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Rock On 2: Music could have been a lot better

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Rock On 2: Music could have been a lot better

All expectations are bound to rise with Rock On 2 since it’s a sequel to the super-hit music of Rock On. It piques interest since the music shall be band music and not the conventional studio songs. Let’s have a look if the new album stands up to its earned laurels from its prequel.

To be very true, Farhan Akhtar’s voice can do justice to only one kind of songs. His voice sounded refreshing in Rock On, but it seems more of an obligation and a mere repetition of things with nothing new to look forward to in this new album. The anthem song, Jaago, has a set combination of guitar chords going round and again and besides the chorus where Sidharth Mahadevan (of Zinda fame) shines, there is nothing more to listen to. The lyrics boasts of women empowerment, Riton ke rasm ke aage jhukna nahi, utho or tod dalo zanjeer, but the overall lyrical quality seems average.

You Know What I Mean is a straight cut repetition of the unconventional Pichle Saat Dino Mein and frankly, this one doesn’t work that well. His soft motivational number, Manzar Naya, can be called a fine effort.

The choice of Shradha Kapoor as the other vocal sensation was questionable and well, the question still persists in her singing. Her transitions from low to high pitch, curbed voice is a big turn off in Udja Re and Tera Mera Manzil. One could feel the chord combination of Bleed It Out by Linkin Park running behind in Udja Re, which could have worked with raised tempo. The santoor arrangement in Tera Mera Manzil sounds beautiful.

Tera Mera Dil with its Avenged Sevenfold style of guitar notes falls with bad vocals and the speaking word style of singing.

Hoi Kiw will win your hearts with its lyrics in partly Hindi and Khasi, mixing together folk and rock sung by the powerful voices of Usha Uthup, Kit Shangpliang and Pynsuklin Syiemiong.

Ishq Mastana by Shankar Mahadevan and Digvijay Singh Pariyar with its bhangra beats and use of sudden guitar riffs resonate with the inner struggle of the character and is musically strong.

Akhtar doesn’t sound refreshing and well Neha Kakkar/Neeti Mohan could have done undoubtedly a better job than Shradha Kapoor.

Songs to look for:

Hoi Kiw/Chalo Chalo

M.S. Dhoni’s Music is soft and easy-going

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M.S. Dhoni’s Music is soft and easy-going

On the very outset, this is an album with the sole purpose of helping the plot of the movie move along with songs failing to stand apart on their own. With soulful numbers by Palak Muchhal (Kaun Tujhe) and Armaan Malik (Jab Tak), the album does garner interest, but the tunes seem too familiar. The original version of Jab Tak seems pleasant and soothing than its peppier redux version.

Besabriyan gives insight into the struggle of the character. The lyrics and the music doesn’t carry the strength and ghusto expected out of a motivational song.

Indian Idol Junior 2 Winner Ananya Nanda and Adithyan A Prthviraj shall win your hearts with their amazing vocals in childish accent in Padhoge Likhoge. The lyrics stand apt for the song, ready to remind of our childhood days and the proverb, Padhoge likhoge to banoge nawab, Khelego kudoge to banoge kharab.

The sound arrangement in Phir Kabhi lacks soul and even the voice of melodious Arijit Singh fails to fill the song with life.

Parwah Nahin or the fight song carries the feel of a strong rock feel to it and the guitar solo in the middle immediately connects to the music of Dreamtheatre. Guitar and Piano solos in the album shows the influence of rock bands on the music director.

Har Gali Mein Dhoni Hai seems another re-mastered version of Waving Flag and Rochak Kohli fails to make an impact with his vocals.

Songs to look for:

Kaun Tujhe, Parwah Nahin

Banjo’s music is full of foot-tapping dhol and banjo-inspired street rock feel

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Banjo’s music is full of foot-tapping dhol and banjo-inspired street rock feel

Banjo (Bulbul Tarang) takes the centre stage in the entire album and in the hands of Vishal-Shekhar, we get the uber-cool version of it with a grunge street rock feel along with the foot-tapping dhol overlays.

Vishal with his powerful vocals proves his mettle in Bappa Re, the ultimate song, perfect for the Ganesh Chaturthi festival.

Hriday Gattani justifies Udan Choo in his soft voice. Though, the end portion where the dhol and the banjo takes over the song seems more of a intrusion in this otherwise beautiful romantic song.

Reham-O-Karam by Ajay Gogavale is a song perfect for all you contemporary dancers. It does remind one of Maula Mere Le-Le Meri Jaan from Chak de India. One had to expect a motivational/philosophical/spiritual song in the movie revolving around the rise of music artists.

Banjo solos by Rashid Bashir Khan and Kishore Mohite do impress and solidify the music of the entire album.

Pee-Paa Ke with its portions of English, Marathi and Hindi raps reminds one of 90s music but fails to impress. An average song.

Nakash Aziz, Shalmali Kholgade and Vishal Dadlani win it all in the song Rada, where the lively rhythm seems to bring all the energy like a live rock show and it sure sounds good.

The album ends with Om Ganpataye Namah Deva by Nakash Aziz and Vishal. A good song with its mixture of soft vocals, high-pitched chorus and an unexpected English chorus by Vishal which takes by surprise.

Songs to Look for:

Rada

Mirzya – 41 minutes of simple, beautiful music

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Mirzya – 41 minutes of simple, beautiful music

 

Just looking down at the line-up of artists that have come together to create this album, gives goosebumps and well, the album lives up to its reputation.

Daler Mehndi lends his folksy high-pitched voice to six of Gulzar’s couplets. Yeh Wadiyan Doodiyan Kohra ki, Mirza se Darro Khuda, Mirza Mirza Sher Jawan, Lahoo Luhaan Zameen Hui, Puchh Na Pende Mamle, Phaa Paye na Ishq Da  which serve their true purpose of showing the character’s struggle. The sufi inspired Punjabi lyrics carries a haunting sensation throughout with its lyric based music.

The title track, Mirzya, sung by Akhtar Chanal Zahri and Sain Zahoor, Pakistani folk singers, along with Daler Mehndi weaves its charm with its energy, range of vocals and the folk tone which takes the song to another level. Chakora with its dance beats seems a beautiful experiment of folk and EDM fusion painting the moods and emotions of love.

Teen Gawah Hain Ishq Ke is a soft, romantic number in the voice of Sidharth Mahadevan and Sain Zahoor. Aave Re Hitchki based on the folk tale that a beloved hiccups when remembered by the lover, will win your hearts with its sarangi music and guitar strums bestowed with its semi-classical feel in the polished voice of Shankar Mahadevan.

Nooran Sisters come together with Akhtar Chanal Zahri and Sain Zahoor in the up-beat, Hota Hai. The music arrangement and the vocal quality is commendable. In Ek Nadi Thi, the soft and heavy voice of Agnee’s K.Mohan paired up with the high pitched vocals of Nooran sisters create another masterpiece.

Beginning with a sufi touch by Mame Khan, the song Doli Re Doli sung by Shankar Mahadevan reminds one of Tu Hi Re by Hariharan. The jazz music with its strong piano pieces speaks volumes about its superior music orchestration.

Kaaga is sung by Kaushiki Chakraboty of the Patiala Gharana and has the strongest of the classical tones. The final, Mirzya theme (Broken Arrows) song with its use of sarangi and flute proves the mettle of the brilliance of Shankar-Ehsaan-Loy as music directors.

Songs to look for: Mirzya, Hota Hai,  Ek Nadi Thi, Doli Re Doli, Kaaga, Mirzya Theme

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