The lead refrain of the song and Neeraj Shridhar’s rendition would leave you in no doubt that Character Dheela is a Pritam product. That said, you would find it hard not to tap your feet to the song either, Pritam makes it immensely catchy like every time. Amrita Kak matches up with Neeraj very well. There is even a reference to Munni and Sheila, presumably an effort to cache in on the popularity of last year’s blockbuster item numbers. The remix is as usual a redundant effort. Humko Pyaar Hua follows Pritam’s line of melodies like Teri Ore, and ends up a less attractive affair than those, due mainly to T Series Tulsi Kumar joining KK on the vocals. The remix is almost as good as the original that’s all.

Tulsi sounds better in the next and last Pritam track alongside Rahat Fateh Ali Khan, but the composer gets worse, creating an cliched remix-y mess involving the Musarrat Nazir classic Laung Gawacha. The remix of the remix (!) is an avoidable affair. Enter guest composer Devi Sri Prasad. Devi quite effectively makes up for the absence of Sajid Wajid with his Sallu-ized version of the superhit Telugu song Ringa Ringa (in fact the song needn’t have been changed, it had enough Sallu elements in it). I still prefer the original over Dhinka Chika, but Salman fans should find this to their taste. Mika and Amrita Kak don’t let down on the vocals. For once the remix worked for me.

With two entertaining dance songs, one apiece from Pritam and Devi Sri Prasad, Ready is standard Salman Khan soundtrack, probably even better than the usual Sajid-Wajid. Don’t see a Munni encore happening though.

Music Aloud Rating – 6/10

Recommended Tracks – Character Dheela, Dhinka Chika

Life Bahot Simple Hai is playful and simple, just the way the movie comes across to you as in its trailer. While debutant composer Hitesh Sonik makes the background to Amole Gupte’s lyrics out of flippant sounding percussion et al, he chooses Shaan for the vocals, a man who takes to such songs like KK does to melody. In short, a job well done. The composer carries on the same theme into the next track as well with assistance from programmer Simaab Sen. Dabba has Sukhwinder on the lead vocals with some children’s chorus used to good effect. The arrangement is again quite commendable, the percussion being the highlight. Hitesh and Simaab switch to rock mode with the breezy Nanhi Si Jaan. And once again the imaginative usage of instruments is impressive, the strings, the keys all coming in at the right places. Shankar Mahadevan is on vocals, and as usual he excels in the soaring portions.

The second rock song of the soundtrack, Tere Andar Bhi Kahin, has Vishal Dadlani on the vocals, and he again does his part as expected. The short second version called Aditya Rox, sung by Aditya Chakravarthy, is one of the best tracks of the album for the way the Hitesh (joined for a third and last time by Simaab) beautifully ensconces the boy’s simple vocals in an equally elementary unplugged arrangement. Hitesh closes the proceedings with an instrumental piece called Thirsty Stanley’s Theme. Starting with a plain guitar riff, mildly evocative of Aaromale, the composer goes on to build it up to a fabulous sax-led melange. In between all this Amole Gupte does a cameo as music director, and nails that as well! Jhoola Jhool has class written all over it, the mellow usage of strings and flute, and the singing by Hamsika Iyer, an absolute beauty. Two questions to Mr. Gupte: one, is there anything you are not good at? And two, where were you till TZP happened?

My main fear on seeing Stanley Ka Dabba’s trailer was a soundtrack that would follow TZP’s path and end up a redundant work. But Hitesh Sonik does nothing of that sort, instead debuting with a soundtrack that would make his mentor one Mr. Vishal Bhardwaj extremely proud. Not to forget the contributions of Simaab Sen. And the awesome cameo by Amole Gupte.

PS: I have been told Clinton Cerejo did the programming for the other songs of the soundtrack. Hat tip to him as well!

Music Aloud Rating – 8/10

Recommended Tracks – Nanhi Si Jaan, Jhoola Jhool, Tere Andar (both versions)

A very late find this, thanks to @nocturnalrand. Mumbai-based Ankur and the Ghalat Family a few days back released the video of their new song Bekhabar. For the uninitiated Ankur and the Ghalat Family is a four piece band headed by Ankur Tewari (who did music for movies like Raat Gayi Baat Gayi and lyrics for quite a few movies including the mega funny ones of Quick Gun Murugun, and has also made many cameos in movies, last of which was the musician whose song gets plagiarised by John Abraham in Saath Khoon Maaf) and comprised of Tough on Tobacco vocalist Sidd Coutto, Johan Pais and Gaurav Gupta. Coming back to the song, interesting Latino riffs and wonderful job on the vocals. A definite must watch. You can watch it below. (Source: NH7)

Bhekabar from viraj2singh on Vimeo.

- Hrishikesh Varma

Bob Marley and the Golden Age of Reggae 1975-1976: The photographs of Kim Gottlieb-Walker (Commentary by Cameron Crowe, Roger Steffens and Jeff Walker)

I must admit I approached this book with considerable apprehension – the cover photo and the title promised me a journey into reggae culture and Bob Marley that would reveal what reggae was during its peak in the mid-70s. I would have thought that this was a hard task, an impossible task, simply because even though- to mutilate a phrase of Goethe’s- photographs are frozen music, there are some forms of life that cannot be expressed through a single frame. Bob Marley, it seemed to me, was certainly one of those forms of life.

First of all, the enormity of the task should be acknowledged by the reader- one cannot possibly expect to convey the beauty, the impact of a movement on a generation -in this case, reggae and Marley- through a medium that is static. However, this applies only if the photographer is not a skilled one. In this case however, we have more than a skilled photographer. Kim Gottlieb-Walker has successfully done, or come close to doing what is more than an impossble task- to decipher Bob Marley over the course of two years. Two years are hardly enough to showcase the best of one of the great entertainers of the past century, but this is precisely what Gottlieb-Walker has done.

It helps that one of the persons who writes the commentary is Cameron Crowe (The spouse of the photographer- Jeff Walker, and Roger Steffens are the other two). His opening lines in the book capture the feel of the age perfectly: “I was just a kid, but the emotions and the music and the spirit in the air never left me. Its all part of that emotional heartbeat we develop early on, and we either forget it and move on”

I am not of that generation, so I did not expect a photographic record to do much to emotions as regards that generation- but it did. Therein lies the inherent beauty of images – a single image, if well taken, has the power to transport to you to the time and place of the photograph. Gottlieb-Walker does so not merely by the quality of her images- they are top-class no doubt- but by the mood she conveys through them.

When I look at the Carribean of the 1970s (or 1980s) there is only one thing I can think of – besides reggae- and that is cricket. On the cricket field, the great West Indian cricketers exhibited a natural flair- a love, a feel for life (and the game) that has been absent before or since, but which one could sense in this book Marley’s (and  Peter Tosh’s, and Bunny Wailer’s and everyone else’s) gentle, yet arrogant, laughter.

There are numerous brilliant photographs interspersed among the pages of this tome, yet it feels unjust to pick just a few favourites- but this is exactly what I propose to do – with the help of only five photographs.

On page 23 lies the image that first brought a smile to my face- though tinged with a strange sadness- it is a shot of George Harrison with Marley, and they have just been introduced by Jeff Walker. The Silent Beatle meeting someone who in many ways was an antithesis of his- the image screams at you to observe how these two geniuses differed from each other yet entranced millions- and in a way, it seems a complete picture. Harrison plays his part well – silent, brooding, a man with his legend already established. Marley on the other hand, looks delighted to meet a kindred soul, someone who understands the madness, a master who’s been through it all.

After forcefully pushing myself through, I reached page 43 – probably my favourite- and see Marley looking away, his left hand on his hair, the look of a thoughtful visionary on his face.  Underneath, an extract from a 1975 issue of People Magazine reads “We’re not talking about burning or looting material goods and things. We only wanna burn capitalistic illusions”

I was particularly struck by an image from the famous Dream Concert of 1975 (page 85) featuring Marley holding up a large picture of Emperor Haile Selassie, the Rasta God. His eyes are closed, and there is a look of peace on his face- there is an utter lack of emotion that we see in the rest of the photographs- there is just something on his face that can only be called peace. The most famous follower of a failed cult holding up its God at the height of its craze.

A photograph of Bunny Wailer (page 136) says more of the man with its caption than through the image- no disrespect to the photo. Gottlieb-Walker relates to us a tale of how Wailer refused a photographer to take his photo with these words: “I don’t let dead men take my pictcha”.

A few weeks later, the photographer was dead.

All we see of Wailer is his silhouette – and an eye- he is staring into the heavens. One almost gets the feeling that he is reading the stars- such his gaze, such is the man’s body language.

Bob Miller, a close associate of Marley’s, makes an appearance on Page 153, and his presence makes for one of the great shots of this book. He is caught in a half-smile, his eyes betraying his mischievous heart, looking up at the camera. The commentary soberly notes that he was supposed to tour with Marley in Brazil, except for a slight mishap- Miller died of a car accident in 1980.

Yet one has to look beyond all these photos and reach the last three photos- to acknowledge the sober end Marley and the reggae movement met with. They show Marley wearing a beret, and as the caption does not fail to remind us, he resembles Che Guevera in  a way. Che, the other great rebel of the Latin American conscience. Yet, the caption notes, “Bob never shot anybody… not even a sheriff”

I shall close this by borrowing a few lines from the PS which i feel would do more justice to the book than any of my words: “(Marley’s death) unquestionably ended the Golden Age of reggae… [but] the music itself is still vibrant.. and as vibrant and powerful as ever. But the vast array of talent, personalities and great music that defined the brief period covered in this book has never been even remotely equaled”

One cannot help but agree wholeheartedly.

Rating: 4 out of 5 stars.

1 being an eyesore, 2 being passable, 3 being pleasant, 4 being very good and 5 being a sight for sore eyes.

You can buy the book here, at the Titan Books official page.

The author – by lineage of noble affiliation, by qualities quite comprehensively the opposite – blogs here when not busy working or traipsing across to some part of the country to attend, and in many cases win, some quiz. You can find him on twitter as theBFP

You can buy the soundtrack at a discounted rate from flipkart.

I AM’s soundtrack kicks off with the reason I was so looking forward to it, Amit Trivedi, his sufi-based fusion track Baangur (composed in raag Kalyani?), a preview of which has already made its debut on the net. And the song is replete with signature AT elements, from the iktara-like instrument (played by Tapas Roy I am guessing) that opens the track to the harmonium phrases that appear in the interlude. The opening guitar riff did remind me a bit of some part of the instrumental section of Yeh Pal from NOKJ but only for a brief moment. While the mukhda is taken up by Mame Khan’s earthy vocals, he goes to the background in the antara to get on centrestage the other sufi exponent Kavita Seth. Got a feeling she isn’t quite comfortable at the lower pitch portions though. The remix is a very shoddy job, stripping the song of all its subtle layers and inserting a standard dj template. The basic skeleton of Amit’s second song Issi Baat Pe seems a continuation of Baangur itself, but the composer weaves a fantastic fabric of instruments around it, dominated by veena (played by one Narayan Mani, as told by Amit), to create a very entertaining arrangement. The interplay between the electric guitar and veena in the interlude is particularly fascinating. The singing by KK is as expected, spot on. Tune-wise there is nothing special about the song though, and I didn’t quite like the processed vocal refrain. Ergo, one of my less fave songs of the soundtrack, and of Amit. There is a remix for this one too by The Bombay Bounce, the same fellow who remixed Lehrein in Aisha. While his remix there was subtle, here it is nothing more than a regular clichéd DJ mix. AT takes leave with another excellent track called Saye Saye, this time drawing from the arrangement of Aitbaar from NOKJ in its instrumentation – similar muted usage of the electric assemblage, same oud-like instrument et al – yet giving it an identity of its own, a more classical-oriented one. And this time on the vocals Amit gets two other excellent singers – inimitable Rekha Bhardwaj and Mohan who fortunately seems to have a lot of good songs his way (and from his interview given to us last year we know this song will appear in the part called I am Megha ). The 1.5 minute long instrumental section towards the end, punctuated with the vocal ad-libs, is wonderful.

KK gets a second song in the sparsely orchestrated melody from Rajiv Bhalla called Bhojhal Se. The way Bhalla keeps adding layers behind the haunting tune as the song progresses is commendable. Paroma Dasgupta joins KK in the remix which is pretty much the opposite of the original, pacy and heavy on electronic elements. Nevertheless it is tastefully done. The composer himself gets behind the mic for his second song Wundoo Yeredoo (or Ondu Eradu as kannadigas might know it ) Though a dip from his first track, this one too works, for its quirky multilingual lyrics and the composer going beyond the usual techno dance track-level arrangement. Onir gets one of his old timers from My Brother Nikhil, Sorry Bhai etc, Vivek Philip, to do the last track Aankhein. But unlike his previous outings with Onir, Philip disappoints here, giving a just-about-average melody which even Karthik’s vocals are unable to buoy up to a great extent. May be it’s the relativity working against it after some really good tracks, but I didn’t find it very interesting.

Barring a couple of glitches, Onir once again displays an impeccable musical sense with another quality soundtrack. And a good debut from Rajiv Bhalla.

Music Aloud Rating – 8.25/10

Recommended Tracks – Saye Saye, Baangur, Bhojhal Se

You can buy the soundtrack here for as much money you feel like paying after hearing the samples. Nice, no?

One thing that has made many of Sharreth’s works stand out in the past is the unconventionality in arrangement. While there have been cases where he went overboard with this penchant for the unorthodox and ended up making the song indecipherably complicated (there is a song from this 1999 movie Devadasi called Sudha Manthram which Unnikrishnan once called one of the toughest songs he has sung. Click on the song title and you will know why. ), in the right doses they have gone on to charm the audience. The soundtrack of 180 happens to be one that belongs to the latter group. In Rules Kidaiyathu, it is the selectively timed usage of the percussion that catches one’s attention, and that combined with Tippu’s exuberant rendition make this a perfect opener for the soundtrack. In the grandly orchestrated AJ¸ there are times when the background abruptly goes empty, or suddenly gathers pace. And a wonderful choice of vocalists in Ramya Kapadia and Vidhu Pratap. And at no. 3 comes the song of the soundtrack, the surreal semiclassical track Sandhikkaatha Kangalil set presumably to the raga Kharaharapriya. Once again one would notice how in the background there happens a shift across an array of percussive elements, chendai to ghatam to ilathaalam and so on. After a long time Unni Menon gets a song and what a song! He is given good company by the fabulous Chithra (wonder it its her rendition or the structure of the song that gave me memories of Theendai from En Swaasakkaatrae) and a superb cameo by S Sowmya in the second interlude.

Nyaayam Thaana is one song where the Arab-flavored tune with the drawn-out attempt at native-sounding vocals by Sharreth doesn’t quite hit the mark. Nevertheless the mystic-sounding arrangement here too is commendable, the drums (taiko?) in the interludes, the strings et al. The bhajan Radhe Radhe also is too short to make an impact, and follows much too standard a tune to show any creativity on the part of the composer. The singing by Ramya Kapadia and Ravishankar is impressive though. And then comes another act of brilliance, the fantastically orchestrated breezy track called Nee Korinaal. A bit of electronic, a bit of rock, Sharreth packs in a lot of elements into this one and the result is exquisite. To add to that is the splendid singing by Karthik and Swetha Mohan. The composer ends the soundtrack with an anthemic track called Siru Siru Kanavugal sung by a young set of singers formed by Vidya Shankar, former finalist at Idea Star Singer (a show judged by Sharreth), Master Aswath, P Ajith and Master Sharath. The orchestration is spot on as with the rest of the songs, the ubiquitous chorus (or is it a synth generating that lower note drone?) particularly haunting.

One of Sharreth’s best works in recent times that sees him in fabulous touch. Hope he contributes an equally wonderful soundtrack to Malayalam soon.

Music Aloud Rating – 8.5/10

Recommended Tracks – Sandhikkaatha Kangalil, Nee Korinaal, AJ, Siru Siru Kanavugal

The celebration of a long awaited weekend (sigh!) has been rather mute, not the speakers on the comp though In the midst of my favourite habit of killing time by brutal stabs in its back, I went back to my tried and tested pasttime of listening to BBC Radio 3 – Late Junction with the obvious hope of listening to something new. And I didst not hope in vain
In case I haven’t said before (which is likely to be the case, given my recent elevation in the Musicaloud Org chart as a MOLE, Master Of Lethargy & Ennui) BBC Radio has been an amazing hunting ground to discover classical and folk artists, and Late Junction is an amazing program for world music lovers to tune in and listen to music from all over the world.

Jadid Ensemble is the find of the week for me. From listening to Vandals on the station’s programme on thursday, a google search took me to their website and a youtube link (which has since been on an infinite loop as I type). The infusion of elements from various cultures, a dash of Arabic and a shot of Indian flavour (I thought), makes for an eclectic cocktail of musical genius.

The 5 piece band comprising of guitarist Glenn Sharp, flautist Pau Cheneour, violinist Olivia Moore, percussionist Adam Warne and double bass player Gavin Barras have concocted a rich melody through their debut album Sigh of the Moor (Fans of Salman Rushdie I wonder). Personally, I really enjoyed the seamless fusion of various elements into one album, and that has to do with the wide explorations and research the above said artists have done. The infusion of instruments like oud, saz and neys helps preserve the authentic indigenous flavor yet retaining its global outlook. You can buy their songs from their website, itunes, amazon and all that jazz. But before that if you would like some help in your decision-making check the video below. You can thank me later!

You can listen to the soundtrack here.

The first thing that comes to mind when listening to Shor In The City’s lead composers Sachin-Jigar’s Karma Is A Bitch is Aali Re from NOKJ – the crude lyrics, the grungy vocals, the rock-flavor. But despite all that the composer duo manage to make it completely theirs with some wonderfully imaginative arrangement, helped to a great extent by Suraj Jagan, Priya Panchal (who is also the lyricist) and Swati Mukund. Earlier the composers open the soundtrack in style with a refreshing melody called Saibo. Adorned with a delightful set of instruments and coming in the voices of Shreya Ghoshal and Tochi Raina, the song is an absolute treat. And they had to go and spoil the magic with a remix! If the remix sounds any good, that is totally borrowed from the original and has nothing to do with the remixer. The composers bow out with a genre they have never yet gone wrong in – melancholic rock. In fact the title song may very well count a notch above their previous such songs, with the fabulous Mohan Kannan from Agnee doing the singing.

That brings in composer no. 2, Harpreet Singh. Harshmeet starts with an attempt at fusion, Deem Deem Tana. I am not sure if it was something in the arrangement or Shriram Iyer at the lead vocals, the song reminded me of something from the repertoire of OM The Fusion Band, a band that Iyer, Amit Trivedi, Amartya Rahut et al were part of a few years back. Where the composer really announces his entry though is the next track, Teri Justujoo (Saaware), a beautifully presented semiclassical melody. The vocals by Roop Kumar Rathod do evoke memories of some of his previous semiclassicals, but such trifles cease to matter relative to the beauty of the track. Bringing up the rear are two old songs from Agnee and Kailasa apiece and both impress as they did in their original appearance, Ujale Baaz with its sinister subdued arrangement, and Babam Bam with its ethereal invocation of Lord Shiva (which also has throat singing in the background in many places I noticed for the first time. Interesting.)

More amazing tunes from Sachin Jigar. A commendable debut from Harpreet Singh (assuming this is his debut). And a revisit of two good songs from Agnee and Kailasa. Applause to the musical sense of the makers of Shor In The City. Hoping they have an equally good movie sense, for the musicians’ sake more than anything else.

Music Aloud Rating – 8.5/10

Recommended Tracks – Saaware, Saibo, Karma Is A Bitch, Shor

PS: Just as I was finishing this review I was told by @sangeetpremi that the two songs from Harpreet Singh are from a Sufi compilation titled Teri Justujoo released by Sony some three years back. Too bad it didn’t get much exposure, hope this movie helps in some belated recognition.

PPS: Shall be doing an interview of Sachin Jigar very soon. With such talent it would be a crime not to feature them. So watch out for that.

Less than a week after his collaborative work with Midival Punditz for Shekhar Kapur was put up online, Indian American fusion artist Karsh Kale has made the first single from his upcoming album Cinema, Mallika Jam, available for free download on his bandcamp page. For an album that is said to be drawing inspiration from film music, Mallika Jam is a surprise though, coming across as rather un-filmy in its arrangement (assuming Kale was talking of Indian film scores). Ok may be filmy in accordance with the made-for-discotheques remix-y tracks, but not the kind of cinematic that I was expecting. In fact barring the konnakol that exists throughout the song sotto voce, the heavy-on-percussion song is majorly just electronica till about halfway. It is then that the sarod kicks in and some brilliant classical fusion happens Kale-style. Kale chooses a wonderful vocalist in the Danish R&B singer Anne Rani who does her part perfectly. Unfortunately the sarod player credits I could not find online. Splendid playing by him! All in all, an excellent fusion track delivered the quintessential Karsh Kale way.

You can download the song here.

You can download the songs here.

Neelesh Mishra begins the pensieve journey with the protagonist’s early life at a terrorist-free time at Naini Tal, with Chhote Sheher Ka Banda. Mishra’s expressive lyrics, recited quite effectively by the man himself, have enough components to hit the right notes with the audience, instantly making you part of the story. And where Mishra stops his narrative, Amartya Rahut aka Bobo takes off with a beautifully arranged track called Yaadon Ke Idiot Box Mein rendered by the third member of The Band Called Nine, Shilpa Rao. The rock-flavored (and mildly Udaan-esque) track has a fair bit of innovations by the composer, like the sarangi portions in the first interlude. Mishra resumes at a later stage in Tanha Logon Ke Sheher Mein, alone and far away from home, reminiscing about the days of akashvani and PCOs and daftars and marveling at how things have changed. The sound mixing is pitch perfect with the right sounds at the right points, the typewriters to represent the govt offices being the best. And Bobo follows with Maazi which sees an interesting contrast on the vocals front, Suraj Jagan’s grungy rendition versus Shilpa Rao’s classical touch. In the end Shilpa emerges on top though, with some fantastic improvs at her end. The arrangement is quite impressive as well, this time the usage of the piano being the standout factor. With Canteen Ki Mez the lyricist takes the story further, while Suraj Jagan gets to render a second spruced up version of Yaadon Ke Idiot Box Mein that exudes a very 90s Indipop feel without sounding the slightest bit jaded. The narrator then takes us through some poignant moments of the protagonist’s love life culminating in his eloping with the girl in Pyaar Ka Monsoon Pyaar Ki Journey. Bobo goes for a sedate bluesy melody called Roobaru for the situation. While Suraj Jagan and Shilpa Rao doing their part brilliantly, the sax is the real winner in the song. The story moves on to the austere wedding and post-married life in the interestingly titled (and equally engagingly worded) Hamaare Jhagde Expiry Date Ke Saath Aate The. Shayad sees the composer go classic rock, and is easy pickings for Suraj and Shilpa being no newbies to the genre.

Things take a doleful turn with Main Koi Mohabbat Ka Mother Teresa Nahi Tha, the relation hitting rocky waters. Right on cue the composer comes out with another rock track rendered by Suraj, Aangan. With some excellent backing vocals and all, it is a wonderful listen, though I would have expected it to have a bit more of melancholy. The expected happens in Aakhir Shaadi Ka Fixed Deposit Toot Gaya, and this is one of the best tracks of Neelesh Mishra the lyricist and narrator, conveying the pain with impeccable exactitude, the cycle chain simile being a killer. Amartya Rahut presents a brilliant fusion track next with Naina Tore led by Shilpa Rao with her flawless singing, while some excellent sitar portions and rock and electronica make their appearance in the backdrop. Hopes return in Main Shaayad Rishton Ke Liye Bana Hi Nahi Tha, and the narrator turns singer with Unka Khayal, doing a fine rendition of the ghazal track alongside Shilpa. The composer uses an unplugged bluesy background for the song and the result is an absolute beauty. Mishra remembers the classic heartbroken lovers Gurudutt and Devdas while professing how Takleef Achchi Lagti Hai for every man. Then follows the last song of the album, another jazz-based track called Dil Raffu. While this one too is an entertaining listen thanks to Shilpa Rao behind the mic, for once I felt the composer didn’t quite manage to capture the feel of the narrative musically. The lyricist closes with a concluding piece called Aapke Jaisa Hi Hoon Main, where Mishra says how the protagonist is one of us.

It was over a year back that Amartya Rahut told me he was in the works of The Band Called Nine. Bobo da made me wait a long time for it, but the wait was quite worth it. A brilliantly innovative concept from Neelesh Mishra wonderfully executed by The Band Called Nine – be it Mishra’s Gulzar-esque lyrics, Bobo’s imaginative arrangement or Shilpa’s flawless singing. Here’s to many more from them!

Music Aloud Rating – 8.5/10

PS: I do hope the band members are considering putting up songwise credits on the website, coz as it happens I had great trouble even getting the track listing in the correct order, let alone the artist credits. Manoramic downloads are sans any track details.

PPS: This album has to be listened to in its entirety, hence no point recommending specific tracks. Go buy the album and listen to ALL tracks, it really is a must-not-miss.