Enrique Iglesias’s new album goes double platinum: Enrique Iglesias’s new album, double platinum, Puerto Rico, Euphoria, Iglesias, Billboard magazine, Universal Music,  Billboard’s Hot Latin Songs, I Like It, Euphoria Tour, Puerto Rican

Spanish singer Enrique Iglesias Tuesday received a double platinum certification in the US and Puerto Rico for his album “Euphoria”, which has been one of the top-selling releases ever since it hit store shelves.The album, the ninth that Iglesias has released in his musical career, went on sale July 6, 2010, and was in first place on the charts for 11 non-consecutive weeks, according to Billboard magazine.

In addition, according to his label, Universal Music, this new work by the Spanish singer became the year’s top-selling Latino album.

Also, the first single in Spanish on the album – “Cuando me enamoro” – was in first place on Billboard’s Hot Latin Songs list for 17 non-consecutive weeks.

Iglesias also has had great success with numbers like “I Like It”, a duet with rapper Pitbull, which went triple platinum upon having sold more than three million online copies, and “Tonight”, the second single in English, which went platinum with more than a million digital sales.

Currently, the performer is on his “Euphoria Tour” in the US, kicking the project off Jan 29 by filling the Jose Miguel Agrelot Colosseum in Puerto Rico and being joined onstage by the Puerto Rican duet Wisin & Yandel and by Pitbull.

You, do you remember me? Like I remember you? Do you spend your life Going back in your mind to that time? Because I, I walk the streets alone  I hate being on my own  And everyone can see that I really fell And I’m going through hell Thinking about you with somebody else [CHORUS] Somebody wants you Somebody needs you Somebody dreams about you every single night Somebody can’t breath without you, it’s lonely Somebody hopes that one day you will see That Somebody’s Me [2x]  How, How could we go wrong It was so good and now it’s gone And I pray at night that our paths soon will cross And what we had isn’t lost Cause you’re always right here in my thoughts

Zindagi Yeh Safar Mein Hai, Kat Raha Hai Rasta… (2) Hum Safar To Hai Magar, Manzileee Hai Juda Juda… (2)
Zindagi Yeh Safar Mein Hai, Kat Raha Hai Rasta… (2) Hum Safar To Hai Magar, Manzileee Hai Juda Juda… (2)
Hmmm Hmmmmm Hm Hm  Hmmm Hmmmmm Hm Hm  Aansuno Ki Dhoop Mein…, Koi Chal Raha Idhar..
Aansuno Ki Dhoop Mein, Koi Chal Raha Idhar Kehkhaho Ki Chau Mein, Koi Chal Raha Udhar Koi Kisi Se Gum Hua, Koi Kisi Ko Mil Gaya… (2) Hum Safar To Hai Magar, Manzileee Hai Juda Juda… (2) Sa Ni Ni Sa, Ni Sa Ni Sa, Sa Re Re Re
Sa Ni Ni Sa, Ni Sa Ni Sa, Sa Re Re Re Sa Ni Ni Sa, Ni Sa Ni Sa, Sa Re Re Re Ni Pa Ni Pa Ni, Pa Ni Pa Ni Sa Sa Ni Ni Sa, Ni Sa Ni

Taylor Swift Love Story, all my senses tingling cynical now. You have the Disney Princess Dress Miss Swift is wearing in the video, the bombastic sentimentality and ballroom fantasy series. I could really choke on the lyrics: “Marry me, Juliet, you’ll never be alone.” But – you knew there was a ‘but ‘, right? – light country-rock vibe, with hints of a plucked banjo somewhere in the background, and the idealistic but very nice video story. I can not help but wonder whether a small trip to the past life regression, because Taylor is a walk through its campus, and this guy sees an immediate flashback to a big time ball. Or is it just fun hormonal fantasies?Anyway, the point is: Swift countryfied seductive voice, the brilliant chorus, even the very smart and extremely well shot video, combining an extremely charming and credible song. There is a hint of teenage innocence and naivety about the texts, of course, but that’s probably about what works. My only reservation for you, dear readers, is really only do girls get married just to avoid?

Pee loon tere neelay neelay nainon se shabnam Pee loon tere geelay geelay hoto ki sargam Pee loon hai peenay ka mausam Tere sang ishq taari hai Tere sang ik khumari hai Tere sang chain bhi mujhko Tere sang bekraari hai Tere sang ishq taari hai Tere sang ik khumari hai Tere sang chain bhi mujhko Tere sang bekraari hai Tere bin jee nahi lagda, tere bin jee nahi sakda Tujhpe hai haare maine vaare do jahan, kurbaan,  meharbaan, ke main toh kurbaan Sun le zara, tera kurbaan

Pehle pehal tujhe dekha toh dil mera dhadka haye dhadka dhadka haye Pehle pehal tujhe dekha toh dil mera dhadka haye dhadka dhadka haye Dabangg Song Lyrics only @ http://newb4u.com/ Jal jal utha hoon main shola jo pyaar ka, bhadka haye bhadka bhadka haye Neendhon mein gul gaye hain sapne jo tere Badle se lag rahe hain andaaz mere Badle se lag rahe hain andaaz mere Tere mast mast do nain Mere dil ka le gaye chain Mere dil ka le gaye chain

Tere Mast Mast Mast Do nain is a very beautiful song from the movie Dabangg. To read all gossips about Dabangg Check the “CATEGORIES“ of this site.

Break Ke Baad Music Review
EXPECTATIONS
After a rather quiet 2009 that saw a sole album release for Vishal-Shekhar - Aladin – the composer duo is on a roll. They had a peppy outing in I Hate LUV Storys, gave to audience a quality wholesome score in Anjaana Anjaaniand now are delivering music for yet another young romcom Break Ke Baad. With Vishal & Shekhar staying on to be the first choice for many a filmmakers when it comes to music for an outing seems to be designed on the lines of Hollywood romcoms, their coming into Break Ke Baad is not a surprise. What’s surprising though is to see Prasoon Joshi on the credits as a lyricist with whom Vishal-Shekhar are working for the first time. However, since Prasoon has worked in last three films made by Kunal Kohli (Hum Tum, Fanaa, Thoda Pyaar Thoda Magic), it is understandable as well. One looks forward to check out what does this unique pairing has to offer in their first outing together.
MUSIC
Expect something unconventional, yet striking, in the opening track of the album – ‘Adhoore‘. This isn’t a word which is common when it comes to Bollywood lyrics. Also, it has a hint of sadness to it due to the meaning that it carries. Still, Vishal-Shekhar do an amazing job in making a cracker of a track that gets on you in the very first listening. A contemporary urban track that is miles away from being a conventional ‘lambi judaai’ affair, ‘Adhoore‘ works for its modern take on love. Add to this fact that Vishal Dadlani is quite effective behind the mike as well along with Alyssa Mendonca and you know that this song has in it to find a way up in the charts. The ‘remix version’ further ensures that club hoppers won’t mind playing it on at top volume all over again.

Neeraj Sridhar is a regular with composer Pritam and has delivered a dozen odd chartbusters with him already. However, when it comes to Vishal-Shekhar, they have used him quite sparsely. This is the reason why when one sees them roping in Neeraj for ‘Ajab Leher‘, one waits to check out what they really have to offer. First thing that they succeed in achieving is to make Neeraj sound different. Of course, his voice – as heard before in many a song – is quite pleasant but he goes ahead with a different take in this fun number where the protagonist seems to be having a good time talking about his ‘padosan’. Shekhar Ravjiani, Vishal Dadlani and Rhys D’Souza play a supporting role as back up vocalists in this song which basically belongs to Neeraj. A sweet number with a simple tune to it which is pretty much akin to a nursery rhyme, ‘Ajab Lehr‘ should look good on screen and take the narrative forward.

When you read the credit details, it is hard to decipher what exactly would the lyrics ‘Dhoop Ke Makaan‘ actually convey. Coming from Prasoon Joshi, one can expect a poetic outing every now and then and it is no different in case of the number in question. Also, one can see a strong Gulzar influence here as well. Nevertheless, the song is pretty soothing on ears, whether it comes in its regular or ‘acoustic’ version. The way Shekhar Ravjiani goes on to sing this one, it is crystal clear that the composer was just hiding behind his talent as a singer for long. His voice has that intrinsic happy feel to it, something which was the hallmark of Udit Narayan, and this is what that makes even this supposedly sad track turn out to be pretty engaging. This song which also has Sunidhi Chauhan and Hitesh Sonik as the co-singers may not reach out amongst masses but for those who like their music to be soft and carry a quality feel to it (a la ‘Kucch Kam‘ in Dostana), ‘Dhoop Ke Makaan‘ is the one to be played on a repeat mode.

The album picks up pace with ‘Dooriyan Hain Zaroori‘ which again has a sad meaning to it, reason being that it deals with the distance that comes in due to a break up. Still, all credit to the way it has been designed that one never feels dejected, let down or bored when this song plays. In fact this track that has been designed as soft rock has some very good arrangements coming into play that turn it into an out and out youthful urban affair that should work amongst the cosmopolitan crowds. Monica Dogra, a rock band member, is pretty effective in this well paced song with Vishal Dadlani ensuring that he justifies his own inclusion as a singer.

By this time around, it is apparent that Break Ke Baad is the most loaded Vishal-Shekhar album ever, reason being that they also appear as singers in almost all songs, barring one. This solitary song where they have entrusted another singer to totally drive the proceedings is ‘Main Jiyoonga‘ which has now-getting-popular Nikhil D’Souza taking centre-stage. Though there are additional vocals by Mikey Mcclearyu and Gino Banks, it is Nikhil who seems to be having all the fun in this yet another soft rock track which deals with the aftermath of a break and looking forward in future. Any sadness here though? Naah!

The same arrives in English as well with Vishal Dadlani giving an altogether different impression of him as a singer here. While he has been doing his bit with vociferous songs like ‘Dan Te Nan‘ [Kaminey] in the past, it is nice to see him going subdued, yet energetic, for this fun take on living life to the fullest. Of course a track like this does have a restricted audience for itself but in the context of the film, it should fit in pretty well.
OVERALL
Break Ke Baad is an unconventional album, especially when one looks at it from the Bollywood standpoint. Change is good and it is slowly but steadily, audience too are warming up to conventional sound. Rock On was a prime example of that, the music of which was dismissed by many in the first hearing. However, when compared to Rock On, Break Ke Baad still has some elements that augur well with the romcom affair. While this is a quality album for sure, what has to be seen is the way the songs are picturised, promoted and brought to audience. If the film is a success, the songs should only take further leaps amongst the target audience which basically comprises of urban youth who have a taste for modern sound.

Guzaarish Music Review
EXPECTATIONS
Two huge albums in quick succession – now that doesn’t happen quite often. Close on the heels of Action Replayythat boasted of as many as none tracks arrives Guzaarishwhich goes a one up and carries as many as 10 original tracks. Thankfully, there are no remixes which is always a positive sign and also conveys the confidence that the makers have their songs. What also makes Guzaarish special is the fact that it is Sanjay Leela Bhansali himself who has taken over the charge of being a composer. In a way, this is not surprising since in each of his major albums so far - Hum Dil De Chuke Sanam, Devdas orSaawariya – one senses the Bhansali touch more than that of an individual composer. Turaz and Vibhu Puri contribute with lyrics and promise to make Guzaarish something special. Does it meet such high expectations? Well, let’s find that out.

MUSIC
It’s the sound of raindrops that mark the opening of title song Guzaarish. While there are some brief cries heard in the background for a few seconds, one forgets that soon after K.K. arrives on the scene. A song with a hint of sadness to it and the ‘guzaarish’ to get love back in life, this title which is written by Turaz carries the required pathos to turn into something special. As the song moves ahead, one again hears some haunting sounds in the interspersing portions. Nevertheless, the song gets back on track soon after with K.K. continuing his trademark rendition that turns ‘Guzaarish‘ into the kind of song that totally gets on you after you have heard it a few times. Shail Hada too can be heard faintly in the background of ‘Guzaarish‘ that does send out vibes of something really special round the corner in rest of the album to follow.


To begin with, Vibhu Puri’s lyrics for ‘Sau Gram Zindagi‘ makes one wonder if the lyrics here are meant to be really taken seriously. However, as one concentrates hard and listens to the song carefully, ‘Sau Gram Zindagi‘ turns out to be a track with philosophical undertones and conveys the importance of life which is available in small measures. It is good to witness Kunal Ganjawala get into the kind of mood which is hardly expected from him and the much mellowed singing sans any variation in pitches coming in makes ‘Sau Gram Zindagi‘ a soothing number to hear.


It’s a slow and haunting start for ‘Tera Zikr‘ which makes one wonder for close to 45 seconds around what really would entail next. As it turns out, ‘Tera Zikr‘ contains itself in the mood of the songs heard so far and doesn’t even try to take a tangential approach. A love song in appreciation of one’s lady love, ‘Tera Zikr‘ has Shail Hada and Rakesh Pandit coming together for this slow moving number that would be loved by the connoisseurs of quality music. So far, each of the songs in Guzaarish manage to make an impression and though it becomes hard to distinguish one from another, what is definitely assured is that there is a definite ‘sur’ that composer Sanjay Leela Bhansali has adopted for the music of Guzaarish.

After three slow moving numbers arrives ‘Saiba‘ which seemingly has a Portuguese setting to it. First song in the album which has a female voice chipping in, ‘Saiba‘ has new entrant Vibhavari Joshi getting a platform for herself. This one too is a situational track and as has been the case in the album so far, ‘Saiba‘ by Vibhu Puri too doesn’t leave the basic ‘sur’ of ‘Guzaarish‘ behind. One waits to see though if this song would eventually manage to cover a big distance due to its restricted appeal.


One of the best tracks is reserved for a little later though with K.K. coming up with ‘Jaane Kiske Khwaab‘. In fact Turaz’s lyrics pretty much remind one of Gulzar’s style of writing since it brings in simple words like ‘takia’, ‘khwab’ and more to spin a number that should fit in perfectly well with the situation in the narrative. This one is yet another haunting melody and is an almost unplugged effort by K.K. who shows tremendous control over his vocals. In fact this is one track which despite its intrinsic sadness makes one play it on all over again.


After a track like ‘Jaane Kiske Khwaab‘, it’s slightly criminal to have a celebration track soon after, more so because it disturbs the mood that was created so far. Yet another slow number would have been a better flow in the album but one nevertheless play on ‘Udi‘. A track with exuberance written all over it, this Turaz written number which is rendered by Sunidhi Chauhan has a carnival feel to it and turns out to just about passable. Though as a standalone number it is still okay, one would have lived without it in the context of the album.

K.K. returns to the scene soon after though with ‘Daayein Baayein‘ which is yet another beautiful piece that can’t be ignored. The instruments take a back set here as Sanjay Leela Bhansali allows his tune to do the trick with K.K. taking care of the rest. A love song by Turaz which could well have been seated at the very beginning of the album, ‘Daayein Baayein‘ is clearly one of the best that the album has to offer and deserves to be promoted pronto.


Shankar Mahadevan, who has been known for singing with practically every established (or not so established) composer, lends his vocals for a Sanjay Leela Bhansali album. He comes behind the mike for ‘Dhundhli Dhundhli‘ which is about loneliness and desire for love. With the right orchestraisation aiding the cause, ‘Dhundhli Dhundhli‘ by Turaz doesn’t sound like a bad inclusion at all and brings Guzaarish to the kind of end that one would have expected from it the moment it’s title song was heard at the very beginning.
OVERALL
Composer Sanjay Leela Bhansali makes a very good impression as the first time composer for a complete album. His agenda behind the soundtrack is clear – he wanted the entire album to work when listened to in entirety rather than one single song being picked up and hammered around to become a chartbuster. Slow nature of the songs coupled with the fact that it takes as much time to fetch audience’s attention means that Guzaarish won’t quite have a bumper sales to begin with on its arrival. However, the word should spread soon amongst those who want their music to have a quality touch to it. Also, once the film releases and in case it turns out to be successful at the box office, the music of Guzaarish should register very good sales for itself and also enjoy a long run beyond the film’s stay in theatres.

‘Darling’ this was already ‘badnam’ in Pakistan during 1992…. The peppy number from ‘Dabangg’ composed by Lalit Pandit which can be heard at every tea stall, rickshaw, discotheque, garba was originally composed by Kamal Ahmed, who died four years ago.

“Munni Badnam Hui” from Dabangg’ is lift from Kamal Ahmed composed “Ladka Badnaam Hua” for the Pakistani film ‘Mr Charlie’. Mr. Charlie went without much recognition but the song anyhow managed to inspire the tinsel town.

Earlier it was said that the song is lifted from a Bhojpuri number titled “Launda Badnaam Hua Naseeban Tere Liye”, sung by Rani Bala.  The music of this folk track is credited to Ghulam Dastgeer Khan and the album titled, “Balma Bada Bavaali”, stars Rampat Harami and Rani Bala. But, the release dates ‘Mr Charlie’ in 1992 and ‘Balma Bada Bavaali’ in 1998 are indicative of how the Pakistani number was composed earlier than any of the Indian songs.

But this is not the first time many Pakistani songs are being continuously lifted and ironically its b-town version gets the maximum likes.