Sajid-Wajid’s musical Daawat!! (Daawat-e-Ishq – Music Review)

Everybody is wondering why Habib Faisal, after Ishaqzaade being musically so acclaimed having Amit Trivedi on board, opted for Sajid-Wajid this time. A very important reason may be that the film has Lucknavi and Hyderabadi flavor and Sajid-Wajid’s sound is quite suitable for this nawaabi flavor. Sajid-Wajid’s performance has been quite impressive in this year having Main Tera Hero and Heropanti in their bucket. Now with Daawat-e-Ishq, they have tried to emerge themselves more. Official_Poster_of_Daawat-e-Ishq



CLICK HERE to buy Full Soundtrack of Daawat-e-Ishq from iTUNES!!


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Music: Sajid-Wajid;  Lyrics: Kausar Munir;  Music Label: YRF Music


1. Daawat-e-Ishq – Singers: Javed Ali, Sunidhi Chauhan

The title track is a much organised form of the typical Sajid-Wajid sound. It starts interestingly with Oud playing out loud, making nice sense to the Hyderabadi culture. Then the fusion with the Rock Guitars has been done with beautiful and precise amount of energy. With the help of the Guitars, the song quickly picks up the much needed pace and the rest of it is responsibly handled by Javed Ali. The first interlude is well managed with Santoor along with predictable though nice sargam. Sunidhi enters in the antara with a strong magnificence in her vocals. The tune of both the antara are very different to each other, one following the tradition, other being experimental. All the expected instruments have been used and lyrics were also expected to be like this only. A predictable track though very engaging! 


2. Mannat / Mannat (Reprise) – Singers: Keerthi Sagathia, Shreya Ghoshal, Sonu Nigam / Shreya Ghoshal, Sonu Nigam

Sarod leads this song beautifully. As soon as the song starts, it draws interest for the listeners. Sonu Nigam getting a big song after a long time, is a another appealing factor. Engaging rhythm picks up from the hook line meri mannat and that’s the point where you get assured about the goodness of this song. They have used parts of Santoor also and the use of Violin creates an enormous impact at the end of second antara. The first antara has beautiful upper notes and Sonu Nigam’s voice is made to sing these kind of notes. The second antara has certain traits of that of Maria Maria from Partner. Well, that’s not a big deal. With Sajid-Wajid, you can find numerous songs like this. Reprise version is better for Shreya Ghoshal fans as she gets more space there. But the fact is that the orchestration that has been done in the hook line is more suited with Sonu’s vocals so the original version is highly recommended. Sonu Nigam has got a beautiful big budget song. There’s no need to say more about it.


3. Rangreli – Singers: Shreya Ghoshal, Wajid

That cheap sound which we get to hear in every baraat, that sound which bandwaale plays or that sound which we used to hear in early 90’s marriage songs. After delivering two classy tracks, they return much to their comfort level where their listeners doesn’t get any comfort listening to the track. The tune is too weak and outdated and doesn’t fit to be in a Habib Faisal film. Thankfully Wajid doesn’t sound bad. The song belongs to the days of sona sona, dil mera sona…


4. Shayarana – Singer: Shalmali Kholgade

The Guitar riff introduces this creatively woven song and Shalmali is the USP of the track. Some arrangements which you can never expect from the duo. A classy tune which is hardly witnessed in their music. I can’t think of any other Sajid-Wajid track whose mixing has been done with so much clarity. The song is very much in the zone of Pareshaan, namely that Rock arrangements, Shalmali’s vocals, slowing of rhythm in the antara, filmed on Parineeti and belonging to Habib Faisal’s film. Pareshaan had much better instrumentation whereas it has mainly just the Guitar. Shalmali’s singing is slightly better in this song. That aaye haaye and the way of saying adaa bann gaya woh are some of the beautiful elements of her singing. One of the best songs of Sajid-Wajid! #WelcomeSong


5. Jaadu Tone Waaliyan – Singer: Shabab Sabri

     The Rock qawwali that they have done numerous times and they never have done it satisfactorily. No wonder, this time there’s much similar impression for the song. Even Shabab Sabri’s decent singing doesn’t play saving grace for the track. The Rock Guitar after sometime starts sounding irritating in the same way as that of Yeh Jo Halki Halki from Son Of Sardaar. The arrangements although sound authentic, could have been classier. Fusion is not meant for Sajid-Wajid.


6. Daawat-e-Ishq (Instrumental) 

By listening to the instrumental, I can bet that this is gonna be for the casting of the film. The instrumental witnesses some dialogues of giving orders in a resturant. The whole piece has been played well with Oud playing out the tune of the hook line of Daawat-e-Ishq. Nothing much in the instrumentation but a visionary instrumental for sure.


Daawat-e-Ishq – If although, not having the level of Ishaqzaadeat least Sajid-Wajid delivers their one of the best soundtracks their career. Shayarana is one of their best compositions. Out of the rest four, two are classy and the remaining two are just the typical Sajid-Wajid affair. 


The Final Verdict:  OKAY



Next:  Mary Kom


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