If the first hook of Rabba Main Toh Mar Gaya Oye tends to veer you into Teri Ore (Singh Is Kingg) then you’ll just have to brush that bit under the velvet carpet. How much more originality will you squeeze out of a man who’s been consistently scoring on the chartbuster treadmill – as many as 15 films to his credit this year alone.
Then, when Rabba Main Toh…reaches a crescendo in the line ‘Ab jaon kahan pe…dil ruka hain wahan pe…’ where it begins to sound like Upar Khuda Aasmaan Neeche (Kachche Dhaage), thereafter tumbling and segueing back into familiar groove.
It’s ho-hum to find Pritam’s inspirations not consuming him – he relapses into his own tunes – no surprise that Rabba Main Toh sounds a wee bit like Aaj Din Chhadhya (Love Aaj Kal). Newbie Shahid Mallya’s light-footed rendition is as pleasant on the ears as the murmuring sound of stone skipping water on a silent lake. Continue reading →
With a couple of false starts (What’s Your Raashi, Khelein Hum Jee Jaan Sey), has Sohail Sen found his groove at Yash Raj? Okay, here’s a test – try whistling a tune from any of his first forays.
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. Continue reading →
The title track of Bodyguard begins with banter between two Bambaiyya characters discussing the prospect of a new film by this name. ‘Hero kaun hain uska?’ one asks the other. This infuriates the fan boy, who packs a punch, ‘Teri …’ smashing the punter’s delicate body part. Salman Khan arrives, announcing, ‘Mujh par ek ehsaan karna, ke mujh par koi ehsaan na karna.’ Dude has said it, so no mercy thereon.
The title track dwindles into Wanted-Ready dhinchak territory; self congratulatory and saviour of all things loud. Had the chorus on the track been warbling, ‘Aao ji, aao ji, kha lo bhajjya pao ji, khila raha hai dekho bodyguard’ instead of ‘Aao ji, bao ji, dil se dil milao ji, aa gaya hai dekho bodyguard,’ we’d still be shaking our obedient tush, because Salman bhai is shaking his. Does not matter what the words are, as long as masses can be made to do the drill, Sallu style.
The next track, credited to guest composer Pritam is I Love You – sung by Ash King, a wannabe uber-cool mushy ballad that should be your morning alarm tune. Reassuring to know something wakes you up with a cuckoo affectation. Aww sweety. Sleep with a hammer under your pillow.
Desi Beat has Mika Singh thwacking it for disco dandiya. Amrita Kak accompanies him on this one, garba stick for stick, they beat the drum hollow. Utter rubbish. Continue reading →
I have my reservations about the music of Aarakshan, but lucky for them that they have too few songs to rig my conscience for a victory vote.
Reviews of Aarakshan’s music have not been glowing with plaudits, and there’s reason to believe why it’s dividing so many ears into different directions. Much like the title of the film; mixed feelings, reservations, indecisiveness has hit the soundboard for listeners as it should have done for Shankar-Ehsaan-Loy by now.
Here’s how. Accha Lagta Hai – Mohit Chauhan and Shreya Ghoshal’s love-ly duet begins with the clattering of Banno Rani (1947-Earth), then goes into the silkiness of Acche Lagte Ho (Kuch Na Kaho), and marks a tempo to Mere Dil Ka Tumse Hai Kehna (Armaan). With so many inspired detours, it still hits a clairvoyant note when Shreya begs, ‘Zara short mein batlao na, seedhe point pe aao na.’ SEL, this is your cue.
The ‘chaanas’ in Mauka breaks the song’s trimetre pattern of tried and testy arrangement, thus salvaging it from ennui. Even then, let’s just watch the song play; it’s got a street-theatre flavour to it, good for anti-establishment campaign rallies during election season. Continue reading →
That funny looking promo you see on your telly tube where Ajay Devgn is fiendishly squeezing imaginary lemons in a dance-step to prepare a cocktail spiked with ‘tiger’s blood’ if you must, after lending your ears to the roar in the back score of Singham’s eponymous title track is ga-ga-gruff stud-muffin stuff.
High on decibel, high on histrionics, the track is unlikely to over-stay its film run. Sung by Sukhwinder Singh, this one is strictly for on-screen trampoline stunts. The remix version grooves.
Ajay-Atul, the team that gave us the magnificent soundtrack of the Marathi film Natrang a year ago, have made some previous attempts to break into the hindi film music scene but have not been successful. With Singham, they get another lucky strike but with limited scope. They have to pander to a musical form that does not allow ‘a freeing of music’ from its beat-pattern.
Saathiyaa, the second song, sung by Shreya Ghoshal, accompanied by Ajay of the musical duo, is a standard syrupy sweet track about love’s lemony tartness. Continue reading →
When is it that Shankar-Ehsaan-Loy traipse into Vishal-Shekhar synth-sound territory and vice-versa? Collaboratively they’re beginning to sound like a five piece band when for Ik Junoon Vishal fronts the vocals, with Shankar, Ehsan chorusing him, Loy and Shekhar engineering a funk sound. There’s no telling which musical team this song belongs to. It sounds like a cross between Anjaana-Anjaaniand Uff Teri Ada– the first a V-S composition, the other by the trio amigos!
The faux overlaps that once could not trick your ears, when you could tell a SEL track from a VS track (which you still can at times, Patiala House was full-on SEL) is blurring with their choice of film-makers who are demanding for a particular sound that fits not the musician’s oeuvre, but their own brand of what is in and cool.
For the sake of music let’s just hear them out. How different is the music of I Hate Luv Storys from Anjaana-Anjaani or Break Ke Baad (Vishal-Shekhar)? It’s their sound; you know when you hear a track from any of these films. Which is a good thing, right? Quote unquote, ‘It’s their style.’
The same can be applied for SEL’s Karthik Calling Karthik, Wake Up Sid, Housefull, I suppose. Quote unquote, ‘It’s their stamp.’ Continue reading →