Socially relevant flicks have been always heavy and high on its contents and there are many occasions in the past when music has been subsided to the situational needs of the film. In terms of musical exuberance, HALLA BOL comes out as thinnest musical offerings from the combo of actor Ajay Devgan and director Raj Kumar Santoshi conglomerate. Sukhwinder Singh inconsequential stint as music composer has been so far showcased in low profile entertainers or socially relevant films (IQBAL, KAAFILA, and CHOORIYAN ETC) and HALLA BOL simply adds to this list. Professionally speaking, the transition of composers transcending into vocalist’s stature (Himesh Reshammiya, Anand Raj Anand) has been fruitful but it hasn’t been beneficial for the vice versa.
Piously nurtured and spiritually rendered “Shabad Gurbani”, divine Sikh chants, is soul enlightening enchanting musical work by Sukhwinder Singh. It’s well recited wording speaks about path to salvation, self liberation and creates serene feel of eternal soul-awakening in its religiously tranquil ambience. After “Ek Onkaar” (RANG DE BASANTI), this elegiac sacred harmonic work proves to be another blissful treat that should working boon for the film’s promising run at the box office.
The sanctimonious grandeur of “Haji Ali Dargah” gets a scintillating musical vocal treat by traditional Amjad Farid Sabri in another piously penned religious work “More Haji Piya”. The penetrative and modulating choral shades of pious
“qawaali” working along with Amjad Farid Sabri’s immaculately pristine vocals enlightens the blissful aura of “spiritualism” and it’s meaningfully penned wordings connects amiably with the relevance of the subject. Sukhwinder’s ethical understanding of the concept coupled with his musical finesse has been instrumental in creating decorum of sanctity but still it’s more suited for niche listener’s delight.
“Jab Tak Hai Dum”, a vociferously belligerent track by Sukhwinder Singh is the harmonious epicenter of this “thought-provoking” film and its penned phrases affixes with the “never-say-die” spirit of the protagonist. Like “Jab Tak Hai Saans” (KAAFILA) and “Khelenge Khelenge” (IQBAL), it’s likely to be cult musical piece in the climax and the grueling situations of the film but there’s nothing amusing or flashy to be cherished in this modestly conceived track.
The unfamiliar voice of Harshdeep has been mainly associated with Punjabi lingo musical works but now she changes tracks completely with feebly conceived and routinely penned number “Iss Pal Ki Soch”. The situational feel of this rhythmically trendy number is reminiscent to the “socialite-friendly” tracks like “Kitni Ajeeb” (PAGE 3) and “Lamha Lamha” (CORPORATE) but lackluster vocals and sloppy arrangements proves too inadequate to deliver the sentimental touches.
Sukhwinder Singh strikes his first phenomenal “goal” in classically nurtured melancholic track “Barsan Lagi”, a well rendered track by upcoming Sneha Pant in soulfully enlightening choral and musical flows. Sneha Pant’s brilliant command over modulations and variations in “alaaps”, “antaras” and “mukhdas” are well concocted with the intrinsically supple classical instrumental flows. This quality musical work will be working blissful attribute as background score and will be promising factor in the narrative flows of the film. It will certainly not be commercial success but can be club in the cadre of refined classical works by present crop of musical talents.
After volubly aggressive and sublime sentimental vocal tracks, “Theme Music” brings out the glimpses and shades of all happenings of this fiery hot “n” happening flick through the synchronized chorals and contemporary “filmi” instrumental works. Do expect some fireworks on big screen when “Theme Music” runs loud in the compelling situations.
HALLA BOL proves to be non-starter for its non-conventional musical works and there is hardly any commercial element that can be working magic for its promising sales. The album spotlights in its two sanctimoniously pious tracks “Shabad Gurbani” and “More Haji Piya” while rest of tracks simply caters to the “thought-provoking” feel of the flick.