Music Review: Mere Brother Ki Dulhan is Yash Raj rehash
We did, and there’s no music like Yash Raj music. This film might come and go, but the music, will stay. Take for instance the film’s title track – Mere Brother Ki Dulhan – from the very first strain of bagpipes to the chorus chanting ‘Mere Brother Ki Dulhan’ to inoculate us, followed by hinglish lyrics, ‘Matrimonial si aankhen…’ everything stands for a formula that Yash Raj has patented – if the dhol beat on this track does not remind you of the crazy loop of Jhoom Barabar Jhoom – then you’re surely not following the Yash Raj format. Soon enough, something else will come up, reminding you where you first heard a similar dhun.
Neha Bhasin’s stress on the word ‘issshqqq’ to push for her Dhunki, gives her rendition that much needed spunk – the rock-pop-grunge arrangement is again, formulaic, save for her voice doing the gruff, as we see Katrina Kaif jangling a guitar, stomping her feet in the music video – achieving for the song a collaborative triumph.
Choomantar in Benny Dayal and Aditi Singh Sharma’s voice, mixes hip-pop and a show-girl interrupting with her ‘baby ooh, baby aah’ twaddle talk – and why does the word ‘choomantar’ have to be broken down in three very pronounced syllables to adapt to the hip-hop metre – it gives the song a childish, nursery rhyme patina – abracadabra this one please, at play school, yay for the baccha party.
Rahat Fateh Ali Khan’s Isq Risk – note its called isq, therefore the risqué. Template is same-same, be it O Re Piya (Aaja Nach Le) or Dhaage Todh Lao (Jhoom Barabar Jhoom) – a whiff of these previous doleful dirges can be felt in Isq Risk. Lyricist Irshad Kamil compares love to a ‘chandi ka chhurra’ – does it match up to Gulzar’s sewing a cowl from the light of the moon for Dhaage Todh Lao – there’s silver knife, and there’s ‘ghoonghat hi bana lo roshni se noor ke.’ You decide, what is poetry, and who is merely a scheming rhymist, isq tsk tsk.
Ali Zafar and Shweta Pandit team up for Madhubala – and sure enough, there’s a Bunty Aur Babli chug-chugging steam-engine rhythm to it – peppy, energetic, this one just might do the trick because, what else, ‘panghat pe naache Madhubala,’ will you not shake a frenzied leg?
Do Dhaari Talwaar has a lovely initial instrument riff, followed by a Shankar Mahadevan style break-out band-baaja outburst, and this to and fro from riff to raff is super entertaining – bounce, as you hold up your pariser for double-edged sword fencing…uhh, save it for Sohail Sen’s next musical outing.