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A Company is registered in different States under GST, having Branches in those States. The Company used to raise Invoices to their Branches (cross billing) by charging IGST. But, the outward Supply in those States is not so much that could utilize the ITC of IGST, being accumulated due to the "cros

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My firm takes IT projects from an online Service based Marketplace www.guru.com; where Websoft Inc (doing business as Guru.com) is an entity from Pittsburgh, USA and they charge a certain percentage (%) of the total project value as a "Project Fee" and also take a monthly fee as "Subscriptttion

What is the difference between removal of goods and delivery of goods?

Can I do IAS exam preparation while pursuing CA

What is the difference between deduction and exemption??????

The mental and physical stresses caused by fear of layoff have left many workers feeling suicidal

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The number of jobless people in the US rose by more than 20 million in April, something deemed worthy of a mention in the “and in other news” slot on the BBC’s evening TV bulletin.

Sure, it was the 75th anniversary of VE day and there were socially distanced street parties to cover and archive footage of crowds gathered in front of Buckingham Palace to treasure.

I worked in a company for three years from 2016 to 2019 and as I attained 60 years, as per company policy they retired me. After this I applied for final withdrawal of PF from EPFO. I got the withdrawal amount, however they deducted Income Tax at 10% (TDS). Here my query is my service was only 3 years and due to my age I was not able to complete minimum age of 5 years and company as per the policy retired me. In this case can I claim refund of IT deducted. If so, under which section.

Thanks in advance

Sir We have issued an e way bill whose validity has expired on 10 April , as per notification 40/2020 validity of e way bill is deemed to be extended till 31 may. In our case the truck is to be changed as the exisiting driver is not ready to take the load and the truck is standing at 1000 km away at Ajmer border. A new truck driver is ready to take the load. So kindly guide us how to change the truck number on e way bill as we are doing but no updation is allowed. Or no updation is required kindly give circular number in support of your claim.

Hello Sir,

some years ago, my brother committed suicide and died. He had a PPF account which i recently discovered.I found nominee details thru net banking. The name registered as Nominee doesn't even exist and we don't even know anyone with that name. Now what is the procedure to withdrawal funds?

https://www.youtube.com/watch?v=IBNO9RMubpM&feature=youtu.be

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Кино о том, как белый студент литературного факультета увлекся нигерской культурой и стал королем рэп–баттлов. Я–то думал, что это будет очередная банальная история про рождение новой звезды, а оказалось — смешная, легкая и очень бодрая сатира на политкорректные нравы. Здесь троллят воинствующих феминисток, ранимых гомосексуалистов, обиженных на весь мир азиатов, мамкиных гангстеров с их показушной маскулинностью и так далее. Эпизод с "добренькими" веганами, которые в случае чего тебя с говном сожрут, пересматривал два раза и ржал как конь.
Снято ярко, броско, с визуальными финтифлюшками в духе "Скотта Пилигрима" (режиссер Джозеф Кан — известный клипмейкер, так что он умеет сделать эффектно и красиво). Думаю, интересно будет даже тем, кто, как и я, к рэпу равнодушен, тем более что кино не только о нем. В сюжет вплетены культурологические рассуждения о силе слова, о смешении культур и творческой этике, а главный герой носит майки с Достоевским и Набоковым и в баттлах рифмует "без мазы" и "Иван Карамазов" (ну, или что–то вроде того). Тоже приятно. КП (7) / IMDB (7,1)

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Comics Curmudgeon readers! Do you love this blog and yearn for a novel written by its creator? Well, good news: Josh Fruhlinger's The Enthusiast is that novel! It's even about newspaper comic strips, partly. Check it out! Rex Morgan, M.D., 5/10/20 Hey, everyone! Were you worried that Buck was going to be inconvenienced, even briefly, […]

Luke Babb dreams about their summer travel plans, now dashed by COVID-19, and what will replace their holy wandering this summer.

Continue reading Column: Raidho at The Wild Hunt.

Фестиваль Comic-Con Сан-Диего пройдет «на дому».

Организаторы крупнейшего фанатского фестиваля Comic-Con анонсировали, что в этом году мероприятие состоится в онлайн-формате из-за пандемии коронавируса.

Зрителям обещают несколько эксклюзивных материалов о предстоящих проектах в кино и на ТВ.

Традиционно Comic-Con проводится в конце июля в городе Сан-Диего. Точная дата пока не сообщается.

Состоится ли российский Comic-Con, который запланирован на октябрь месяц пока не известно.

• Ambient
• Drone
• Guitar
• Instrumental

• Post-Rock
• Ambient
• Math Rock
• Instrumental

• Jazz
• Funk
• Soul

• Electronic
• Synthpop

• Indie
• Hip-Hop
• Rap

Mother’s have been an important part of Hindi cinema. Over the years, the portrayal of mothers in Bollywood has been changing. Mothers are given much more importance in cinema than just being a character actor who has to nod to everything the husband or the child says. 

On the occasion of Mother’s Day, here’s looking at some of the most popular on-screen mothers. 

Rakhee 

Her dialogue “Mere Karan Arjun aayenge'' is not something that one will forget anytime soon. She played mother to actors Shah Rukh Khan and Salman Khan in the hit film Karan Arjun. While Rakhee has played varied roles in her illustrious career spanning over 50 years, when it came to being a mother onscreen she has been seen as a woman of principles including in films like Baazigar, Ram Lakhan, Soldier, Khalnayak and others. 

Farida Jalal 

Farida Jalal too has been part of the industry for almost fifty years and continues to impress people with her charm. While the actress has played different kinds of roles, her motherly onscreen figure is the one most remembered by people. From being Shah Rukh Khan’s mother in Duplicate to Kajol’s in Dilwale Dulhania Le Jaayenge, she is the kind of mother who is always ready to make sacrifices for her child. She is also popular for the savage yet emotional grandmother of Jiya from the television series Shararat. 

Kirron Kher

She is often cast as the loud Punjabi mother with a soft heart always caring and worrying about her child. From Dostana, to Hum Tum to Singh is King to Om Shanti Om she was the mother who could also make you laugh with her snarky comments. While she started her career in film in 1983, most of her hit films including Main Hoon Na and Rang De Basanti see her play the role of a mother. 

Reema Lagoo

Best remembered for her role in Tu Tu Main Main, she has largely been seen in Bollywood films playing the emotional mother. She has played mother to most superstars in the late 80s and 90s. She was considered as a "new-age mother" in Hindi cinema. She was low on drama and was not too emotional either, perfectly maintaining the balance between the two. From Hum Saath Saath Hai to Hum Aapke Hai Kaun to Kal Ho Naa Ho, she is the kind of mother you just want to give a hug and say everything will be okay. 

 Jaya Bachchan 

How can an onscreen mother’s list be complete without Jaya Bachchan. She raised the bar for on-screen mothers with her performance in Kabhi Khushi Kabhi Gham. The scene with Shah Rukh Khan’s entry in the film will be remembered for Jaya Bachchan’s sixth sense rather than the superstar’s entry. She then went on to ditch the saree and all the parampara and thali and was seen playing a bold single mother in Kal Ho Naa Ho. 

Ratna Pathak Shah

She will always be remembered dearly as Maya Sarabhai who could accept anything else but being middle class. When it comes to playing a mother in Bollywood, she has never been typecast and has shown variety in her characters. In Jaane Tu Ya Jaane Na she was the protective and progressive mother to Imran Khan’s character who could not tolerate violence or any unjust activities. She once again played mother to Imran Khan in Ek Main Aur Ek Tu. She was a rich- sophisticated woman yet very different from her character Maya Sarabhai. Meanwhile, she played a middle-class mother to Taapsee Pannu in the film Thappad who worried more about “Log Kya Kahenge”. 

Let us know your favourites in the comment section.

Today, May 10, India celebrates Mother’s Day. The Internet is flooded with people sharing their fond memories with their mothers and thanking them for everything they do selflessly. Owing to the lockdown, many are unable to celebrate this day they usually do with several people staying away from their family. All this love is now being outpoured on social media. 

Bollywood celebrities are also taking to social media to share pictures, songs and poems for their dear mothers. Actor Ayushmann Khurrana is debuting a song titled 'Ma', dedicated to all mothers. Sanjay Dutt has penned a poem for late mother Nargis Dutt, while Ananya Panday shared an old video where she is answering who is her most favourite person in the world and she says her mother. Sara Ali Khan shared an unseen picture of her as a newborn baby posing with her mother and grandmother. Other celebrities also wished their mothers in their own ways with heartfelt posts. 

 

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It’s been 39 years since you left us but I know you’re always by my side. I wish you were here with me, today & everyday. Love you and miss you everyday Mom.

A post shared by Sanjay Dutt (@duttsanjay) on May 3, 2020 at 2:04am PDT

 

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माँ। #HappyMothersDay

A post shared by Abhishek Bachchan (@bachchan) on May 10, 2020 at 12:12am PDT

 

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Meri Maa ki Maa ????????‍♀️????????????????????‍♀️ Thank you for creating Mommy ????????????????‍????‍???????????????? #HappyMothersDay

A post shared by Sara Ali Khan (@saraalikhan95) on May 9, 2020 at 11:45am PDT

 

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❤️ Love & only love - Happy Mother’s Day Ma ❤️

A post shared by Riddhima Kapoor Sahni (RKS) (@riddhimakapoorsahniofficial) on May 9, 2020 at 10:48pm PDT

 

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This pretty much sums up mother's day and well... every other day with Tim ❤️???? #HappyMothersDay

A post shared by Kareena Kapoor Khan (@kareenakapoorkhan) on May 9, 2020 at 11:16pm PDT

 

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The answer is still the same ???? love u @bhavanapandey ❤️

A post shared by Ananya ???????? (@ananyapanday) on May 9, 2020 at 12:16pm PDT

Words fall short when it comes to describing how much you two mean to me. A mom's job is the hardest in the world and you two have been pros. Thank you for everything.❤️ #HappyMothersDay pic.twitter.com/1B9e3OiwSX

— Madhuri Dixit Nene (@MadhuriDixit) May 10, 2020

Here's something for all the Mothers out there who constantly and selflessly shape our lives and the world. This track has been composed by my dear talented friend @RochakTweets and the lyrics are by my amazing nikka phraa @guggss. #HappyMothersDay pic.twitter.com/ZrVltvIAr2

— Ayushmann Khurrana (@ayushmannk) May 10, 2020

 

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Then & Now! ???? Happyy Mother’s Day Mumma! ???????????? Since you can’t take me piggyback anymore, i just want you to know that your warm cuddles and your smile make my heart equally happy ???????????? I love you! ❤️❤️ @geeta_sanon

A post shared by Kriti (@kritisanon) on May 9, 2020 at 10:57pm PDT

 

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Happy Mothers Day to the strongest woman i know... everyday i find something like you in me, sometimes it freaks me out, but mostly i love it ???? I’ll always be your little doll... love you Maa... ????

A post shared by Sonakshi Sinha (@aslisona) on May 9, 2020 at 11:15pm PDT

 

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Hmmm..... so that’s where I get it from ???? #HappyMothersDay

A post shared by Taapsee Pannu (@taapsee) on May 9, 2020 at 9:42pm PDT

 

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Dodging them till date. Keep them coming Maa. Love you! ❤️

A post shared by Vicky Kaushal (@vickykaushal09) on May 9, 2020 at 5:40pm PDT

 

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Just like every other day❤️❤️❤️so lucky to have you mommyyy #mothersday

A post shared by Tiger Shroff (@tigerjackieshroff) on May 9, 2020 at 10:18pm PDT

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my safe place.. love you mama ❤️

A post shared by Alia Bhatt ☀️ (@aliaabhatt) on May 10, 2020 at 1:29am PDT

Full Article

It is that day when we celebrate motherhood, mothers, their unmatched love and every small and big thing they do for us. Bollywood celebrities have been sharing heart-warming photos and posts on social media, to mark the day. For Shilpa Shetty, however, it is an extra special day since her surrogate daughter Samisha came home a few months back, and she gets to celebrate the day with her two children now!

During a recent interview, Shilpa reveald that she always wanted two kids since she knows how impactful having a sibling can be, and did not want son Viaan to grow up alone. However, she developed an auto-immune condition called APLA which caused her miscarriages every time she got pregnant.

Before she decided to opt for surrogacy, Shilpa revealed she had also considered adoption as an option and put her name with an organisation for the same. However, it got pushed due to internal disputes and after waiting for four years, her patience got over and she and husband Raj Kundra decided to have a surrogate baby.

On Instagram, we keep coming across photos of the happy family, and Viaan always looks excited to have been promoted to a big brother.

Happy Mother's Day to you, Shilpa!

Actor Dipika Chikhlia, who was seen playing the role of Sita in Ramayan, was introduced to an unmatched popularity that has not faded even today. In an earlier interview, she had revealed how people in the villages would still refer to her as Sita and would even try touching her feet! However, given a choice today, Sita would not be the character she would like to play.

In a recent conversation, Dipika revealed she had evolved as an actor, and would rather be interested to play Kaikeyi, lord Ram's stepmother who insisted her husband Dashratha to send Ram, Lakshman and Sita to an exile for 14 years. Dipika added that playing a negative career was an entirely different experience and she was fond of playing roles that let her explore herself as an artist.

Actor Sunil Lahiri, who played Lakshman's character, said he'd still pick the same role, but if he had another choice, he would like to get into the shoes of Ravana as the character had many shades and would give an actor many varieties to perform.

As the nationwide lock-down began, Doordarshan started re-airing some of its most popular TV shows, Ramayan being the first one. On April 16, it became the world's most watched TV show, with 7.7 crore viewers.

The season of comebacks is here in the K-pop industry! Big Hit Entertainment's rookie group Tomorrow x Together is set for their second comeback this summer. The quartet will complete their trilogy with 'The Dream Chapter: Eternity'. 

The first teaser of their title track 'Can't You See Me' is here. More than one year after their debut, the boys are all grown up in this comeback. You hear them sing, "Can't you see me? / Like that magical day / Say believe me / Can't you see me?"

The five members are seen spending some good times together before everything falls apart. In the end, all of them stand outside a burning house as Soobin is seen screaming! It already looks like the MOAs are in for an emotional rollercoaster ride.

The concept trailer had similar emotions - a sense of losing your close friends over the course of time and lost feeling Soobin senses when he gets captured in the glass box.

The album is set to release on May 18, 2020. The group, which includes five members - Soobin, Yeonjun, Beomgyu, Taehyun, and Huening Kai, debuted on March 4, 2019, with the EP 'The Dream Chapter: Star' with lead single 'Crown'. This was followed by 'The Dream Chapter: Magic' with '9 and Three Quarters (Run Away)' as its lead single.

Not just that, they also made their Japanese debut on January 15, 2020, with the single 'Magic Hour'. 

ALSO READ: TXT drops The Dream Chapter: Eternity concept trailer and the morse code says “SAVE ME”

<strong>EXPECTATIONS</strong> One look at the title <em>The Dark Side of Life - Mumbai City</em> and it seems more apt for a book than a feature film. Nonetheless, that is indeed the case for this film which has a mix of newcomers and experienced actors with Mahesh Bhatt being seen in a crucial part as well. While Azeem Shirazi is the biggest contributor as the lyricist, several composers come together to create half a dozen songs in the film. <img class="aligncenter size-full wp-image-925603" src="https://www.bollywoodhungama.com/wp-content/uploads/2018/11/T4.jpg" alt="" width="620" height="450" /> <strong>MUSIC</strong> The kind of sound that kick-starts <strong><em>'Aawargi'</em></strong> reminds one of the kind of music that Vikram Bhatt time and again brings in his films. Jubin Nautiyal is effective as the singer in this Sabir Khan composition which is put together by Azeem Shirazi. The trouble though is that the song sounds dated by at least a decade. Hence, even though it has a soft feel to it, the overall impact is not the kind that makes you revisit it again on loop. The song that follows next is titled <strong><em>'Tu Mujhse Nikalta Nahi'</em></strong> and has the kind of hook-line which is indeed catchy. In a bigger film with a larger setup, this Prakash Prabhakar composed and heard song may well have found good traction. Again, the song is not exceptional but still has that quintessential Bhatt touch to it which makes it stand out. Moreover, Tanveer Gazi puts together a good spin of words, especially the title. Remember <em>'Manali Trance'</em> from <em>The Shaukeens</em>? The song which follows, <strong><em>'Saanp Seedhi Wala Saanp'</em></strong>, is on the same lines and belongs to the trance genre. As a matter of fact Tripty Sinha sings this one too in the same style as that of Neha Kakkar and does manage to make an impact too. It is a new team of composer Sandeep Batraa and lyricists Azeem Shirazi and Ozil Dalal who pair up for this promotional song which is expected to bring in good entertainment quotient. However, a little impact that had been created so far is diluted to a major extent by Rashid Khan composed <strong><em>'Ae Zindagi'</em></strong> which is as sad as it gets. From the composition, writing (Nisar Akhtar) as well as the singing (Altamash Faridi Brothers) perspective, the song is really depressing and just doesn't make you root for it all. A slow moving number that is all about pathos, separation and the fact that life doesn't have much to offer to the protagonists, this one belongs to the quick-skip variety. Another newcomer, Shaan Asif Raj, is the composer for <strong><em>'Muddaton'</em></strong> which starts with the sound of guitar. Seemingly a concert number, this Azeem Shirazi written song is rendered by Amit Mishra. A soft rock number, <em>'Muddaton'</em> tries to bring in the kind of mood that was created by <em>'Sun Raha Hai'</em> [<em>Aashiqui 2</em>]. Though it does fall short, it still makes for a decent hear after all. Had it carried more punch to it, this one could well have found itself a better audience. <strong><em>'Aawargi Deewangi'</em></strong> is the song that concludes the album and its depressing notes do not really help the cause. On the same lines as <em>'Ae Zindagi'</em>, this one is written by Aslam Sani with music by Ahsan Ahmed. There is just nothing in there which arrests your attention and even though Mohammed Irfan is the singer here, you don't really find much entertainment quotient in there. <strong>OVERALL</strong> The music of <em>The Dark Side of Life - Mumbai City</em> is a mixed bag and though there is no real chartbuster out there, two-three songs at least hold your attention while at play. <strong>OUR PICK(S)</strong> <em>‘Tu Mujhse Nikalta Nahi’</em>, <em>‘Saanp Seedhi Wala Saanp’</em>, <em>‘Muddaton’</em>

<strong>EXPECTATIONS</strong> Films directed by Abhishek Kapoor have traditionally carried good music. From <em>Rock On</em> to <em>Fitoor</em>, the music has been consistently impressive and has been as per the theme and setting of the film. Now that he is bringing on <em>Kedarnath</em> that marks the launch of Sara Ali Khan opposite Sushant Singh Rajput, one waits to hear what do composer Amit Trivedi and lyricist Amitabh Bhattacharya have to offer. <img class="aligncenter size-full wp-image-926514" src="https://www.bollywoodhungama.com/wp-content/uploads/2018/11/Petition-filed-in-Gujarat-High-Court-seeking-ban-on-Sushant-Singh-Rajput-Sara-Ali-Khan-starrer-Kedarnath.jpg" alt="" width="620" height="450" /> <strong>MUSIC</strong> There is something truly divine about the manner in which <strong><em>‘Namo Namo’</em></strong> begins. A devotional number which is truly devoid of any forced Bollywood inspirations, this one is a well rendered number by Amit Trivedi and makes an instant impression. A smooth sailing song that has a peaceful feel to it and is further accentuated due to the striking visuals that go alongside, ‘<em>Namo Namo’</em> can well be assured of a long shelf life amongst those who want to hear a devotional number first thing in the morning. A love song arrives next in the form of <strong><em>‘Qaafirana’</em></strong> and the mood and feel remains consistent with the kind of set up that Abhishek wanted to put together for <em>Kedarnath</em>. Moreover, there is certain director’s touch that is apparent in the way the tune has been composed, words have been written and especially the manner in which Arijit Singh has rendered this one. There are minimum instruments in the background as primarily it’s the voice and the core composition that takes centre stage which ensures that <em>‘Qaafirana’</em> turns out to be a soulful number that can be heard for a serene experience. What further adds to the beautiful melody is the manner in which Nikhita Gandhi makes a very good impression as a singer despite making a late entry. Things take a celebratory turn as Dev Negi enters the scene and croons <strong><em>‘Sweetheart’</em></strong>. A fun number which is just the kind that one could expect from a Karan Johar, Imtiaz Ali or Aditya Chopra film, this one is as Bollywood as it gets. As a matter of fact it also faintly reminds one of <em>‘Butterfly’</em> [<em>Jab Harry Met Sejal</em>] due to the kind of desi stage and setting that goes with the situation in which the song is set. This one could well have been picked up by Shah Rukh Khan, Ranbir Kapoor or Shahid Kapoor with glee and in that aspect Sushant Singh Rajput can well be happy about the fact that he bagged ‘Sweetheart’ which is a potential chartbuster. Arijit Singh returns on the scene, this time with <strong><em>‘Jaan ‘Nisaar’</em></strong> which appears in a couple of versions. A situational number where the male protagonist is trying to understand why his ladylove is unhappy with him and is trying to woo her all the way back, this one has a smooth flow to it which sees Indian melody being supported by Western instruments. That said the consistency of sound stays in the mood set so far in <em>Kedarnath</em>. Asees Kaur is the voice of the female version and this one somehow appears to be even slower. This is the kind of number that is good when heard in a stand-alone fashion though one can’t expect it to emerge as a chartbuster of sorts. <strong>OVERALL</strong> The music of <em>Kedarnath</em> is good and though it doesn’t have too many songs to result in a complete package affair, it is fine till it lasts. This one has the kind of music that could well grow on the basis of the success of the film. <strong>OUR PICK(S)</strong> <em>‘Namo Namo’</em>, <em>‘Qaafirana’</em>, <em>‘Sweetheart’</em>

<strong>EXPECTATIONS</strong> After Sunny Deol's delayed releases <em>Mohalla Assi</em> and <em>Bhaiyaji Superhit</em>, it is now time for Sunny Leone's long pending <em>Tina &amp; Lolo</em> to finally see the light of the day. Announced five years back, the film was originally supposed to feature Minissha Lamba with Sunny Leone. However, Karishma Tanna came in place of Minissha, though the film continued to get delayed. Now that it is gearing up for arrival, one waits to see how does the film's music turn out to be. <img class="aligncenter size-full wp-image-930160" src="https://www.bollywoodhungama.com/wp-content/uploads/2018/12/Music-Review-Tina-Lolo.jpg" alt="" width="620" height="450" /> <strong> MUSIC</strong> Enbee and Ikka (who is also the lyricist) come together as composers and singers for <strong><em>'Dirty Girl'</em></strong>. A fun-n-naughty number that is just in the kind of territory that one expects from a Sunny Leone dance number, this one with Shivangi Bhayana as the female singer has the kind of hook-line which is catchy but that's about it. Otherwise whether it is the beginning or the end of the intermittent rap portion, there isn't much striking about 'Dirty Girl'. On the same lines as <strong><em>'Aaj Blue Hai Paani Paani</em></strong>' [Yaariyaan], <strong><em>'Tension Waali Raat'</em></strong> does fetch your attention. An Arko written and composed song, this one has Neha Kakkar in her element as she goes about singing this one in her own naughty 'andaaz'. Though the choreography and picturisation of the song with Farhad Bhiwandiwala as the other vocalist leaves much to be desired, as a standalone number it does make you play it again. Had the number been released at the time when Sunny Leone was in her prime, this one could well have covered a distance. Last to arrive is the song of seduction, <strong><em>'Raat Ke Saaye Tale</em></strong>', which is rendered by Aakanksha Sharma. A lazy number that has standard lyrics by Rohit Sharma, it also has ordinary music by Raghav Sachar that hardly leaves much of an impression. This one may just about make heads turn if supported by the kind of picturisation that the genre, stage and setting desires. Otherwise as just a musical piece it makes for a one time hear and that's about it

<strong>EXPECTATIONS</strong> First things first, it is extremely surprising that the entire soundtrack of <em>Zero</em> released on the same day as the film's arrival in theatres. Even though <strong><em>'Mere Naam Tu'</em></strong>, <strong><em>'Issaqbaazi' </em></strong>as well as <strong><em>'Husn Parcham'</em></strong> had been received quite well, somehow the makers didn't unveil the entire soundtrack with four more songs. What's further surprising is that these songs have been quite well composed as well and hence one wonders why the jukebox release was delayed. Nonetheless, let's check out what Ajay-Atul and Tanishk Bagchi along with Irshad Kamil have to offer. <img class="aligncenter wp-image-936677 size-full" title="Music Review: Zero" src="https://www.bollywoodhungama.com/wp-content/uploads/2018/12/Music-Review-Zero-005.jpg" alt="Music Review: Zero" width="720" height="405" /> <strong> MUSIC</strong> <em>Zero</em> sees a fantastic start for itself, what with <strong><em>'Mere Naam Tu'</em></strong> turning out to be the love ballad of the year. A marvellous composition by Ajay-Atul with some beautiful poetic lyrics by Irshad Kamil, <em>'Mere Naam Tu'</em> has been sung brilliantly by Abhay Jodhpurkar. In fact his voice suits Shah Rukh Khan to the T and one now waits for their further collaborations. An all-rounder of a tune which makes one play this romantic number in loop<strong>, </strong><em>'Mere Naam Tu'</em> has a grand feel to it, especially the orchestra and the chorus that emerges at the end. Chartbuster. The combo of Ajay-Atul and Irshad Kamil continues with further offering in the form of<strong><em> 'Issaqbaazi'</em></strong>. This was meant to be a huge inclusion in<em> Zero</em> considering the fact that it features Shah Rukh Khan and Salman Khan together. However, Salman has limited appearance in this song which is rendered by Sukhwinder Singh and Divya Kumar. A catchy number with a foot tapping appeal, this one has a 80s feel to it with a UP-Bihar set up. Somehow the song doesn't cover an extra distance to emerge as a huge success and just about fits into the proceedings. As for Katrina Kaif, she does get a special song indeed; what with <strong><em>'Husn Parcham'</em></strong> pretty much paying homage to her <em>'husn'</em>. Think Katrina Kaif and you expect a song like this which takes her into <em>'Sheila Ki Jawaani'</em> zone. Of course, this one with Bhoomi Trivedi as the lead singer and Raja Kumari adding with her rap is more class oriented but it a chartbuster number nonetheless. As a matter of fact after you have heard this one a couple of times, <em>'Husn Parcham'</em> comes across as a tune that Vishal-Shekhar would have composed with ease. Yet again, it is huge orchestra at play as Ajay-Atul brings on the kind of canvas that is expected out of them. A song about separation and pining heart that is rooting for true love, <strong><em>'Ann Bann' </em></strong>is a very well written number that is sung quite well too by Kunal Ganjawala. It is after a long time that one hears the singer in a biggie and he does complete justice to <em>'Ann Bann'</em> which comes as a crucial juncture in the film's narrative and adds good weight to the proceedings. A well composed, tunes and sung situational number. Tanishk Bagchi takes over from this point on and is associated with as many as three songs. First to arrive is Nusrat Fateh Ali Khan's <strong><em>'Tanha Hua'</em></strong> which is recreated by Tanishk with Jyoti Nooran and Rahat Fateh Ali Khan coming together. An excellent number which has Irshad Kamil adding on to Khwaja Parvaiz's words, <em>'Tanha Hua'</em> is a heartfelt number of pain and intensity about loneliness in love. This is the kind of number that should have been promoted long ago as it has the adequate depth and is also in Shah Rukh zone. Hope it finds its audience soon. The soundtrack only continues to get better, what with <strong><em>'Heer Badnam'</em></strong> coming next. A superb song that is sung brilliantly by Romy, it has just the kind of lyrics that one would have expected from guest lyricist Kumaar. He pours in all the pain that one feels in love and it is remarkable to hear how Romy goes about rendering this one with Tanishk Bagchi coming up with a composition that is instantly catchy and impressive. Any regrets? Well, the song is just 140 seconds long when it could have just been apt had it been much longer. Altamash Faridi concludes <em>Zero </em>on a satisfactory note with the traditional <strong><em>'Duma Dam Mast Kalandar'</em></strong>. There is something magical about this sufi outing that you are entertained each time it is played. There may have been close to half a dozen filmy outings that the song has already witnessed in last few years but you never get tired of it. Same is the case here too in Zero. <strong> OVERALL</strong> <em> Zero</em> is a complete album and is one of the best that 2018 had to offer. Had the promotion of the entire soundtrack been intensive during last couple of months, the songs may well have reached a different level altogether. Nonetheless, now that the soundtrack is out, do give it a hear for sure. <strong>OUR PICK(S)</strong> <em> Mere Naam Tu, Husn Parhcham, Tanha Hua, Heer Badnaam</em>

<strong>EXPECTATIONS</strong> This one actually throws a pleasant surprise. Typically when it comes to independent films one can't really be sure of the kind of music that they would offer. However in case of <em>Bombairiya</em> there is some effort that has actually been put into creating some pleasant music. Arko is brought on board along with guest composers Amjad-Nadeem and the results are satisfactory. <img class="aligncenter wp-image-936675 size-full" title="Music Review Bombairiya" src="https://www.bollywoodhungama.com/wp-content/uploads/2018/12/Music-Review-Bombairiya.jpg" alt="Music Review Bombairiya" width="720" height="405" /> <strong>MUSIC</strong> Arko plays the triple role of composer, lyricist and singer for <strong><em>'Sanki',</em></strong> a Punjabi-Hindi number that is just the kind that on expects from a Punjabi hip-hop album. With a catchy tune to it, <em>'Sanki' </em>turns out to be instantly catchy and makes one look forward to how it is placed in the film. Producer Michael E Ward chips in too with lyrics for this fun number that has a hook playing right through which makes one nod in appreciation. Next to arrive is <strong><em>'Bairiya'</em></strong>, the word which also forms the base for the film's title <em>Bombairiya.</em> The song arrives in two versions, one which is a Navraj Hans solo and another that has Akriti Kakar joining as well. A sufi outing which has a melodic base to it, <em>'Bairiya</em>' is composed as well as written quite well by Arko. As a matter of fact one could well have expected a song like to feature in an Akshay Kumar film since the superstar is known for including such music for a soothing love song situation. This one deserves to cover good distance in both the versions. Amjad-Nadeem chip in for <strong><em>'Sajde Karoon'</em></strong>. They write as well as compose this number which is spearheaded by Yasser Desai with Warsi brothers (Meraj Warsi, Riyaz Warsi, Faraz Warsi) adding on well in the background. A 'qawalli' that manages to establish an identity of its own and adds on to the genre that it belongs to; <em>'Sajde Karoon'</em> could well be utilized for a devotional as well as romantic outing. This one makes it three out of three for <em>Bombairiya</em>. <strong>OVERALL</strong> Music of <em>Bombairiya</em> is good and it would have covered some distance had it been promoted well. One just hopes that the soundtrack doesn't go unnoticed due to lack of awareness. <strong> OUR PICK(S)</strong> Sanki, Bairiya, Sajde Karoon &nbsp;

<strong>EXPECTATIONS</strong> Rohit Shetty films are traditionally not known for their music. At best, the soundtrack of his action-comedy entertainers are functional and they solve the purpose of keeping the narrative going. Hence, one expects the same from <em>Simmba</em> as well which has Tanishk Bagchi getting his biggest break when it comes to composing most of the songs, with multiple lyricists coming together to pen their pieces. <img class="aligncenter wp-image-928962 size-full" title="Music Review: Simmba" src="https://www.bollywoodhungama.com/wp-content/uploads/2018/12/Aankh-Marey-Simmba.jpg" alt="Music Review: Simmba" width="720" height="405" /> <strong>MUSIC</strong> Chartbuster song <strong><em>'Aankh Marey'</em></strong> from <em>Tere Mere Sapne</em> is recreated for the Ranveer Singh-Sara Ali Khan starrer and it turns out to be a massive chartbuster from the word go. It is always heartening when a recreation is done well and Tanishk Bagchi deserves full credit for getting it fantastically right with this Kumar Sanu original that is now sung by Mika Singh. The singer comes together with Neha Kakkar behind the mike and together they have loads of fun while Shabbir Ahmed comes up with new lyrics. The song is set to be played right into 2019. Nusrat Fateh Ali Khan's legendary number <strong><em>'Tere Bin Nahi Lagda Dil'</em></strong> is recreated as well by Tanishk Bagchi and the end result is melodious again. Rashmi Virag writes new lyrics for <em>'Tere Bin'</em> which has Rahat Fateh Ali Khan taking the lead and Tanishk Bagchi along with Asees Kaur chipping in. A beautiful number that has stayed on to be immortal for over the decades, this one is a shift from <em>'Aankh Merey'</em>, hence adding on to variety in <em>Simmba</em>. It is back to 'masti' and celebrations with Tanishk Bagchi and Shabbir Ahmed coming together for <strong><em>'Aala Re Aala'</em></strong>. A 'tapori' number, this one has a 80s feel to it and sung with aplomb by Dev Negi. An introduction song of Ranveer Singh in the film, this one has Goldi as the additional singer and together the team comes up with a functional track which suits the film's purpose. Lijo George-DjChetas pair up for <strong><em>'Mera Wala Dance'</em></strong> and one wonders why was this song not promoted earlier on. With a fantastic hook to it, courtesy Kunaal Vermaa, this could well have turned into an instant chartbuster had it been unveiled earlier on. Nonetheless, this one carries a lot more fun when compared to the song before [<em>‘Aala Re Aala’</em>] and it could well have been Ranveer Singh's entry number as well. With Kumaar as the writer and Nakash Aziz as the lead singer, it also lends Neha Kakkar yet another good platform to go and have fun. A situational number comes in next with Tanishk Bagchi spinning together <strong><em>'Bandeya Rey Bandeya'</em></strong>. Even though Arijit Singh is known for his romantic number, this one which is written by Rashmi Virag is far away from being set into a love zone. Instead, it comes in the middle of the film's second half and though it has Asses Kaur contributing too along with Altamash Faridi as Arijit Singh's singing partner, at best this one just about passes muster and can't be expected to have a long run. The soundtrack concludes with a couple of theme tracks. While Simmba Theme 1 is composed by Tanishk Bagchi, Simmba Theme 2 has Thaman S spinning it together. Both have an addictive element to them and as the film turns out to be a massive success, these pieces too would find good traction amongst the masses in order to generate good recall value. Moreover, there is distinct South feel to both the pieces which could well be seen as homage to Temper on which <em>Simmba</em> is based. <strong>OVERALL</strong> Music of <em>Simmba</em> is better than what one expected from it. Other than situational songs (most of which work), the soundtrack also boasts of songs like <em>'Aankh Marey'</em> and <em>'Mere Wala Dance'</em> which have it in them to cover a much larger distance. <strong>OUR PICK(S)</strong> <em>‘Aankh Maare’</em>, <em>‘Mere Wala Dance’</em>, <em>‘Tere Bin’</em>, <em>‘Simmba Theme 2’</em>

<strong>EXPECTATIONS</strong> There was a time when a Rajshri film was special and its music was much awaited as well. However, of late the production house has slowed down its operations, at least when it comes to feature films. Their last biggie was <em>Prem Ratan Dhan Payo</em> and now they are coming up with <em>Hum Chaar</em> which features four newcomers. Though Barjatyas have traditionally worked with a single composer for music of their films, they bring on board a horde of composers for <em>Hum Chaar</em>. Shabbir Ahmed writes. <img class="aligncenter wp-image-941754 size-full" title="Music Review: Hum Chaar" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/01/Music-review-–-Hum-Chaar.jpg" alt="Music Review: Hum Chaar" width="720" height="405" /> <strong>MUSIC</strong> George Joseph is the composer for <strong><em>'Friends Bhi Family Hain'</em></strong> which has night club music feel to it. That said, somehow the music overpowers lyrics (by Abhishek Dixit) and hence somehow the rendition by Aaman Trikha and Rajiv Sundaresan is lost in the middle of it all. Moreover, the core hook of the song is the kind that sounds more like an ad jingle than a film song. Team SARA gets to compose maximum number of songs in <em>Hum Chaar</em> with three of these to their credit. First to arrive is <strong><em>'Tum Aisi Kyun Ho'</em></strong> which is rendered by newcomer Sameer Khan. A romantic song which is set in a style that was prevalent 20 years back, this one has an Indi-pop feel to it. That said, it is still better than the opening number and is somehow ok at least. <strong><em>'Duffermasti'</em></strong> is the second offering by Team SARA and the first question that comes to mind is what exactly is the meaning of the song's title here. As it turns out though, this one tries to be all fun and peppy but doesn't really cover much of a distance. It has a feel of certain songs that have been created by Pritam in the past [<em>‘Ullu Ka Patha’</em>, <em>‘Pungi’</em>] but that's about it. Sameer Khan and Asees Kaur come together for Team SARA's third number <strong><em>'Gussa Tera Jayaz Hai'</em></strong>. A situational number where the protagonist is trying to pacify the girl in question who is a bit upset, it goes around in multiple directions before arriving at the key line. A slow moving number, one doesn't expect this one to cover much of a distance. With the name Atif Aslam attached to <strong><em>'Auliya'</em></strong>, one has good expectations from the song. That said, since the four songs so far haven't made much of an impression, there are doubts too about how would this Vipin Patwa composition play out. Well, this one too turns out to be just about okay. Though Atif does sing well, the composition doesn't cover much of a distance. Raaj Aashoo is the composer of <strong><em>'Manmeet Mere'</em></strong> and again one has some sorts of hope since Mohit Chauhan is the singer. As it turns out, this one turns out to be the best of the lot that <em>Hum Chaar</em> had to offer in this soundtrack. The song has good rhythm to it and though one does feel that a bit more energy would have made this a more pleasant outing, it is still fine. <strong>OVERALL</strong> There isn't much to celebrate about the music of <em>Hum Chaar</em> which is only fair and that's about it. <strong>OUR PICK(S)</strong> <em>‘Manmeet Mere’</em>, <em>‘Tum Aisi Kyun Ho’</em>

<strong>EXPECTATIONS</strong> <em>Manikarnika - The Queen of Jhansi</em> is a dream project of Kangana Ranaut and she has given more than a year into making this happen. While it is expected that the film would have the much required scale, canvas and grandeur that the subject necessitates, the same is expected from music as well which is put together by Shankar-Ehsaan-Loy and lyricist Prasoon Joshi. <img class="aligncenter wp-image-941752 size-full" title="Music Review: Manikarnika - The Queen Of Jhansi" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/01/Music-review-–-Manikarnika-The-Queen-of-Jhansi.jpg" alt="Music Review: Manikarnika - The Queen Of Jhansi" width="720" height="405" /> <strong>MUSIC</strong> Shankar Mahadevan is the lead singer for <strong><em>‘Bharat’</em></strong>, a patriotic number which is about bringing the country first before your own self. One wonders if the song is primarily for end credits roll since its theme and tonality suggests a sober conclusion to the war drama that Kangana is bringing on screen. The soundtrack in fact concludes with another version which has Prasoon Joshi narrating (and not singing) it for the audiences. Meanwhile, Shankar Mahadevan is back with <strong><em>'Vijayi Bhava'</em></strong>, yet another theme track which is about moving ahead in the right direction and aim for victory. This is the song that should well have been positioned right at the beginning of the album since it comes with just the right kind of passion and energy that one expects from <em>Manikarnika - The Queen of Jhansi</em>. Reminding of the kind of soundtrack that <em>Baahubali</em> series boasted of, <em>'Vijayi Bhava'</em> should make for a good impression if picturised well on screen. Next to arrive is <strong><em>'Bolo Kab Pratikar Karoge'</em></strong> which has Sukhwinder Singh at the helm of affairs. Yet another song which is high on energy and should arrive at a crucial juncture of the film's narrative when the protagonist is gearing up for the battle, it has a thump to it that should make an impression when experienced in theatres. For the first time in the soundtrack a female voice is heard, what with Pratibha Singh Baghel coming behind the mike for <strong><em>'Rajaji'</em></strong>. A romantic number that should play between Manikarnika and her beau, this one has a sweet sound to it and should bring on some light moments on screen. Pratibha does well as the voice of Kangana and she is joined by Ravi Mishra who arrives in the later part of the song. Yet again, one can't expect the song to emerge as a chartbuster here but should fit in well into the film's narrative. It is back to theme songs in <em>Manikarnika - The Queen of Jhansi</em>, what with Shankar Mahadevan coming up with <strong><em>'Shiv Tandav'</em></strong>. As is expected in a song belonging to this genre, this one too stays on to be strictly situational and one waits to see how it is picturised for the big screen experience. Rest assured, one can expect Kangana Ranaut in a fiery avtar here. A song about waiting for the love of your life to be back soon, <strong><em>'Tak Taki'</em></strong> is yet another song that is rendered by Pratibha Singh Baghel. This too is a situational number and at best should aid in taking the story forward. With a period feel to it, this one does well though in staying well within the mood and ambience of the era gone by. The soundtrack concludes with <strong><em>'Dankila'</em></strong> which has a horde of singers coming together in the form of Prajakta Shukre, Shrinidhi Ghatate, Siddharth Mahadevan and Arunaja. A celebration number that should be set in the happier times of Manikarnika's life, <em>'Dankila'</em> should have arrived much earlier in the film's soundtrack. This one has the right energy to it with a peppy feel. <strong>OVERALL</strong> The music of <em>Manikarnika - The Queen of Jhansi</em> is in line with what the film's subject and narrative warranted. Though one doesn't foresee any chartbusters here, the songs should do well to aid the film's narrative. <strong>OUR PICK(S)</strong> <em>‘Dankila’</em>, <em>‘Vijayi Bhava’</em>, <em>‘Rajaji’</em>

<strong>EXPECTATIONS</strong> Music of an Emraan Hashmi has to be special. However, since <em>Why Cheat India</em> is more of a concept based film that deals with education nexus, one doesn't really have much of an idea around what to expect from the entire soundtrack. Multiple composers, lyricists and singers come together to create half a dozen songs for <em>Why Cheat India</em>. <img class="aligncenter wp-image-941751 size-full" title="Music Review: Why Cheat India" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/01/Music-review-–-Why-Cheat-India.jpg" alt="Music Review: Why Cheat India" width="720" height="405" /> <strong>MUSIC</strong> There is a surprise in store right at the beginning though with a Punjabi club number kick-starting the proceedings. This isn't something that one expected from <em>Why Cheat India</em> and hence a rollicking start like this is much welcome. An all-around Guru Randhawa show in terms of composition, lyrics and rendition, <strong><em>'Daaru Wargi'</em></strong> is a fun number that should find itself as a hot favourite amongst the DJs at the clubs and the dance floors. Chartbuster material. Punjabi mood continues in <em>Why Cheat India</em> with newcomer singer Prabhjee Kaur giving a good account of herself in her major Bollywood outing. A celebration number that is well composed by Krsna Solo, <strong><em>'Stupid Saiyaan'</em></strong> is as 'desi' as it comes and gets your foot tapping right away. Lyricist Kumaar delivers once again with this catchy number that should find good traction. Finally arrives a theme song in the form of <strong><em>'Kaamyaab'</em></strong>. An Agnee composition that has been put to words by Juhi Saklani, this one is a complete departure from what one had heard so far. Coming across as a non-film number, it is sung by Mohan Kannan who narrates the tale of a student who has to do well in life while taking the route of right education. Bappi Lahiri's chartbuster composition <em>'Dil Mein Ho Tum'</em> [<em>Satyameva Jayate</em>] is recreated by Rochak Kohli and he does a really good job with lyricist Manoj Muntashir who adds on to original words of Farooq Qaiser. A soothing number that makes the transition from 80s to the current times rather seamlessly, it is sung quite well by Armaan Malik who makes sure that the current generation would be enticed too with this romantic outing. It's the sound of the harmonium that kick-starts the proceedings for <strong><em>'Phir Mulaqat'</em></strong>. A love song which doesn't quite come across as a 'ghazal' outing that it is supposed to depict, this one could well have made an even better impression had it been picturised as a quintessential Emraan Hashmi number. Instead, a solo stage setting visually dilutes the impact that this Kunaal-Rangon composed number could have created. Kunaal writes the lyrics too and first Jubin Nautiyal and later a female singer who goes by the name RII. In fact she does even better. Last to arrive is Juhi Saklani written <strong><em>'Taiyaari'</em></strong> which is sung and composed by director Soumik Sen himself. This one in fact turns out to be a rather boring outing and comes across as a dull piece. It tries to narrate the plight of students who are studying hard to clear their entrance exams. However, it depresses more instead of making you really feel engaged with the kids. <strong>OVERALL</strong> Barring a couple of songs, the music of <em>Why Cheat India</em> works with a couple of these promising to be chartbusters as well. If the film does well at the Box Office, one can well expect the music to grow further as well. <strong>OUR PICK(S)</strong> <em>‘Daaru Wargi’</em>, <em>‘Dil Mein Ho Tum’</em>, <em>‘Phir Mulaqat’</em> (female version), <em>‘Stupid Saiyaan’</em>

<strong>EXPECTATIONS</strong> Since <em>Thackeray</em> is a biopic, one basically expects situational soundtrack for the film which would basically glorify the subject in question, Balasaheb Thackeray. Composers Rohan-Rohan [Rohan Pradhan and Rohan Gokhale], who had earlier composed a couple of songs for <em>Sanju</em> [<em>‘Main Badhiya Tu Bhi Badhiya’</em>, <em>‘Bhopu Baj Raha Hai’</em>] are the composers for <em>Thackeray</em>. <img class="aligncenter size-full wp-image-944480" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/01/Music-Review-Thackeray.jpg" alt="" width="720" height="405" /> <strong>MUSIC</strong> It is a grand beginning for <strong><em>'Saheb Tu Sarkar Tu'</em></strong> and one does get an impression of a biggie outing for the big screen with the kind of orchestra that is put up. Moreover, the lead singer is just apt too, what with Sukhwinder Singh crooning the words written by Manoj Yadav. As expected, the song is all about glorifying Thackeray as the 'messiah' of the masses. Expect the song to arrive at a crucial juncture of the film's narrative and bring on the dramatic appeal. Next in line is <strong><em>'Aaple Saheb Thackeray'</em></strong> which is written by Manndar Cholkar. This one is in fact a Marathi number and carries the signature tune that one has heard in the promo of the film. With the kind of beats that one associates with Marathi folk music, this one is rendered by Avadhoot Gupte and is again a situational outing. One wonders though why only the Marathi version appears in the soundtrack as it would have added on to the album had there been a Hindi version of the song as well. Nakash Aziz is the lead singer for <strong><em>'Aaya Re Thackeray'</em></strong> and given the kind of energy that the singer time and again brings in his songs, one expects the same here as well. Yet again, it is traditionally Marathi music that forms the basis for this song that is written by Dr. Sunil Jogi. While it is in line with the earlier two songs when it comes to the core theme and presentation, this one turns out to be far catchier and has a good recollection value going for it. Last to arrive is <strong><em>'Thackeray Theme'</em></strong> which is put together by guest composer Sandeep Shirodkar. It basically has a set of dialogues mouthed by Nawazuddin Siddiqui in the film with a base Western theme playing in the background. With the core theme of <em>Thackeray</em> supporting this near three minute composition, this one does make for a good impression and raises expectations from the film. Moreover, the intermittent sound of lion's roar only adds on to the excitement. <strong>OVERALL</strong> Music of <em>Thackeray</em> is situational and should aid the film's story telling. Though there isn't anything memorable about it that would play on after the film's exit from theatres, at least for its playing time it should do well. <strong>OUR PICK(S)</strong> <em>‘Aaya Re Thackeray’</em>, <em>‘Thackeray Theme’</em>

<strong>EXPECTATIONS</strong> When it comes to a horror affair, good music always helps in aiding awareness around it. Moreover, the director here is Bhushan Patel and his <em>Ragini MMS 2</em> had chartbuster music. One expects at least a functionally good score in <em>Amavas</em> which has multiple composers and lyricists coming together. <img class="aligncenter size-full wp-image-941155" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/01/Bheege-Bheege-Amavas.jpg" alt="" width="720" height="405" /> <strong>MUSIC</strong> It's the sound of guitar that kick-starts the proceedings for <strong><em>'Jab Se Mera Dil'</em></strong>. This is indeed a good team at play as Armaan Malik and Palak Muchhal come together behind the mike and are very effective as singers. The song also has composers Sanjeev-Darshan coming back after a hiatus and with Sandeep Nath writing some simple lyrics for this romantic number, you are in for a good pleasant outing that has melody as the centre-stage. Next to arrive is a dance number <strong><em>'Finito'</em></strong> and this one has Jubin Nautiyal in a different avtar as he gets into a club outing. He is supported by Sukriti Kakar along with rapper Ikka and together they ensure that there is no dull moment in there. Composer Abhijit Vaghani puts together this track that has a Spanish base to it and also reminds one of Bombay Rockers' <strong><em>'Rock Tha Party'</em></strong>. Kunaal Vermaa's lyrics are just the kind that go with songs belonging to this genre and hence stay functional. It is back to melody with the sound of guitar being heard all over again in Sanjeev-Darshan and Sandeep Nath's <strong><em>'Dhadkan'</em></strong>. Reminding of the kind of music that one typically hears in a Vikram Bhatt film, this one sees the coming together of Jubin Nautiyal and Palak Muchhal all over again. The pair doesn't disappoint as the song pretty much continues from where their earlier outing <em>'Jab Se Mera Dil'</em> left and works well as a romantic outing. The soundtrack concludes with Ankit Tiwari composed and sung <strong><em>'Bheege Bheege'</em></strong> where he is joined by Sunidhi Chauhan. This one is just the kind of song that one expects when a romantic mood is setting in a horror outing. In fact newcomer Anurag Bhomia spins his lyrics too around the same lines as it leads to a seductive outing. While the start of the song is fine, it is the hook piece with Ankit on the forefront that brings in a different dimension to <em>'Bheege Bheege'</em>. <strong>OVERALL</strong> Music of <em>Amavas</em> delivers as expected and in fact manages to go a bit beyond being just functional. Play this one on loop and you would end up adding this to your playlist. <strong>OUR PICK(S)</strong> <em>‘Jab Se Mera Dil’</em>, <em>‘Dhadkan’</em>, <em>‘Bheege Bheege’</em>

<strong>EXPECTATIONS</strong> When Zoya Akhtar announced <em>Gully Boy</em> with Ranveer Singh, there wasn't much known about what the film would bring on screen. Hence, it was surprise galore for the audiences when Ranveer Singh's rap number introduced the film through a teaser. Now after catching hold of the soundtrack there is another big surprise in store as there are an astonishing 18 songs in there. <img class="aligncenter size-full wp-image-944920" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/01/Mere-Gully-Mein-Gully-Boy.jpg" alt="" width="720" height="405" /> <strong>MUSIC</strong> Ranveer Singh debuts as a rapper in real life as well, what with as many as five tracks against his name. Amkur Tiwari produced and Spitfire composed and written <strong><em>'Asli Hip Hop'</em></strong> is already a riot for the manner in which Ranveer goes about rendering this one. A hit amongst those who love the underbelly of rap, this is followed by Divine, Naezy and Sez on the Beat's 'Mere Gully Mein' which takes the whole excitement to the next level. It is riotous, ferocious and true to its genre, hence also ensuring very good recall value. Things turn a bit soft though when Ranveer goes on to narrate Javed Akhtar written poem <strong><em>'Doori'</em></strong>. Though this one is a short piece, one feels something is missing as the heart-warming moments had just begun. This is soon followed by a musical piece by Rishi Rich that has added lyrics by Divine. Though one doesn't see this one turning out to be a chartbuster like the first two songs, it should play on well in the film. The team also comes up with <strong><em>'Ek Hee Raasta'</em></strong> and the song adds on to the soundtrack like a scene in a film does to the narrative. Kaam Bhaari &amp; Ankur Tewari write <strong><em>'Kab Se Kab Tak'</em></strong> where latter pairs up with Karsh Kale to put together the composition. Voice of a female is heard in the soundtrack this time around with Vibha Saraf pairing up with Ranveer Singh. While the overall impact is there, the best is reserved for the flagship number <strong><em>'Apna Time Aayega'</em></strong> which is put to tune by Divine &amp; Ankur Tewari. Former's lyrics along with Dub Sharma are truly acidic and one can clearly hear the cry of the underprivileged who wants to do something really good in life. A clear cut chartbuster here. From this point on, Divine and Dub Sharma have a lot to offer in the soundtrack. Former writes lyrics for Chandrashekar Kunder aka Major C composed <strong><em>'Sher Aaya Sher'</em></strong> which is decent but not exemplary. However the ones that indeed makes a mark is their 'Azadi'. A cry of war for freedom from all the boundations, <strong><em>'Azadi'</em></strong> has in it to find some good traction over the next few days. As for Dub Sharma's solo effort <strong><em>'Jingostan'</em></strong> (which plays in two versions), it seems like a bit of noise to begin with but soon you get a hang of it for the sheer spirit that it comes with. When <strong><em>'Train Song'</em></strong> comes, you realize that there is indeed a heavy duty team coming together, what with Raghu Dixit &amp; Karsh Kale singing as well as composing the number along with Midival Punditz. In fact it is rather surprising to see as many as four lyricists collaborating for this one, what with Javed Akhtar, Karsh Kale, Gaurav Raina and Tapan Raj joining hands. There is some 'thehrav' in the proceedings though with Jasleen Royal composing and singing <strong><em>'Jahaan Tu Chala'</em></strong> in her characteristic style. The overall effort is easy on ears as Aditya Sharma's lyrics are simple too and hence have a soothing effect. It is back to business though with Kaam Bhaari composing and writing a namesake number <strong><em>'Kaam Bhaari'</em></strong>. Since this is a new world of rap and something that is far away from being Bollywood, one takes time to adjust to this tune that has Ankur Tiwari pairing up as well. Soon after, he comes along with Mikey McCleary to compose<strong><em> 'Jeene Mein Aaye Maza'</em></strong>, a well-made number where he takes the centre-stage as a lyricist as well as singer. There is also an all-around effort by singer and lyricist Ace who pairs up with ishQ Bector in the music department to bring on <strong><em>'Har Gham Mein Khushi Hai'</em></strong>. The song fits in truly well for the genre that Gully Boy is promoting and hence it turns out to be a rather seamless experience. On the other hand there is Western-Punjabi collaboration next with Prem &amp; Hardeep and putting together a really well composed <strong><em>'Goriye'</em></strong>. A fun number which actually has a Bollywood touch to it as well, it has Arjun, Blitz &amp; Desi Ma coming together with Kaka Bhaniawala and Bhinder Khanpuri. This one is a potential success too and should be unveiled really quick. The soundtrack concludes with Viveick Rajagopalan composed 'tapori' number <strong><em>'India 91'</em></strong> which again belongs to the slum setting that Gully Boy belongs to. There is a huge team of MC Altaf, MC TodFod, 100 RBH, Maharya and Noxious D coming together for this song and one ends up wondering about the real name of any one of these members. <strong>OVERALL</strong> If one has to define the music of <em>Gully Boy</em> in one word, it would be 'trippy'. There has been no precedence of such a soundtrack in Bollywood before and it could well turn out to be a trendsetter if expected by the audience. An experimental score, this one has a few songs in there which are potential chartbusters in the making. <strong>OUR PICK(S)</strong> <em>‘Apna Time Aayega’</em>, <em>‘Asli Hip Hop’</em>, <em>‘Mere Gully Mein’</em>, <em>‘Goriye’</em>, <em>‘Azadi’</em>

<strong>EXPECTATIONS</strong> When the very title of the film is based on a chartbuster from the 90s, you expect the overall soundtrack to be melodious. Thankfully, there is just one composer-lyricist team for this Vidhu Vinod Chopra and Fox Star Studios production and hence you expect certain consistency from Rochak Kohli and Gurpreet Saini. <img class="aligncenter wp-image-949396 size-full" title="Music Review: Ek Ladki Ko Dekha Toh Aisa Laga" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/02/Music-Review-Ek-Ladki-Ko-Dekha-Toh-Aisa-Laga.jpg" alt="Music Review: Ek Ladki Ko Dekha Toh Aisa Laga" width="720" height="450" /> <strong>MUSIC</strong> R.D. Burman and Javed Akhtar's '<em><strong>Ek Ladki Ko Dekha Toh Aisa Laga</strong></em>' is recreated with singer Darshan Raval and Rochak Kohli chips in as well. The very start of the song is quite different and catches your attention. Further to that the manner in which the recreation is done while using the beginning of the original base tune is done impressively as well. Had this song been promoted more aggressively, it could well have gone to a different level altogether since it is sung quite well and is very easy on ears too. The song that follows is a recreation too, this time of Punjabi track '<em><strong>Gud Naal Ishq Mitha</strong></em>'. Set in a 'shaadi-byaah ka mahaul', this one is kick-started by Harshdeep Kaur and soon enough Navraj Hans takes over. The song would be remembered primarily for the energetic moves on display by Anil Kapoor who makes this one his own. Overall, this one is decent enough and though one would still go for the original any time, as a recreation is passes muster too. The voice of Kanwar Grewal hasn't been heard much in a Hindi film song before and in case of this film, it is used for '<strong><em>Chitthiye</em></strong>'. A situational track that comes towards the second half of the film in the midst of a conflict situation, it does well to take the narrative forward but that's about it. With a sad and pensive touch to it, '<em>Chitthiye</em>' aids the storytelling to an extent. Next to arrive is a party song which is titled '<strong><em>House Party Song</em></strong>'. There isn't much recollection power that the song carries, though it does well in going with the situation for which it has been created. Sukhwinder Singh leads the show with Arjun Kanungo and Parry G joining in, and together they ensure that there is some kind of energy flowing when the song plays on. By this time you do get an idea that the music of <em>Ek Ladki Ko Dekha Toh Aisa Laga</em> is by and large situational and the last one to arrive, '<em><strong>Good Morning</strong></em>', pretty much reaffirms that. Vishal Dadlani is joined by newcomer Shannon Donald for this number which is set during that part of the film's narrative when the entire family is coming together for one big celebration. Again, as a part of the film it is okay, though there isn't much about it that you take home as a standalone number. <strong>OVERALL</strong> One expected an out and out melodic score from <em>Ek Ladki Ko Dekha Toh Aisa Laga</em> but barring the title song there isn't much to hum around. Overall, a fair soundtrack with largely situational numbers. <strong>OUR PICK(S)</strong> <em>‘Ek Ladki Ko Dekha’, ‘Gud Naal Ishq Mitha’</em>