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Director :
Music :
Lyrics :
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Pankaj Sharma
Shamir Tandon, Sanjay Dhakan
Shabbir Ahmed, Vibha Singh, Rajendra Mehra
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By Satyajit, Bollywood Trade News Network
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 It all started with musical ebullience of new breed of composers like Tapas Relia (HANUMAN), Rajendra Shiv and Anupam Amod (KRISHNA) and recently Sameer Phaterpherkar (MY FRIEND GANESHA) in Hindi filmdom. BAL GANESH, a second in row cinematic tribute to Lord Ganesha brings the expertise of experienced Shamir Tandon along with new composer Sanjay Dhakan to the marquee. The harmonic attributes of such frivolously created animation about mythological epics and deities have been furnished with child-fictional “pleasant-sounding” elements that mainly comprised of “aartis”, traditional tales and kindergarten styled rhymes. Regrettably speaking, this album fairs lowest amongst all its predecessors despite the fact that it has heavy weights like Asha Bhonsle, Shankar Mahadevan, Hariharan and Kailash Kher in it. To listeners delight, it astonishes them with new breed of singing talents that have recently originated from grandiloquent TV talent shows.
Shamir Tandon tries to pump invigorating devotional elements as he races up tempo to full extreme with jarring arrangements and impassive lyrical works in average sounding “Gana Gana Di”. It’s real pity that prodigies like Asha Bhonsle and Shankar Mahadevan have been wasted in two different versions with such inconsiderate composition where bunch of half dozens upcoming vocalist are merely reduced to unproductive back-up singers. Shabbir Ahmed’s wishy-washy wordings are weirdly coordinated to callous melodic works while new breed singers like Amaanat Ali, Aneek Dhar, Nirupama Dey, Junaid Sheikh, Mauli Dave, Sumedha Karmahe simply adds up to credits list.
“Haathi Ka Bal Akal Shakal”, a chirpy kindergarten rhyme gives out a refreshing break as it brings on new singing brigade to the fore with cheerful baritones of Pavni Pandey, Raj Pandit, Sameer Mohammed, Sanchita Bhattacharya. It fails to be as cherubic as “Akdam Bakdam” (HANUMAN) or even as jovial as “Oh My Friend Ganesha” (MY FRIEND GANESHA) in silhouetting the physical grandeur of “Bal Ganesha”. Loud cheer-ups, unsynchronized vocals, average wordings (Vibha Singh), extra-booming orchestrations infused with unwanted English lyrical flows decimate the angelic charm of lovable deity.
Hariharan gets into story-telling jocular vocal modes in reciting traditional folklore about “Bal Ganesha” in “Aao Sunaata Hoon Sabko” with irresolute and spiritless wording that makes it thumbs-down affair. Shamir Tandon’s musical deliverance is amateurish as orchestrations fails to grip the mythological tale into its rhythms and arrangements. Child Singers Ketki, Lavanya, Siddhant Bhosle voices completes the formalities of contemporary kid-loving track with grim results.
After disappointing Shamir Tandon’s harmonic exhibit, fresh composer Sanjay Dhakan makes some promises with typical Kailash Kher’s loud-pitched intense singing taking the centre-stage in “Naache Dhin Dhin Dhintak”. It’s great delight to hear vociferous chants of “Ganpati Bappa Morya” in the latter stages while Kailash maintains the tonality of his recently heard devotional track “Bham Bhole” (Album-“Jhoom Re”) with similar flair. Rajendra Mehra’s lyrical works appreciates the proceedings to large extent but arrangements fail to be aspiring to be acknowledged itself to be noticeable devotional track.
There are moments of soulful embrace in the form of delectable flute rendition that forms the prelude of “Ganesh Utpati”, a melancholic tribute to the nativity and origin of Lord Ganesha. Hema Desai’s expressiveness in emoting out the blissful events is mellifluously mesmerized with divine chants of “Om Namah Shivah”, followed by subtle arrangements that echoes customary devout Indian feel. Its first boon to the album that can be termed as knowledgeable tribute to Lord Ganesha and all credits to fine teamwork that makes it happen.
Veterans Asha Bhonsle and Uma Mangeshkar get along melodiously in their spiritual vocal overtones in emoting out the finest soundtrack of the album “Nanha Munna Bal Ganesh”. It’s first exemplary tuneful effort that has aesthetically conceptualized the ethics of westernized arrangements into the tonality of customary devotional wordings and values with affable results. Sanjay Dhakan’s delivers a potential exertion in this fusion melody that should be catalyzing film’s prospects in its promos and teasers.
BAL GANESH proves to be unsatisfactory outing in the cadre of child-fiction by low profile Shamir Tandon and an average opening for debutante Sanjay Dhakan. Unfortunately none of the soundtracks promises positive results and will be fading out easily without even making any impression in the marquee.
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