| |
 |
|
Director :
Music :
Lyrics :
Starring : |
Rohit Shetty
Ajay-Atul
Swanand Kirkire
Ajay Devgn, Kajal Agarwal, Prakash Raj, Sonali Kulkarni and Ashok Saraf
|
|
|
By Abid, Glamsham Editorial
|
|
The music album of Rohit Shetty and Reliance Entertainment's action drama SINGHAM does not hold much expectation mainly because of the genre that it belongs to. But when Abhijeet Vaghani, who has done the three remixes in the album, told us that the composers associated with the album, Ajay Gogavale and Atul Gogavale are a known name in Marathi films and are called the Rahman of Marathi film music, our expectations did soar quite high and so we do expect them to come up with something novel and melodious and compose out of the box. The presence of lyricist Swanand Kirkire, whose award winning compositions have always been, appreciated makes things even well. So let's start the proceedings on a positive note and come straight to the first song of the album which is naturally the title track, Singham.
The sound of war cry and shank (conch shell) along with Sanskrit shlokas commence the title track Singham.The composition introduces the lead protagonist through some trademark zesty and feisty Sukhwinder singing, the kind already seen and heard in Ajay's very own title track of OMKARA and recently in Salman's DABANGG (co-incidentally another title track). However credit goes to Ajay-Atul as the composition and its melody is entirely different and the all Hindustani music arrangements, dhol, nagada, shankh etc are an audio treat. The background chorus is a good extension of lively melody that proves just apt to conjure up a good image. The song on the whole serves to provide a nice sketch of the film as well as the main lead, Bajirao Singham, who is compared to a lion in terms of strength, fearlessness and ferocity. Swanand's lyrics are a big help in the endeavor as well and the good use of easy Sanskrit and Hindi is commendable.
The Singham remix is very much different and one can see that a lot of work has been done to make this zestier and fierier and something that youth can relate to due to the added tempo and beats.
The next number, Saathiya, proves why Ajay-Atul are called the Rahman of Marathi films as it's all out haunting melody that prevails throughout this love ballad. The number certainly has that lingering quality that stays back even after the song comes to close and it's the new nightingale herself, Shreya Ghoshal, who does wonders to the composition with her sugary sweet vocals. The composer, Ajay comes in for brief interlude in the chorus, Badmash dil and that certainly is the highlight of the track. There is a heard before feeling about the tune of the track that one gets after listening to the song. Swanand's lyrics are filmy and just right for the hopelessly in love situation.
Lovely background mellifluous chorus start the remix of Saathiya and Abhijeet Vaghani deserves kudos for not going over the top and keeping the melody and the romantic flavor of the song intact, in fact even enhancing it at many junctures.
Two extremely talented but hugely diverse artists, Kunal Ganjawala and Richa Sharma, come together for Maula and after hearing the full song one cannot help but praise the composers for the choice of singers. The reason being that the composition is a decent fusion of soft Sufi and lovely melody that is associated with Hindi film love ditties. Kunal Ganjawala excels and shows that he can sing any type of songs and Richa Sharma, the queen of Sufi numbers is as usual fantastic. The music arrangement too is classy and fresh and novel owing to the western and Hindustani fusion and the song may serve as a good background score to highlight the relationship of the lead protagonists.
The Maula remix relies on heightened tempo and added background racy rhythm which might appeal to its target audience (read youth), but many will prefer the undiluted original.
To conclude, Ajay-Atul in their first outing may have come up with only three tracks but two of three songs are quite good namely, Saathiya and Maula. Quantity may be lacking but certainly they have not compromised on quality here and one can see that they do have the potential to hit it big in Bollywood as well. However, the only sore point is that a chartbuster in the line of DABANGG and OMKARA albums is missing. The composers should have assured at least one chartbuster given the fact there are only three tracks and the songs are situational which might find popularity but only after the release of film.
|
|
|
|
|
|
|
|