![]() On the other hand, the slow burners Ghar and Yaadon Mein that were discovered by listeners after the film’s release made the album well-rounded. On the one hand, Pritam’s soundtrack had catchy fast songs such as Radha, Beech Beech Mein and Phurr that sounded fresh. Jab Harry Met Sejal fell flat at the box office but its songs are destined to have a longer shelf life. Bagchi managed to rise above the Bollywood’s resident remixer tag and gave stellar original compositions for Shubh Mangal Savdhan, in collaboration with Vayu. Tanishk Bagchi, in particular, was all over the place, featuring in 13 soundtracks. This year saw the coming-of-age of a bunch of young composers who managed to stand out even while jostling for space in multi-composer albums. Vishal Bhardwaj’s soundtrack for Rangoon had its moments (including the token Arijit Singh romantic song Yeh Ishq Hai) but had the film been a success, perhaps, its songs would have lived on beyond the first quarter of the year. However, OK Jaanu’s best songs received no promotion and Mom worked better as background score than as stand-alone tracks. His Hindi albums for OK Jaanu and Mom had several high points. AR Rahman’s best work this year happened in Tamil for Mani Ratnam’s Kaatru Veliyidai. Vishal-Shekhar delivered a bloated dud of a soundtrack for Tiger Zinda Hai. Shankar-Ehsaan-Loy did not have a release this year. Sachin-Jigar turned a new leaf in their career with their scintillating work for Meri Pyaari Bindu.Īmit Trivedi delivered two reasonably solid albums – Qaidi Band and Secret Superstar – but while the former barely received any promotion, the latter’s songs never transcended the film. Pritam’s top form in 2016 continued into 2017 as he gave two stellar albums: Jagga Jasoos and Jab Harry Met Sejal. In 2017, Bollywood’s top composers did not have much to show for in their report cards, except for Pritam and Sachin-Jigar.
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