plays for the situational deadly feel with formidable singing and amiable orchestrations as its main supports.

To infuse dancing thrills, 'Kaun Hai Ajnabi (remix)' is delightful addition that appreciates 'pep-factor' of the album with enthralling 'club' disco beat fillers getting well into contours of this contemporary sounding soundtrack. It can be presumed to be another pivotal musical feature in the climax stages of this hi-octane thriller.

GAME is a conventional musical 'game' in genre of action-packed thrillers with couple of impressive soundtracks under its belt. This S-E-L album is no big path-breaker but neither disappoints in its entire display of seven soundtracks. The biggest assets of the albums are 'It's a Game' and 'Maine Kab Yeh Socha Tha' while rest of the soundtracks play strictly to the situational needs of the flick. After the mediocre success of PATIALA HOUSE this year, S-E-L's music has once again failed to deliver one bright chartbusting hit that could really set the pace for the film. A prosperous box-office result and positive 'word-of-mouth' publicity will surely be boosting factors in raising out its commercial prospects.

Rating - 2.5/5

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F.A.L.T.U music review

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By Satyajit, Glamsham Editorial

Youthfully festive, energetically bouncy and thematically satirical...it gists out the feel of F.A.L.T.U (meaning 'useless')! Farah Khan, Ahmed Khan, Ganesh Acharya and now Remo D'Souza (all leading choreographers of B-town), take challenge of directing full-fledged feature films by pitching out promising young-talents together for this teenybopper's delight flick. F.A.L.T.U makes history of its kind by launching its music on the official website at affordable rates, clearly indicating that this is an upbeat youth-feast that arrives with technical innovation.

Sachin-Jigar, a prodigal duo who made a splendid debut with TEREE SANG (2009) make a 'cool' splash of musical happenings with this album. In the past, both Remo and producers (Vashu Bhagnani) have a splendid track record of delivering out the best in musical section and so expectations are believed to be mercurial high. Ditto for Sachin-Jigar, who are believed to be finest among budding composers, and have assisted almost every big composer in the marquee? Can we expect this F.A.L.T.U to be racy, peppy and unlike its title ('useless'), a more worthy album in its genre? Dancing floors are ready, mushy romance is about to bloom but can this Sachin-Jigar album have enough thrills to make things happen on your audio players? Let's start the 'faltugiri' by plugging 'play' button on...

Sonorously tuneful! Atif Aslam's extremely likable sonorous baritones are at helm of affairs that collage beautifully with harmoniously tuned hard-metal base composition to churn out a magnificently paced soundtrack called 'Le Ja Tu Mujhe'. It's a song that talks about desires, freedom and hope in its lively wordings with trendy flair of meticulously arranged rock-based orchestrations as its backdrop. Sameer's meaningfully prosaic lyrics ('Ab dabi dabi awaaz hai, Khoye sabi alfaaz hain, Naaraz kyun saaz hai gaanon se mere, Chubh rahi hain woh shikaayatein, Shikaayatein na jaane kyun apni chaahatein, Beshaakh tha iss dard se...) exudes out a liberal-thinking notions of 'breaking-all-the-rules' and creating 'world-of-their-own'. Sachin-Jigar's rollicking composition unravels from grungy distorted electric guitar riffs, impulsive rocking feel to subtle 'sarangi' based instrumental moods, thus creating dramatic undertones for this youthful saga. The soundtrack has 'chartbuster' written all over it and should be having major takers among urbane listeners. Play it cool, play it loud, it has all zeal and soul to be played again and again for your audio players and I-pods, grab-it-soon! Chartbuster!!!

Leave your thinking caps and wear your dancing shoes! Wishy-washy wordings, pulsating arrangements and Hard Kaur's quivering vocals collage well to thrive out a zany dancing number in 'Char Baj Gaye'. Remo prefers it to be a typical choreographer's delight song with synchronized electronic beat fillers making it easier for dancers to shake their legs on the floor. As per its fun-filled frolic feel, it is presumed to be a visual feast with 'gravity-defying' choreographic moves as its major highlights, so do wait when it arrives with actors giving their best on dancing floors.

After deliriously paced dancing grooves, it's genteel Indi-pop romantic hues that come breezing all the way in Neeraj Sridhar's delightful voice in 'Rab Sab Se Sona'. This soft-rock ballad has Pritam's strong melodic feel where English back-up vocals (Apeksha Dandekar) gels well with Hindi cum Punjabi lyrical flows. A few years back, Sachin-Jigar composed 'Rab Milya' (TEREE SANG) that got rave appreciation and this one too impresses in its mild tones.

Voice-over of protagonists! Sachin-Jigar shows their brawny skills this time as they pulverized their dexterity of phil-harmonic displays in motivationally profound theme track titled 'Awaaz'. Jigar's subtly crooned vocals epitomize the feel of listening to your inner-heart feelings that is full of aspirations and having freedom of its own kind. Its hues are soft, inspirational as well as invigorating in its lyrical textures that are amalgamated well with quality displays of traditional Indian classical instrumentals clubbed with appreciable phil-harmonic exhibit (violin chorals and piano drills) in its middle interludes. 'Awaaz' is likely to be the 'pick' of the lot in narration and should be welcome surprise for all those who treasure quality works from this talented duo.

Hard Kaur has something extra ballistic to offer for dancing floors as she clubs aggressively with Mika Singh in delivering out fast-paced dancing track 'Fully Faltu'. The feel is upbeat hip-hop and one expects acrobatic B-boying, stomping moves on floors with groovy feel of rave disco party. Sachin-Jigar's composition is funky and peppy with outlandish wordings ('Aaltu jalaaltu, Aayi bala tu taal tu, Tension vension chhod de baccha, hoja fully faltu...'), giving it a true campus-caper appeal. Like vivaciously loud 'Char Baj Gaye', it's likely to be another choreographer's special number that should be adding to the glam-quotient of the flick.

Breezy hilly feel, likable voices and above all soothing orchestrations, all constitute to the trademark composing of Sachin-Jigar that makes another impressive dent of happenings in highly inspirational sounding 'Gale Laaga Le'. It starts off impressively with chirpy chorals that sublimes well into 'lounge' textured arrangements, epitomizing out a 'nature-fresh' decorum of delightful hilly surroundings, with a feel of loving life. Vijay Prakash's invigorating voice is motivational while upcoming Priya Panchal's silken-soft is a delight to hear, as the song progresses well in mild orchestral tones. This beautiful melody is in cadre of recently heard 'Awaaz' and 'Rab Milya' (TEREE SANG) and should be adding extra edges to both characterizations and narrations of the flick.

In a youth-oriented flick like F.A.L.T.U, one strongly anticipates concert like rock song with naive vocals that talk of aspirations, carefree thoughts, and new horizons of opportunities with extra zing in the instrumentals. It arrives vivaciously in 'Nayee Subah', a lovable youthful college-concert type of songs with contemporary displays of 'hard-rock' arrangements jostling loud and high, almost an ideal jingle for snazzy commercial advertisements. Jigar's voice is energetic, cool and peppy and so do its melodic feel, a frisky number that should be an entertainer on big screen, a worth-hearing again and again on campus circuits.

Situational and comical! Once again thinking caps take a back-seat as students start jamming together weirdly for a crazy college-fest with crap wordings in 'O Teri'. This time Sachin-Jigar make it clear that this is nonsensically comical with Jigar's crazy voices leading the show. To add humorous spice, this song must be one amusing musical-piece but nothing great in terms of melody or 'masti'.

Fun-filled nonsensical entertainment continues with 'Percentage' and this time the feel is completely crazy and the song talks about the plight of 'faltu' guys. This sounds engrossing as it builds character-graph of lead protagonists but moves out in gibberish lyrical mode. Sachin-Jigar's composition is of 'American Pie' style of snazzy cum rip-roaring stuff and should come out as perky background score in the flick. Neuman Pinto's madcap voice screams out to its best in describing low percentage of 'faltus' and works more like chitchat between them and their 'cool-daddies' in the most frivolous way.

Musical mood takes all together different route as album takes archetypical 70's rock 'n' roll swing and brings a spirit of fun-filled togetherness in 'Beh Chala'. It takes huge inspiration from the likes of Elvis Presley, Shakin Steven style of rock 'n' roll and enthralls in mix 'n' match of hip-hop jives that works sporadically with funky spirits of the song. Neeraj Sridhar enjoys this type of song and so do the lively emceeing that adds to the pep-factor. Sachin-Jigar show their zeal in unraveling indifferent terrains and delivers out a potential soundtrack that should be adding to the 'yuppie' factor of the album.

Satirical mood pulls off the curtains for this youthful album, as the last soundtrack, 'Bhoot Aaya', is not only comical but is also lyrically amusing. It comes out as frolicsome satire on popular commercial ad (Bajaj's 'Jab Mein Chhota Bacha Tha...) and further builds up a loud tempo, both in quizzical wordings and bombastic arrangements. Lehember Hussainpuri's peculiar toned voice is apt for this situation as the song is amalgam of crazy voices, freaky sounds and rhythms that helps in giving it multicolored hilarious shades.

F.A.L.T.U is 'fultoo' entertainment on ears; it's indeed a 'fundoo' album that should be creating sufficient pep-fizz for the flick among young urbane listeners. After a commendable start with TEREE SANG, talented duo Sachin-Jigar pile up another winner by composing out eleven soundtracks that entertain in their own way. If one goes by quality standards then Atif Aslam's 'Le Ja Tu Mujhe' is the finest, followed by 'Awaaz', 'Gale Laga Le', 'Rab Se Sona' and Nayee Subaah'. There is a lot in store to shake booty on floors as soundtracks like 'Char Baj Gaye', 'Percentage', ' Fully Faltu', 'Beh Chala' and 'Bhoot Aaya' are full on energy and create a desired uproarious dancing decorum. Funky theme, youthful genre and high-on-spirits compositions should be enough reasons in making this as another winner. Go for it and add one more worthy add to your music collections. Happy Listening!!!

Rating - 4/5

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