Title Trax

The song is a slogan anthem (naari baazi) in all praise and flattery of Punjab De Puttar i.e. Son Of Sardar, and hence it serves its purpose in promoting the film's title via its core repetitive mukhda tag line throughout the song.

Ajay throws in some philosophy at start in unplugged mode in his deep bazz vocals, with emphasis on his line HOTE at 0.05 which has typical Punjabi emphasis pronunciation.

After the dialog interlude, the orchestration begins on a rwakin note with a catchy fluctuating bazz sound from 0.12 onwards that is joined in by rwakin intermittent heavy vibrant guitar from 0.13 onwards and peppy Punjabi tune piece.

The USP of Aman’s high pitched vocals is the RUSTIC FEEL created which complements the backdrop theme setting of the film.

The high pitched core mukhda repetitive slogan SON OF SARDAR is composed using only 2 notes, therefore being simple yet catchy.

Off-da-hook profound dhol skip pattern kicks in from 0.31 to 0.39, 0.45 to 0.51 & 0.58 to 1.03

The repetitive mukhda lines from 0.39 to 0.45 & 0.51 to 0.57 get the listeners into da zone and charged up with josh.

Aman’s high pitched energetic singing packs a punch, with emphasis on his line ACTION (sung with good aggression) at 0.56

The underlying peppy beat along with rwakin intermittent heavy vibrant guitar gives a LIVE WIRE ELECTRO feel.  

The tune from 1.04 to 1.11 was similarly used from 0.17 to 0.43 in ANKH VICH CHEHRA YAAR DA from APNE.

The lyrics, RANJHE ASLI LICENSE WAALE will make the listeners smile.

Aman’s line, HOOO – OO – OO - OO (3 step descending twist) from is similar to the line, HOOO – OO – OO - OO (3 step descending twist) from 2.04 to 2.07 in DESI BEAT from BODYGUARD.

The profound drum roll beats from 1.16 to 1.17 gives intermittent kick.

Between mukhda & 1st stanza, the cult wicked male vocals and peppy Punjabi beat skip from 1.29 to 1.33 that is joined in by interior Punjabi tune from 1.34 to 1.45 are representative of ‘Punjab di mitti di khushboo’.

1st stanza

Proceedings become nostalgic from 2.03 onwards with laidback singing, a pattern of singing style that was similar in the stanzas of ZINDAGI JAISI EK RADIO from RADIO.

Despite the slowing down of proceedings in terms of tempo, the underlying peppy beat along with rwakin intermittent heavy vibrant guitar packs a good dose of adrenaline nitrate.

Aman’s line, BADE-EE-EE-EE-EE-EE (5 step descending twist) from 2.09 to 2.13

Between 1st & 2nd stanza, OFF-DA-HOOK quick harmonium piece in unplugged mode from 2.51 to 2.54 that is joined in by peppy beats from 2.55 onwards are representative of ‘Punjab di mitti di khushboo’.

2nd stanza

It is better than 1st stanza.

Aman’s lines, INSE-EEEE (profound twist) from 3.13 to 3.14, YARO-OOO (profound twist) from 3.15 to 3.16, PILAANA-AAAA (profound twist) from 3.21 to 3.22, HAI-AAAAI (profound twist) from 3.23 to 3.24

Proceedings become nostalgic from 3.41 onwards with laidback singing, a pattern of singing style that was similar in the stanzas of ZINDAGI JAISI EK RADIO from RADIO.

Despite the slowing down of proceedings in terms of tempo, the underlying peppy beat along with rwakin intermittent heavy vibrant guitar packs a good dose of adrenaline nitrate.

Aman’s line, HAI-AI-AI-AI-AI (5 step descending twist) from 3.46 to 3.51

Highlights of the song:

1. Aman Triikha’s energetic high pitched vocals with rustic feel.

2. Underlying peppy beats along with rwakin intermittent heavy vibrant breezy metal bazz guitar piece that gives an electric live wire feel and packs a good dose of adrenaline nitrate.

3. Peppy Punjabi tune piece, profound heavy drum roll beats and catchy fluctuating bazz sound at start.

4. The cult wicked male vocals and peppy Punjabi beat skip in between 1st stanza gap and off-da-hook quick harmonium piece in between 2nd stanza gap which is representative of ‘Punjab di mitti di khushboo’.

Rani Tu Mein Raja

The song begins with feel good funky guitar theme piece in unplugged mode, with emphasis on the synth riffs from 0.04 to 0.07

Himesh nails it down with the heavy rhythmic thumping drum beats from 0.09 onwards which were similarly used in MILENGE MILENGE REARRANGED and they are in SYNC with the vocals.

Yo Yo Honey Singh belts out his rap with feel good attitude from 0.09 onwards, with emphasis on line, BAND BAAJA (aggressive croon that gets the listener charged up) from 0.18 to 0.19

Mika’s mukhda lines, MILAN SWAYAMVAR AAJ RACHAJA, DIL KE SHSEESH MEHAL MEIN AAJA, BIN FEERON KE BYAH RACHAJA (OFF-DA-HOOK fulltu high pitch vocals) from 0.29 to 0.36 & 0.45 to 0.53, with emphasis on his line, RACHAJA (OFF-DA-HOOK kashish in vocals) at 0.30 & 0.47

Mika’s line, RANI (OFF-DA-HOOK deep bazz vocals with ghehraayi) from 0.36 to 0.37 & 0.53 to 0.54

Mika’s line, RAJA-AAAA (pours his heart out with OFF-DA-HOOK feel good classical emphasis twist) from 0.37 to 0.38, 0.42 to 0.43, 0.53 to 0.54 along with OFF-DA-HOOK fast drum-roll beats in unplugged mode that give sahi desired effect, that were similarly used from 1.32 to 1.33 in TANDOORI NIGHTS from KARZZZZ, and at 1.24 in BHANGRA PAALE from ANTHONY KAUN HAI.

The interior Punjabi tune piece from 0.38 to 0.41 & 0.43 to 0.45 sounds like Arabian tune, with emphasis on awesome quick instrumental twist from 0.40 to 0.41 & 0.44 to 0.45

Bhavya Pandit sings with melodious haunt feel vocals along with peppy drum skips were similarly used from1.06 to 1.17 in UMRAO JAAN from DAMADAMM.

Her lines, KARDKEEE (terrific melodious high pitch note) at 1.09, RAJA-AAAAA (OFF-DA-HOOK profound melodious twist) from 1.11 to 1.12 & 1.15 to 1.17

Between mukhda & 1st stanza, the feel good funky guitar piece is back in unplugged mode, with full on underlying heavy rhythmic thumping drum beats from 1.23 onwards along with bindaas intermittent whistle at 1.24 & 1.26

1st stanza

The simple, well structured and effective composition pattern sung with Mika’s feel good vocals enhances the smooth flow of the composition without any uncomplicated fuss whatsoever.

Lyrics are fun filled with bindaas masti.

Mika’s line, DILWAALA at 1.46 has OFF-DA-HOOK kashish.

Between 1st & 2nd stanza, the ‘band baaja baaraat’ grand trumpet brightens up proceedings, gives jazba and causes the build up in unplugged mode from 2.19 to 2.21, followed up by the kill effect from 2.21 onwards whereby the listener totally feels the beat. Yo Yo Honey Singh is back to belt out his rap with feel good attitude from 2.26 onwards, with emphasis on line, BAND BAAJA (aggressive croon that gets the listener charged up) from 2.35 to 2.37

2nd stanza

The simple, well structured and effective composition pattern sung with Mika’s feel good vocals enhances the smooth flow of the composition without any uncomplicated fuss whatsoever.

Lyrics are fun filled with bindaas masti.

Bhavya sings with awesome variation from 3.04 to 3.12

The song ends with Mika Singh’s and Bhavya Pandit’s core mukhda tag lines, RANI MEIN TU RAJA-AAAAA (OFF-DA-HOOOK profound twist) which has the BEST melody.

Highlights of this song:

1. Mika Singh ‘chakde phatte’ with his trademark singing style.

2. Bhavya Pandit’s melodious haunt feel vocals with goonj.

3. Underlying heavy rhythmic thumping drum beats, feel good funky guitar theme piece, off-da-hook fast drum-roll beats, ‘band baaja baaraat’ grand trumpet piece in between 2nd stanza gap, interior Punjabi tune piece (that sounds like Arabian tune) with quick instrumental twist and bindaas intermittent whistle piece.

4. Yo Yo Honey Singh’s rap with feel good attitude, whereby Himesh incorporates some ‘new age’ elements in his music.

Himesh has taken a totally different new approach in terms of the composition pattern of tune which is not representative of his trademark style, but the orchestration is very much representative of him.

Rani Tu Mein Raja (Music Video)

The whole set is splendid and built with a novel innovative concept, especially the rain and showering of ‘rang birange’ colorful flowers. Hats off to the choreographer and set designer!

Sonakshi looks glam urbane chic from 0.02 to 0.03 when she winks.

Ajay's hilarious facial expression 'ishaara' from 0.03 to 0.04 is like that of a small innocent kid / chotta masoom baccha, as if to signal to Sonakshi that ‘aati kya khandaala, mere saath dance karne ke liye’.

The way the cutie mutie Punjabi gal (wearing blue-ish/pinkish salwar kameez with dotted pattern) on the left jumps up and smiles from 0.28 to 0.29, just drives the viewer crazy cracker nuts and totally berserk, basically dimaag kharaab kar deta hai!

Sonakshi strikes a Mandakini style pose.

Sonakshi and the female Punjabi dancers do their trademark cutie mutie step.

Sonakshi Sinha shows her wild side from 1.00 to 1.13 whereby she does her latkas, jhatkas and thumkas.

Ajay Devgn strikes a hilarious pose whereby his facial expression resembles that of Winnie The Poor cartoon.

Ajay’s sideways feet dance step is going to achieve a CULT status with the Punjabi youths, especially the carefree Jatt’s who can associate with and relate to it. The way he moves his legs n foot sideways is one of the most hilarious dance step ever by an A league actor in Bollywood.

Ajay Devgn is one of the few actors who can evoke comic timing with his dance steps. He did it in CHALAO NA NAINO SE from BOL BACHCHAN, and he does it again in this song. The best aspect about Ajay Devgan’s dancing is that he fully well realizes that he isn’t a great dancer, so he has actually turned his weakness into his strength as far as comedy movies are concerned by doing hilarious dance steps which are enhancing the comic appeal.

Bichdann

Ustad Himesh Reshammiya is at the helm of affairs.

The song begins with a mysterious haunt feel sound with a sense of urgency as if ‘kuch choota jah raha hai’ from the lover’s point of view.

Ajay Devgn belts out some thehraav vocals in his deep bazz vocals from 0.04 to 0.10

Off-da-hook fast paced tabla beats join in from 0.10 onwards are joined in by catchy violin theme piece from 0.12 to 0.16 & 0.22 to 0.27 along with Rahat’s intermittent classical croons that strike a chord.

The underlying profound tabla beat pattern from 0.32 onwards that belongs to the same tabla set used from 1.10 to 1.17 in KUCH TOH BAAKI HAI from MILENGE MILENGE and from 1.50 to 2.35 in DAMADJI from RADIO, catches the classical pulse of the listener.

Himesh puts his heart n soul in this pure composition which is comprised of his stock tune from his top musical drawer.

Rahat’s lines, TU BICHDAAN…BICHDAN (HISTORY notes) from 0.32 to 0.36 & 1.32 to 1.36

Rahat’s line, KEHNDI HAI – AI – AI (3 step descending twist) from 0.48 to 0.51 & 1.43 to 1.43 was similarly used in Sonu’s line, JAANE JAA – AA – AA (3 step descending twist) from 1.02 to 1.04 & 1.25 to 1.27 in YEU KASI KASI from TOM DICK N HARRY.

Rahat’s lines, BICHADE TOH JEE NA PAYENGE (HISTORY notes) from 0.52 to 0.55, 1.09 to 1.12 along with OFF-DA-HOOK raw drum hit pattern from 0.52 to 0.53 & 1.47 to 1.48 and OFF-DA-HOOK fast tabla hit pattern from 0.53 to 0.54 & 1.49 to 1.50 which catches the listeners pulse, followed by terrific intense high pitched sarangi piece from 0.55 to 0.57, 0.59 to 1.02, 1.13 to 1.14 & 1.50 to 1.52 that totally konnekts with and wins over the listener.

The underlying sharp rhythmic laidback beat kicks in from 0.57 onwards.

Rahat’s lines from 1.03 to 1.08 are full of desperation plea.

Rahat’s line, JAA-NA (awesome desperation plea vocals) at 1.16 & 1.53 depict a sense of helplessness.

The tune from 1.20 to 1.30 is well structured and catchy.

Rahat’s line, YAAD AAYENGE (typical unique HR melody gives halke se feel) from 1.27 to 1.30 has faint traces to the line IL PAL AARAAM (HISTORY typical unique HR melody) from 2.43 to 2.45 in YEH DIL TOH MILA HAI from DNJAK, and DEEWANAPAN (HISTORY typical unique HR melody) from 1.33 to 1.35,  PYAAR AAYA (HISTORY typical unique HR melody) from 2.50 to 2.52 in KABHI NA SUKOON AAYA from KOI AAP SA, whereby Himesh – the composer is in his pre ABA mode.

Between mukhda & 1st stanza, the violin piece which gives a Sufi touch plays from 1.57 to 2.07 along with Rahat’s classical croons, followed by catchy violin theme piece from 2.07 onwards which is joined in by terrific subtle female desperation plea croons and fast paced tabla beats from 2.12 to 2.17

1st stanza

Rahat’s high pitched repetitive lines from 2.18 to 2.26 strike a chord.

Proceedings get intensified from 2.27 to 2.47 as Himesh gets into the Bandish mode with complex tune and intermittent fast paced tabla beats that give intermittent kick and catch the listener’s classical pulse, that were similarly used from 4.15 to 4.34 in TADAP from DARLING and from 1.21 to 1.23 & 2.02 to 2.04 in ABA TITLE TRAX.

Rahat’s line, SONIYE-EEEEE (prolonged pleasant sooth feel twist) from 2.48 to 2.51 gives completeness effect to his preceding lines.

Between 1st & 2nd stanza, the violin piece from 0.29 to 3.49 which gives a Sufi touch is joined in by Ajay’s thehrav vocals followed by the catchy violin theme piece from 3.50 to 3.59

2nd stanza

Rahat’s high pitched repetitive lines from 4.00 to 4.09 strike a chord, with emphasis on his line NA CHUPPE GI.

Rahat sings with intense vocals on a complex tune from 4.10 to 4.20

Rahat’s line, SONIYE-EEEEE (prolonged pleasant sooth feel twist) from 4.20 to 4.24 gives completeness effect to his preceding lines.

The tune of Rahat’s catchy classical alaap from 5.17 to 5.22 is similar to Jayesh Gandhi’s catchy classical alaap from 0.49 to 1.00 in KYA JEENA from AKS – THE MOVIEE, whereby Rahat flourishes in the shadow of his uncle the legendary Nusrat Fateh Ali Khan and relives his legacy in the croon DA SA DA PA from 5.20 to 5.22 whereby his voice CRACKS UP to create a KASHISH just like his uncle.

Highlights of this song:

1. Rahat Fateh Ali Khan’s high pitched vocals with tadap, kashish n ehsaas.

2. The underlying profound tabla beat pattern, underlying sharp rhythmic laidback beats, off-da-hook fast paced tabla beats, catchy violin theme piece, mysterious haunt feel sound at start, off-da-hook raw drum hit pattern, off-da-hook fast tabla hit pattern and history intense high pitched sarangi piece.

3. Ajay Devgn’s thehraav vocals at start and in between 2nd stanza gap that give a calming effect.

4. Subtle female desperation plea croons in between 1st stanza gap.

5. Sameer ji’s heart touching lyrics which will be counted amongst one of his best works for Himesh.

Po Po

The song begins with wicked theme piece croons which give funky rhythm (that sound like ‘waw voice’ in the keyboard).

The free flowing rhythmic beats kick in from 0.09 onwards along with feel good tune piece.

The lyrics, TERI CAT JAISI WALK…TERI SWEETI SWEETI TALK can drive the listener berserk n crazy cracker nuts, basically woh dimaag kharaab kar dete hain.

The profound dhol hits followed by wicked CD reverse spin effect from 0.48 to 0.50 & 1.19 to 1.21 give great intermittent effect.

The lyrics, TERE SEB JAISE GAAL will make the listeners chuckle.

The core melody of the mukhda is in the repetitive lines, AAJA NACHLE SONIYE NACHLE MERE NAAL VE, with emphasis on the line, MERE (awesome emphasis plea twist) at 0.54, 0.58, 1.25 & 1.29 which urges to get on the dance floor.

Aman’s line, MERE (awesome feel good emphasis twist) NAAL from 0.53, 0.58, 1.25 & 1.30

Between mukhda & 1st stanza, a wicked interior Punjabi tune plays from 1.40 to 1.47

1st stanza

The composition pattern from 1.50 to 1.59 is simple and effective, along with an underlying fluctuating bazz sound in unplugged mode.

The underlying free flowing rhythmic beats kick in from 2.00 onwards along with off-da-hook simple quick feel good notes from 2.00 to 2.07, along with intermittent feel good tune piece.

Between 1st & 2nd stanza, a wicked Punjabi styled harmonium piece plays from 2.40 to 2.50, followed by wicked interior Punjabi tune from 2.50 to 2.57

2nd stanza

The lyrics, NAUGHTY HAI TU BADI NAUGHTY, BLACK BLACK HAI TERI CHOTI can drive the listeners berserk.

The composition pattern from 3.00 to 3.09 is simple and effective, along with an underlying fluctuating bazz sound in unplugged mode.

The underlying free flowing rhythmic beats kick in from 3.10 onwards along with off-da-hook simple quick feel good notes from 3.10 to 3.16, along with intermittent feel good tune piece.

Highlights of this song:

1. Aman’s feel good vocals.

2. Underlying free flowing rhythmic beats, profound dhol hits followed by wicked CD reverse spin effect.

3. Underlying fluctuating bazz sound in unplugged mode in both stanzas, wicked Punjabi styled harmonium piece and wicked interior Punjabi tune in between stanza gaps.

4. Wicked theme piece croons that give funky rhythm.

5. Outstanding cheeky lyrics that can drive the listener berserk, hats off to the lyricist!

Tu Kamaal Di Kudi

The song begins with a been (snake) tune piece, and reminds the beginning of ANKH VICH CHEHRA from APNE.

A synth sound joins in from 0.03 onwards followed by a peppy tune piece from 0.07 to 0.15

Underlying fluctuating bazz sound kicks in from 0.15 onwards.

The energetic male Punjabi croons HAAI are accompanied with sharp heavy drum hits from 0.30 to 0.37 & 0.57 to 1.11

A peppy groovy tune piece plays from 0.39 to 0.45

The two heavy drum hits followed by energetic male Punjabi croons HAAI in unplugged mode from 0.45 to 0.47 & 1.10 to 1.12 give great intermittent effect.

The orchestration and additional male vocals become full on from 0.48 to 0.56 & 1.14 to 1.24 on Vineet Singh’s repetitive core mukhda tag line TU KAMAAL DI KUDI TENU FATE TE LAGAU which is well structured but has a déjà-vu feel.

A peppy shehnayi piece plays from 1.24 to 1.31

Between mukhda & 1st stanza, a peppy interior Punjabi tune piece plays from 1.31 to 1.38 along with hard sharp drum hits.

1st stanza

Mamta Sharma’s vocals along with peppy dholak hit pattern from 1.38 to 2.00 warm up proceedings in terms of ‘mehfil me raunak sajaana’ whereby the ‘TU TU…MEIN MEIN’ cat n mouse game between the heroine (and her sahelis) and hero (and his phattas) goes on to make for an enjoyable festive gathering, to prove who is the better one and who can out smart each other.

The ‘tu tu, mein mein’ tussle between the lovers continues with Vineet’s high pitched repetitive lines from 2.02 to 2.08, along with sharp heavy drum hits and energetic Punjabi male croons.

Between 1st & 2nd stanza, a peppy tune piece from 2.32 to 2.39 is joined in by hard sharp drum hits and energetic Punjabi male croons. A peppy interior Punjabi tune piece plays from 2.47 to 2.55

2nd stanza

Mamta Sharma’s vocals along with peppy dholak hit pattern from 2.54 to 3.17 warm up proceedings in terms of ‘mehfil me raunak sajaana’ whereby the ‘TU TU…MEIN MEIN’ cat n mouse game between the heroine (and her sahelis) and hero (and his phattas) goes on to make for an enjoyable festive gathering, to prove who is the better one and who can out smart each other.

The ‘tu tu, mein mein’ tussle between the lovers continues with Vineet’s high pitched repetitive lines from 3.18 to 3.24, along with sharp heavy drum hits and energetic Punjabi male croons.

Highlights of this song:

1. Vineet Singh’s energetic high pitched vocals.

2. Mamta Sharma’s Punjabi vocals.

3. Underlying fluctuating bazz sound, hard sharp drum hits, energetic Punjabi male croons and peppy shehnayi piece.

4. Peppy dholak hit pattern in both stanzas and peppy interior Punjabi tune piece in between both stanza gaps.

My Picks

ORIGINALS

1. Bichdann

This song is one of Himesh's best 'composed only' semi classical song in post ABA era, along with Main Jahaan Rahu (Namastey London) and Ishq Ne Tere (Ahista Ahista).

It has a strong core melody base with HISTORY melody notes in its mukhda. It grows upon the listener upon each passing repeat hear, hence it is a lambi race ka ghoda.

Best tune of the song is Rahat’s lines TU BICHDAAN…BICHDAN (HISTORY notes) from 0.32 to 0.36 & 1.32 to 1.36, BICHADE TOH JEE NA PAYENGE (HISTORY notes) from 0.52 to 0.55 & 1.09 to 1.12,  DOOR JAANE SE BHI NA CHAIN PAYENGE, JITNA BHOOLAYENGE UTNA YAAD AAYENGE and the catchy well structured tune from 1.20 to 1.30

Best orchestration of song is OFF-DA-HOOK drum hit pattern from 0.52 to 0.53, 1.47 to 1.48 and OFF-DA-HOOK fast tabla hit pattern from 0.53 to 0.54 & 1.49 to 1.50 which catches the listeners pulse, followed by terrific intense high pitched sarangi piece from 0.55 to 0.57 & 0.59 to 1.02, 1.13 to 1.14 & 1.50 to 1.52 that totally konnekts with and wins over the listener.

Mukhda has history typical unique HR melody. Fast tabla beats in 1st stanza and towards the song's end catch the classical pulse of listener. Lyrics are amongst finest works of Sameerji for Himesh.

The song has an 'emotional konnekt' with the listener, in terms of feeling sympathy from hero's viewpoint...especially the stanza lines RANJH-O-GHAM HAI, AALAM NAM HAI, HU MAIN ZINDA, YEH KYA KAM HAI in 1st stanza and TERA CHEHRA DIKH JAAYEGA, JAATA LAMHA RUK JAAYEGA in 2nd stanza which leave the listener gutted, and Ajay Devgn's vocal interludes also enhance the 'konnekt' factor, in terms of recalling the whole situation in the movie when the song features. The part in the film melts down the viewer, when Sonakshi's brothers are taking her for the wedding and they ask Ajay Devgn to come along with them, and he shows that he is not a coward and he steps out of the house (with slow motion) and she turns around and sees him helplessly as she is being taken away because she knows that her brother's goons are going to harm him, along with the lines 'jab bhi tujhe bhoolne ki dua karu, har dua me tera naam aaye' and the stanza lines 'hu main zinda, yeh kya kam hai'.

If any body has felt the pain of separation in love, then this is the song for them.

2. Rani Tu Mein Raja

Mika Sigh, Bhavya Pandit, Yo Yo Honey Singh and underlying heavy thumping orchestration all rwak in this song.

Best tune of the song is Mika’s core mukhda line, RANI (OFF-DA-HOOK deep bazz vocals with ghehraayi) TU MEIN RAJA-AAAA (pours his heart out with OFF-DA-HOOK feel good classical emphasis twist), and Bhavya Pandit’s core mukhda line, RANI MEIN TU RAJA (profound melodious twist) which has the BEST melody.

Best orchestration of the song is underlying heavy rhythmic thumping drum beats and off-da-hook fast drum-roll hits.

3. Son Of Sardar Title Trax

In terms of the tune, Himesh has taken inspiration from his various Punjabi tracks in the past in terms of taking bits and portions to form an overall combined mix.

The USP in terms of music arrangement is the underlying peppy beats along with intermittent heavy vibrant breezy metal bazz guitar piece that gives an electric live wire feel and packs a good dose of adrenaline nitrate, and the cult wicked male vocals and peppy Punjabi beat skip in between 1st stanza gap and OFF-DA-HOOK quick harmonium piece in between 2nd stanza gap which is representative of ‘Punjab ki mitti ki khushboo’.

The USP in terms of vocals is Aman’s energetic high pitched vocals with rustic feel and the high pitched core mukhda repetitive slogan SON OF SARDAR which is simple yet catchy.

4. Po Po

It has free flowing rhythmic beats due to which the song flows smoothly, gaana 'Punjab da makhan' ki tarah behta hai and gets the listener into foot tapping groove. Best part of song is the core repetitive mukhda tag line AAJA NACHLE SONIYE NACHLE MERE NAAL VE, with emphasis on the line, MERE (awesome emphasis plea twist) at 0.54, 0.58, 1.25 & 1.29 which urges to get on the dance floor. The lyrics, TERI CAT JAISI WALK, TERI SWEETI SWEETI TALK… NAUGHTY HAI TU BADI NAUGHTY, BLACK BLACK HAI TERI CHOTI can drive the listener berserk n crazy cracker nuts, basically woh dimaag kharaab kar dete hain. Hats off to the lyricist!

5. Tu kamaal Di Kudi

It is a situational song made for a festive gathering occasion in the film’s narrative.

The tune is nothing innovative and rather déjà-vu. It is not representative of the trademark Himesh Reshammiya stamp. While it is simple and well structured tune, along with the rhythmic orchestration it serves its intended purpose which is primarily to make listener audience shake a leg to it.

REMIXES

Each remix is good in its own way as each has its own distinct flavor and touch i.e. Rani Tu Mein Raja (Hip Hip RnB touch), SOS Title Trax (full on Bhangra) and Bichdann (loung-ish feel), but still if they would have to be ranked, then:

1. Bichdann Reprise

2. Rani Mein Tu Raja Remix

3. SOS Title Trax Remix

Verdict

The album has 4 massy tracks and 1 classy track.

As far as the tune goes, Bichdann and SOS Title Trax are representative of trademark Himesh stamp, but Rani Tu Mein Raja, Po Po and Tu Kamaal Di Kudi have a new different approach in terms of compositional style n pattern which is not representative of the trademark Himesh stamp.

When the listener sees the first look posters with all the KHET (with grass and barren land) in the PIND (Punjab ka gaon) which depicts a RUSTIC feel, the title trax is perfectly tailor made for such a backdrop theme setting in terms of having a sound representative of the roots of interior Punjab.

Po Po and Tu Kamaal Di Kudi are typical massy Punjabi dance tracks and they are ‘safe bets’ as these type of songs tend to work and click with mass audiences who are always on the look out to shake a leg, especially on numerous festive occasions.

Himesh returns to the semi-classical forte with a mix of Sufiana andaaz after a gap and delivers a class act with Bichdann, a pure composition which firstly adds variety to the soundtrax and secondly will come at a critical junction in the film’s narrative when the lovers are at crossroads. A song of this level deserved to be in a mega budget film to get its full due and to ensure that justice is done to it.

High points as a composer:

> The HISTORY mukhda of Bichdann.

> The core mukhda tag line, RANI MEIN TU RAJA (profound twist).

Outstanding orchestration:

> OFF-DA-HOOK raw drum hit pattern followed by OFF-DA-HOOK fast tabla hit pattern which catches the listeners pulse, followed by HISTORY intense high pitched sarangi in BICHDANN.

> Heavy rhythmic thumping drum beats in RANI MEIN TU RAJA.

> Rwakin intermittent heavy vibrant breezy metal bazz guitar in SOS TITLE TRAX.

> Use of Interior Punjabi tunes which are suited for the film’s genre.

Outstanding lyrics:

> TERI CAT JAISI WALK, TERI SWEETI SWEETI TALK… NAUGHTY HAI TU BADI NAUGHTY, BLACK BLACK HAI TERI CHOTI in PO PO can drive the listener berserk n crazy cracker nuts, basically woh dimaag kharaab kar dete hain.

Himesh has shown in recent times that he is getting quite serious about the value and importance of remixes in his albums, and the remixes of Son Of Sardaar will have a further impact in their promotional music videos with special added VFX effects, thus enhancing their mass appeal in terms of reach.

Himesh is also on an experimenting spree whereby he is working with new singers and he continues this trend in this album also, which adds more freshness to it in terms of sound and thus breaking the usual stereotype with it. He has also persisted with veteran Sameer ji and he repayed back that faith in the topmost cream songs Bichdann and Rani Mein Tu Raja, do gaane joh is album ki shaan hai.

When Ajay Devgn tweeted that Bodyguard songs are on their way to becoming chartbusters and then subscequently roped in Himesh for his ambitious mega home project Son Of Sardaar, he showed a specific ‘faith’ in him. Himesh has repayed back that faith by delivering a massy commercial album which is apt for the film's genre. Himesh has used full on orchestration for this commercial soundtrax which makes it a Himesh Reshammiya loaded album.

Title Trax (Remix)

The remix starts on a cult rebellious note with Ajay’s philosophical dialogue interlude and funky tune piece until 0.09, followed by funky vibrant metal guitar and glass smash sound from 0.14 to 0.28

The huge whoosh smash sound followed by powerful wind gust effect from 0.10 to 0.14 gives a grandeur feel of the intro theme entry of a larger than life Superstar.

Full on Bhangra elements kick in from 0.29 onwards with heavy drum hits and intermittent energetic male Punjabi croons HAAI.

The build up from 0.52 to 1.06 is tremendous as the beats gradually accelerate and keep getting aggressive, and give kick to the listener.

The funky electronika tune piece that kicks in from 1.07 to 1.13 gets the listener into the zone.

The heavy drum hits from 1.24 to 1.27 & 2.37 to 2.41 give a good thump effect.

The full on Bhangra elements are back from 1.27 & 2.42 onwards

The heavy drum hits from 1.52 to 2.01 give a good thump effect.

Awesome computerized vocal effect from 2.01 to 2.03 with additional beats in SYNC.

Off-da-hook quick heavy beat skip effect from 2.12 to 2.14

Aman’s lines, ISHQ KE ASLI DAAVEDAAR, SON OF SARDAR from 2.18 to 2.20 along with underlying orchestration strike a chord.

The remix ends on a cult rebellious note from 3.10 to 3.21 with Ajay’s philosophical dialogue interlude along with funky tune piece and funky metal guitar.

This energetic remix will get the listeners charged up and fill them up with josh.

Rani Tu Mein Raja (Remix)

The remix begins on a wicked note, with a funky tune piece and rap with attitude.

The quick aggressive hits from 0.04 to 0.10 cause great build up.

The underlying free flowing rhythmic beat from 0.10 onwards has an OFF-DA-HOOK quick hard skip pattern from 0.46, 0.49, 1.29, 1.31 and so on, which is its USP.

Off-da-hook quick beat effect from 0.34 to 0.36 & 0.50 to 0.52 gives great intermittent effect.

Bhavya Pandit’s melodious haunt vocals from 0.42 to 0.50, 1.35 to 1.41 & 2.26 to 2.33 are damn catchy and strike a chord.

A catchy eletronika tune plays from 0.59 to 1.17, along with off-da-hook quick beat skip effect at 1.12

The quick aggressive hits along with male rap from 1.51 to 1.59 cause great build up.  

A catchy eletronika tune is back towards the end from 2.58 onwards.

The song ends with a funky sound with repetitive echo effect.

It is a rwakin remix whereby its USP is OFF-DA-HOOK quick hard skip pattern from 0.46, 0.49, 1.29, 1.31 and so on, in the underlying free flowing rhythmic RnB Hip Hop beat.

Bichdann (Reprise)

Since the vocals are the same as in the original version, the focus is on the music arrangement.

It is a masterpiece arrangement by DJ Lijo and Chetas, with top notch production value in terms of quality.

The song begins with a majestic tone in unplugged mode until 0.09

Feel good guitar riffs from 0.09 to 0.17

Terrific female desperation plea croons from 0.14 to 0.16

Off-da-hook wicked bazz sound that fluctuates and dies down from 0.16 to 0.18 gives halke se kick.

The rhythmic beat kicks in from 0.19 to 0.27 along with computerized bansuri piece.

A pleasant mesmerizing bansuri piece plays from 0.28 to 0.33 along with majestic jingle chime effect.

The rhythmic beat with good thump effect is back from 0.43 onwards and gets the listener into the zone.

The HISTORY high pitched Sarangi piece from 0.59 to 1.06 & 1.16 to 1.19 emotionally konnekts with the listener, and in overall context with Rahat’s lines gives an eternal feeling as if the lovers meet at the doorstep of heaven and cannot be separated forever.

Catchy feel good ambient tune (with terrific instrumental tonal quality) from 1.24 to 1.33 along with computerized bansuri piece.

Majestic jingle chime effect from 1.33 to 1.37 along with majestic keys.

Off-da-hook wicked bazz sound that fluctuates and dies down from 1.42 to 1.44 gives halke se kick.

The heavy laidback claps with echo effect from 1.45 to 1.59 gives a feel as if the listener is rotating in a free fall in outer space, a feeling that was felt with the underlying heavy laidback beats of HUM TUM TRAIN KI from DAMADAMM.

SHARP beat pattern kicks in from 2.25 onwards along with likeable fluctuating piano keys until 2.56

HISTORY quick repetitive ambient tune plays from 2.57 to 3.02 & 3.09 to 3.11 gives a combined HISTORY instrumental n vocal effect when heard in overall context of Rahat’s lines.

Majestic quick synth keyboard flick (with terrific instrumental tonal quality) from 3.33 to 3.41 followed by catchy feel good ambient tune (with terrific instrumental tonal quality) from 3.42 to 3.52

Song ends with majestic jingle chime effect from 3.53 onwards along with a fading white noise representative of a rocket fuel backburner jet engine being shut down.

Po Po Hip Hop Blues Mix