Songs and complete musician credits at the end.
In his post announcing the album, Arijit Singh dedicated Pagglait to A R Rahman, in addition to thanking all the musicians involved in the album and his gurus. A name that was surprisingly absent from the post was Pritam, the man with whom Arijit worked extensively in some of his biggest hits from the past decade (apparently he has credited Pritam for his mentorship and influence in interviews around the movie). The composer’s influence too is quite evident in Arijit’s work, in more ways than one. I mean, the 12 vocal tracks of the soundtrack are comprised of five original tunes, with one song having as many as four versions – could there be a better Pritam tribute than that? 😀
Coming back to the person who is named in the tribute post, Arijit’s nod to the maestro is most evident in the eclectic fusion tracks Pagal/Phire Faqeera. True to its title, there is much madness at play here – Neelesh Misra’s (writing in movies again after a while – the last I remember seeing his name is for the lovely Jhumritalayya from Jagga Jasoos) pensive lines delivered part melodically (Arijit Singh, modulating his voice to almost sound like ARR even, and Amrita Singh) and part in rap (Raja Kumari) while the backdrop is dominated by electronic sounds, peppered with some brilliant alaaps by Amrita, and some outlandish laughs towards the close of the track – heady track, this! There isn’t a lot to separate the two variants barring Arijit taking a more dominant role in the latter, but I like Pagal more, largely because of Tapas Roy’s oud phrases in the opening minute or so that I felt were a fitting addition to the general sufi-ness of the song. Amrita Singh returns for the title song that is, relatively speaking, the album’s most ordinary song. Written by Raftaar (who also sings alongside Amrita), this one is a party song that is all too familiar in its format.
It is in the melodic tracks of the album that Arijit knocks it out of the park. And my current favourite among the lot is Lamha with its charming, laid-back European sound (Pedro Medina Morejon on the nylon string guitar, and Jovika Djordjevic with the accordion, doing the business). While Antara Mitra sounds delightful delivering the original, Arijit’s raspy voice makes for a wonderfully contrasting addition to her sweet voice, in the Revisited version. In a surprise twist, the composer gives the tune an Indian classical-based makeover in the Reprise version. Sumana Bannerjee gets behind the mic for this track that features a lot of strings, most importantly Momin Khan’s sarangi. I do prefer the duet version though, the minimal setting seems most suited to the melody. Dil Udd Jaa Re and Thode Kam Ajnabi, at least in their original forms, could slot right into an Imtiaz Ali movie! Both the songs are set to a sprawling soundscape, and it is a good move to place these two songs next to each other in the soundtrack considering how well one segues into the next. Though the first version of Dil Udd Jaa Re is a Neeti Mohan solo (and a fine solo act at that), crediting Tapas Roy alongside her wouldn’t have been out of place, given how prominently his tar is employed in the song. In fact, Neeti’s appearance in the song only happens after an extended prelude by Tapas. The alternate version of the song has Meghna Mishra taking over from Neeti, and Arijit joining her. The arrangement loses some of the atmospheric, highland-ish vibe in this version, and Aditya Shankar’s guitar is the prominent presence here. Thode (Se) Kam Ajnabi has the most gorgeous melody, and Himani Kapoor does a fab job bringing Neelesh Misra’s evocative words to life. The soulfulness of the piece is accentuated in the second half with flautist Nirmalya Dey making his entry (surprisingly, the other vocal tracks feature no flute). Thode Kam.. is the song that the composer presents in three more versions. The Reprise version is largely the same, except it is a duet between Himani and Arijit, but this also means some lovely harmonies between the two singers (which I wish there was more of). The two other variants are titled Meera’s Poem and Radha’s Poem, although lyrically they don’t seem any different either. In the former, the composer goes for a folk backdrop; Tapas Roy picking up the rabab this time, and ZIA playing the harp. Not a big fan of the singing by Jhumpa Mondal, though. Arijit hands Radha’s Poem to the amazing Chinmayi, while sprucing up the arrangements with violins and horns.
The other half of the album is entirely instrumental, and most of these background pieces are mostly just that – amorphous tunes that seem largely situational and don’t really stick, even the longer tracks, barring the occasional allusion to one of the vocal tracks (Dil Udd Jaa in particular is referenced in multiple tracks) don’t have much recall value, but could make for perfect BGM while working. There are of course bits to excite musical instrument geeks like me – I learnt about the virtual instrument called Jubal flute, thanks to this. I say most of the tracks, because things take an interesting turn in the final six pieces. Two things that are different about these – Jim Satya stepping in as arranger + associate composer, and veteran flautist Naveen Kumar. And man, does he produce some scintillating solos here! The final song of the album, Oh Beautiful Unknown, is the only one that is entirely based on a vocal track, and quite fittingly, it is the song that opens the soundtrack, Dil Udd Jaa Re.
It is a bit amusing to see a soundtrack that is over 1.5 hours long for a movie that is most likely going to be of approximately the same length. Not that I am complaining, of course, this has been an immensely pleasurable soundtrack to listen to. Arijit Singh has produced the finest composing debut in Bollywood since Mard Ko Dard Nahi Hota, whose review I incidentally posted on this very same day, two years back! 😀 Like Pritam said in his tweet thread congratulating Arijit, it is really gladdening to see the music rights being given to Arijit (the music label, Oriyon Music, is Arijit’s own) and the effect that freedom has had clearly shows. Let us indeed hope that this trend is here to stay.
Music Aloud Rating: 4/5
Top Recos: Lamha (duet), Thode Kam Ajnabi, Pagal, Dil Udd Jaa Re, Everytime I Realise
Musician Credits
Dil Udd Ja Re
Song Composed and Produced by Arijit Singh
Written by Neelesh Misra
Vocals by Neeti Mohan and Sunny M.R.
Creative Assistant (Composing) – Koyel Singh
Second Music Composed by Tapas Roy
Music Post Production & Sound Design – Sunny M.R.
Tar – Tapas Roy
Song Edited by Ritvik Shah, Sunny M.R. and Arijit Singh
Soft Synths used – Analogue Lab and Vienna Instrument
Vocals recorded by Neeti Mohan
Instrument “Tar” Recorded by Ritvik Shah at Fiddle On The Roof
Music Assistants – Sukanto Singha, ZIA, Anriban Sinha Chowdhury
Mixed & Mastered by Sunny M.R.
Assistant Mix Engineer to Sunny – Ritvik Shah
Sunny M.R. uses UAD powered plugins
Artist Coordinator – Tarsame Mittal
Executive Producer (Music) – Ashish Biswal
Production Staff – Jana, Ranjit
Special Thanks – Ravindra Darekar and his team
Thode Kam Ajnabi
Song Composed and Produced by Arijit Singh
Written by Neelesh Misra
Vocals by Himani Kapoor
Composition Sitting Assistant – Payel Roy
Instrument “Tar” – Tapas Roy
Bass – Anirban Sinha Choudhary
Flute – Nirmalya Dey
Acoustic Guitar, Guitalele – Arijit Singh
Special thanks to Dappu Khan
Song Edited by Sunny M.R. and Arijit Singh
Soft Synths used – Analogue Lab and Vienna Instrument
Vocals recorded by Deep at Rabab Studios
Online Recording For Tapas Roy – Nirmalya Dey
Music Assistant Sukanto Singha
Mixed & Mastered by Sunny M.R.
Assistant Mix Engineer to Sunny – Ritvik Shah
Sunny M.R. uses UAD powered plugins
Artist Coordinator – Tarsame Mittal
Executive Producer (Music) – Ashish Biswal
Production Staff – Cannot Lepcha, Jana
Phire Faqeera
Song Composed and Produced by Arijit Singh
Written by Neelesh Misra
Vocals by Raja Kumari, Amrita Singh and Arijit Singh
Creative Assistant (Composing) – Koyel Singh
Song Edit and Design – Arijit Singh
Music Post Production and Sound Design – Sunny M.R.
Instrument “Tar” – Tapas Roy
Bass Guitar – Raj Kumar Dewan
Guitar – Aditya Shankar
Synth & Keys – ZIA
Guitar – Prachotosh Bhowmick
Software used – Analogue Lab, Vienna Instrument, Retrologue, Serum, knifonium,
Arturia V Collection
Hardware Synth – Prophet 6, Sub 37, Minitaur
Music Assistant Sukanto Singha
Raja Kumari’s Vocal recorded by Nacho Larazza at Sita Devi Sounds
Mixed & Mastered by Sunny M.R.
Assistant Mix Engineer to Sunny – Ritvik Shah
Sunny M.R. uses UAD powered plugins
Artist Coordinator – Tarsame Mittal
Executive Producer (Music) – Ashish Biswal
Meera’s Poem
Song Composed by Arijit Singh
Written by Neelesh Misra
Vocals by Jhumpa Mondal
Rabab played by Tapas Roy
Instrument “Harp” – ZIA
Bass Guitar – Raj Kumar Dewan
Song Produced By – ZIA
Song Edited by Sunny M.R. and Arijit Singh
Soft Synths used – Analogue Lab and Vienna Instrument
Rabab Recorded by ZIA and Ritivk Shah at Fiddle On The Roof
Music Assistant Sukanto Singha
Mixed & Mastered by Sunny M.R.
Assistant Mix Engineer to Sunny – Ritvik Shah
Sunny M.R. uses UAD powered plugins
Artist Coordinator – Tarsame Mittal
Executive Producer (Music) – Ashish Biswal
Production Staff – Jana, Rajesh Baity
Pagglait
Song Composed and Produced by Arijit Singh
Written by Raftaar
Vocals by Amrita Singh, Raftaar and Arijit Singh
Associate Music Producer (Drop Sound Design) – Sunny M.R.
Acoustic Guitar – Arijit Singh
Electric Guitar – Aditya Shankar
Keys – ZIA
Choir – Anjan Guha, Ravi Chowdhury, Saket Bairoliya, Sanjay Acharjee
Song Edited by Sunny M.R. and Arijit Singh
Soft Synths used – Analogue Lab, Retrologue, Sylenth Spire and Arturia Jupiter
V3, ANA 2, Knifonium
Hardware Synth – Prophet 12
Vocals recorded by Ritvik Shah
Studio – Enzy
Music Assistant – Sukanto Singha
Mixed & Mastered by Sunny M.R.
Assitant Mix Engineer to Sunny – Ritvik Shah
Sunny M.R. uses UAD powered plugins
Artist Coordinator – Tarsame Mittal
Executive Producer (Music) – Ashish Biswal
Lamha
Song Composed and Produced by Arijit Singh
Written by Neelesh Misra
Vocals by Antara Mitra
Nylon String Guitar – Pedro Medina Morejon (Composed and Played)
Accordion – Jovika Djordjevic (Composed and Played)
Rhythm – ZIA
Bass Guitar – Raj Kumar Dewan (composed and played)
Music Assistant – Sukanto Singha
Vocals Recorded by Ritvik Shah at Fiddle on The Roof
Song Edited by Sunny M.R. and Arijit Singh
Mixed & Mastered by Sunny M.R.
Assistant Mix Engineer to Sunny – Ritvik Shah
Sunny M.R. uses UAD powered plugins
Artist Coordinator – Tarsame Mittal
Executive Producer (Music) – Ashish Biswal
Radha’s Poem
Song Composed and Produced by Arijit Singh
Written by Neelesh Misra
Vocals by Chinmayi Sripada
Song Edited by Sunny M.R. and Arijit Singh
Soft Synths used – Analogue Lab and Vienna Instrument
Music Assistant Sukanto Singha
Chinmayi’s Vocal Recorded by Naresh at Jubilee 10 Studios
Mixed & Mastered by Sunny M.R.
Assistant Mix Engineer to Sunny – Ritvik Shah
Sunny M.R. uses UAD powered plugins
Artist Coordinator – Tarsame Mittal
Executive Producer (Music) – Ashish Biswal
Production Staff – Jana, Rajesh Baity
Dil Udd Ja Re (Revisited)
Song Composed by Arijit Singh
Written by Neelesh Misra
Vocals by Meghna Mishra and Arijit Singh
Music Produced by Sunny M.R. and Arijit Singh
Bass Guitar – Anirban Sinha Choudhury
Guitars Composed and Played by Aditya Shankar
Song Edited by Ritvik Shah, Sunny M.R. and Arijit Singh
Soft Synths used – Analogue Lab and Vienna Instrument
Arijits Vocals recorded by Sukanto Singha
Mixed & Mastered by Sunny M.R.
Assistant Mix Engineer to Sunny – Ritvik Shah
Sunny M.R. uses UAD powered plugins
Artist Coordinator – Tarsame Mittal
Executive Producer (Music) – Ashish Biswal
Lamha (Reprise)
Song Composed and Produced by Arijit Singh
Written by Neelesh Misra
Vocals by Sumana Banerjee
Produced by ZIA and Arijit Singh
Additional Programmer – Somanshu Agarwal
Associate Producer – Kaushik Das
Bass Guitar – Raj Kumar Dewan
Strings Sound Design – Sunny M.R.
Sarangi – Momin Khan
Software used – Analogue Lab, Vienna Instrument
Song Edit – ZIA
Music Assistant – Sukanto Singha
Vocals Recorded by Sameeer & Rahul at Studio 504
Mixed & Mastered by Kohinoor Mukherjee
Artist Coordinator – Tarsame Mittal
Executive Producer (Music) – Ashish Biswal
Thode Kam Ajnabi (Reprise)
Song Composed and Produced by Arijit Singh
Written by Neelesh Misra
Vocals by Himani Kapoor and Arijit Singh
Instrument “Tar” – Tapas Roy
Bass – Anirban Sinha Choudhary
Flute – Nirmalya Dey
Acoustic Guitar, Guitalele – Arijit Singh
Special thanks to Dappu Khan
Song Edited by Sunny M.R. and Arijit Singh
Soft Synths used – Analogue Lab and Vienna Instrument
Arijit’s Vocal Recorded by Anirban Sinha Choudhary
Himani’s Vocal Recorded by Deep at Rabab Studios
Online Recordist For Tapas Roy – Nirmalya Dey
Music Assistant Sukanto Singha
Mixed & Mastered by Sunny M.R.
Assistant Mix Engineer to Sunny – Ritvik Shah
Sunny M.R. uses UAD powered plugins
Artist Coordinator – Tarsame Mittal
Executive Producer (Music) – Ashish Biswal
Production Staff – Jana, Rajesh Baity
Pagal
Song Composed and Produced by Arijit Singh
Written by Neelesh Misra
Vocals by Raja Kumari and Amrita Singh
Creative Assistant (Composing) – Koyel Singh
Music Produced by – ZIA, Sunny M.R.
Song Edit and Design – Arijit Singh
Software used – Analogue Lab, Vienna Instrument, Retrologue, Serum, Knifonium,
Arturia V Collection
Hardware Synth – Prophet 6, Sub 37, Minitaur
Instrument “Oud” – Tapas Roy (Composed and Played)
Bass Guitar – Raj Kumar Dewan (Composed and Played)
Guitar – Aditya Shankar (Composed and Played)
Additional Drums – Souvik Roy
Synth & Keys – ZIA (Composed and Played)
Guitar – Prachotosh Bhowmick (Composed and Played)
Synths Played By – Arijit Singh
Arijits Vocals Recorded by Sukanto Singha
Raja Kumari’s Vocal recorded by Nacho Larazza at Sita Devi Sounds
Mixed & Mastered by Sunny M.R.
Assistant Mix Engineer to Sunny – Ritvik Shah
Sunny M.R. uses UAD powered plugins
Artist Coordinator – Tarsame Mittal
Executive Producer (Music) – Ashish Biswal
Lamha (Revisited)
Song Composed and Produced by Arijit Singh
Written by Neelesh Misra
Vocals by Antara Mitra, Arijit Singh
Nylon String Guitar – Pedro Medina Morejon (Composed and Played)
Accordion – Jovika Djordjevic (Composed and Played)
Rhythm – ZIA
Bass Guitar – Raj Kumar Dewan (composed and played)
Music Assistant – Sukanto Singha
Antara’s Vocal Recorded by Ritvik Shah at Fiddle on The Roof
Arijit’s Vocal Recorded by Anirban Sinha Choudhary
Song Edited by Sunny M.R. and Arijit Singh
Mixed & Mastered by Sunny M.R.
Assitant Mix Engineer to Sunny – Ritvik Shah
Sunny M.R. uses UAD powered plugins
Artist Coordinator – Tarsame Mittal
Executive Producer (Music) – Ashish Biswal
OST
Designs are movements of life –
Sound, Recorded and Sampled by – Arijit Singh
Instrument “Tar” – Tapas Roy
Flute and Wind – Nirmalya Dey
Software used – Vienna Instrument, Jubal Flute
Produced, Edited and Designed by – Arijit Singh
Mixed and Mastered by Sunny M.R.
Assistant Mix Engineer to Sunny – Ritvik Shah
Sunny M.R. uses UAD powered plugins
Executive Producer (Music) – Ashish Biswal
Loss is all that is left –
Sound, Recorded and Sampled by – Arijit Singh
Instrument Tar – Tapas Roy
Flute and Wind – Nirmalya Dey
Software used – Vienna Instrument, Jubal Flute
Produced, Edited and Designed by – Arijit Singh
Mixed and Mastered by Sunny M.R.
Assistant Mix Engineer to Sunny – Ritvik Shah
Sunny M.R. uses UAD powered plugins
Executive Producer (Music) – Ashish Biswal
Desire makes reality –
Sound, Recorded and Sampled by – Arijit Singh
Instrument “Tar” – Tapas Roy
Flute and Wind – Nirmalya Dey
Software used – Vienna Instrument, Jubal Flute
Produced, Edited and Designed by – Arijit Singh
Mixed and Mastered by Sunny M.R.
Assistant Mix Engineer to Sunny – Ritvik Shah
Sunny M.R. uses UAD powered plugins
Executive Producer (Music) – Ashish Biswal
Confusion –
Sound, Recorded and Sampled by – Arijit Singh
Instrument “Tar” – Tapas Roy (Composed and played)
Flute and Wind – Nirmalya Dey (Composed and played)
Software used – Vienna Instrument, Jubal Flute
Produced, Edited and Designed by – Arijit Singh
Mixed and Mastered by Sunny M.R.
Assistant Mix Engineer to Sunny – Ritvik Shah
Sunny M.R. uses UAD powered plugins
Executive Producer (Music) – Ashish Biswal
Choice and Decision –
Sound, Recorded and Sampled by – Arijit Singh
Instrument “Tar” – Tapas Roy (Composed and played)
Flute and Wind – Nirmalya Dey (Composed and played)
Software used – Vienna Instrument, Jubal Flute
Produced, Edited and Designed by – Arijit Singh
Mixed and Mastered by Sunny M.R.
Assistant Mix Engineer to Sunny – Ritvik Shah
Sunny M.R. uses UAD powered plugins
Executive Producer (Music) – Ashish Biswal
Beraho (Love is melancholic) –
Sound Recorded and Sampled by – Arijit Singh
Instrument “Tar” – Tapas Roy
Flute and Wind – Nirmalya Dey
Software used – Vienna Instrument, Jubal Flute
Produced, Edited and Designed by – Arijit Singh
Mixed and Mastered by Sunny M.R.
Assistant Mix Engineer to Sunny – Ritvik Shah
Sunny M.R. uses UAD powered plugins
Executive Producer (Music) – Ashish Biswal
A Prayer –
Sound, Recorded and Sampled by – Arijit Singh
Instrument Tar – Tapas Roy
Flute and Wind – Nirmalya Dey
Flute – Naveen Kumar
Software used – Vienna Instrument, Jubal Flute
Produced, Edited and Designed by – Arijit Singh
Mixed and Mastered by Sunny M.R.
Assistant Mix Engineer to Sunny – Ritvik Shah
Sunny M.R. uses UAD powered plugins
Music Arranger, Associate Orchestrator and Associate Music Composer – Jim
Satya
Orchestra – Studio 28 (Bangkok)
Executive Producer (Music) – Ashish Biswal
Every time when I realise –
Sound, Recorded and Sampled by – Arijit Singh
Instrument “Tar” – Tapas Roy
Flute and Wind – Nirmalya Dey
Flute – P.M.K. Naveen Kumar
Software used – Vienna Instrument, Jubal Flute
Mixed and Mastered by Sunny M.R.
Assistant Mix Engineer to Sunny – Ritvik Shah
Sunny M.R. uses UAD powered plugins
Music Arranger,Associate Orchestrator and Associate Music Composer – Jim
Satya
Orchestra – Studio 28 (Bangkok)
Executive Producer (Music) – Ashish Biswal
A Catalyst thought –
Sound, Recorded and Sampled by – Arijit Singh
Instrument Tar – Tapas Roy (Composed and played)
Flute and Wind – Nirmalya Dey (Composed and played)
Flute – P.M.K. Naveen Kumar
Software used – Vienna Instrument, Jubal Flute
Produced, Edited and Designed by – Arijit Singh
Mixed and Mastered by Sunny M.R.
Assistant Mix Engineer to Sunny –
Ritvik Shah Sunny M.R. uses UAD powered plugins
Music Arranger, Associate Orchestrator and Associate Music Composer – Jim
Satya
Orchestra – Studio 28 (Bangkok)
Executive Producer (Music) – Ashish Biswal
New beginning –
Sound, Recorded and Sampled by – Arijit Singh
Instrument Tar – Tapas Roy
Flute and Wind – Nirmalya Dey
Flute – P.M.K. Naveen Kumar
Software used – Vienna Instrument, Jubal Flute
Produced, Edited and Designed by – Arijit Singh
Mixed and Mastered by Sunny M.R.
Assistant Mix Engineer to Sunny – Ritvik Shah
Sunny M.R. uses UAD powered plugins
Music Arranger,Associate Orchestrator and Associate Music Composer – Jim
Satya
Orchestra – Studio 28 (Bangkok)
Executive Producer (Music) – Ashish Biswal
Holding on to the last attachment –
Sound, Recorded and Sampled by – Arijit Singh
Instrument “Tar” – Tapas Roy
Flute and Wind – Nirmalya Dey
Flute – P.M.K. Naveen Kumar
Software used – Vienna Instrument, Jubal Flute
Produced, Edited and Designed by – Arijit Singh
Mixed and Mastered by Sunny M.R.
Assistant Mix Engineer to Sunny –
Ritvik Shah Sunny M.R. uses UAD powered plugins
Music Arranger, Associate Orchestrator and Associate Music Composer – Jim
Satya
Orchestra – Studio 28 (Bangkok)
Executive Producer (Music) – Ashish Biswal
Oh beautiful unknown –
Sound, Recorded and Sampled by – Arijit Singh
Instrument Tar – Tapas Roy
Flute and Wind – Nirmalya Dey
Flute – P.M.K. Naveen Kumar
Software used – Vienna Instrument, Jubal Flute
Produced, Edited and Designed by – Arijit Singh
Mixed and Mastered by Sunny M.R.
Assistant Mix Engineer to Sunny – Ritvik Shah
Sunny M.R. uses UAD powered plugins
Music Arranger,Associate Orchestrator and Associate Music Composer – Jim
Satya
Orchestra – Studio 28 (Bangkok)
Executive Producer (Music) – Ashish Biswal
OST Orchestra Credits –
Orchestra – Studio 28 (Bangkok)
Studio Manager – Supisa Williamson
Orchestra Service – 28PRODUCTION
Head Production – Rapeedech Kulabusaya
Session Producer – Sathapat Sangsuwan
Orchestra Manager – Thitanon Kollasathsenee
Conductor – Trisdee na Patalung
Violin I –
Chalat Limpisiri
Pittaya Pruksacholavit
Arkom Kitinoppakun
Atippatai Promsurin
Karn Watcharaprapapong
Bodin Pukang
Usa Chotchamchoi
Punyawas Manomaiphibul
Anantasit Na-ngam
Ittipat Pisalchaiyapol
Violin II –
Chitipat Darapong
Pacharapol Techatanachai
Napat Nanasombat
Kulisara Sangchan
Kiratikorn Promdewet
Nirutsa Usomboon
Hiran Bongkotmas
Setthawut Milton
Viola –
Miti Wisuthumporn
Atjayut Sangkasem
Contrabass –
Pongsathorn Surapab
Rutawat Sintutepparat
Horn –
Nantawat Waranich
Chuta Chulavalaivong
Chaiyanan Wan-in
Clarinet – Ratchanon Intarasathit
Trombone –
Suttipong Mainaikij
Thanapoom Sriwiset
Tuba –
Teerapat Decha
Suphanat Khemapattanasamarn
Oboe – Kijjarin Pongkapanakrai
English Horn – Pratchaya khemnark
Recording Studios –
Studio 28 (Bangkok) – Orchestra
Engineers – Patrick Chinnawong & Henry Watkins
Stone Media Studio (Mumbai) – Tapas’s Recording
Engineer – Santanu Das
Fiddle on the Roof
