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Director :
Music :
Lyrics :
Starring : |
Maneesh Sharma
Amitabh Bhattachar
Salim Merchant & Sulaiman Merchant
Ranveer Singh (introducing) and Anushka Sharma
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By Satyajit, Glamsham Editorial
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Marriage season is around the corner and so expect wedding planners to arrive at your place! Innovative concept, brain-less humor, new lead pair and colorfully extravagant opulence, they all describe the arrival of youthful entertainer titled BAND BAAJA BAARAT (BBB). In its musical front, this is Yash Raj Films' last attribute of this year and has its contemporary Punjabi folk as the album's musical base with their favorites Salim-Suleiman as the lead composers. Year 2010 has been mediocre affair so far for coveted Yash Raj Films (YRF) and expectations are relatively low from this comical caper. Against all odds, flicks that are youth-centric and are high on entertainment has always delivered complete package for its target audiences. Can BBB have the potential of braving the chill of mediocrity that has so far crept into YRF musical albums? Does it have the sufficient 'bhangra' beat ammunition and urbane verve to lure listeners? Just board this 'baraat' and listen to its lively music to get the musical facts right...
Welcome to garish 'Dilli-ki-Shaadi'! Ear-splitting loudspeakers, snazzy DJ antics with hip-shaking 'bhangra' beat number on their discs, flashing lights with bountiful gaudily dressed 'baaratis' dancing haughtily to its beats. 'Ainvayi Ainvayi' catches the likes of favorites of contemporary 'bhangra' singing hot tracks ('Kangna (Dr.Zeus) and 'Kala Chashma' (Amar Arshi)) and mixes well with 'boy-to-girl' snooty tête-à-tête with quizzical wordings. Salim-Suleiman make it a garish nonsensical outing and give it a typical Punjabi 'Shaadi-ka-Gaana' outlook in its funky electronically attire. Sunidhi Chauhan's coarsely profound vocals lead the show with enthused sounding Salim Merchant's vocals adding to this musical show. Amitabh Bhattacharya's cheeky 'n' snooty lyrics are bizarrely engrossing and work with mood and tempo of the track. It's a bright opening to the album that primarily gist out the extravagant loud feel of this 'happy-go-lucky' comical caper.
'Ainvayi Ainvayi (Dilli Club Mix)' makes contemporary marriage party DJ's work easier as it spices up mood with its deliriously pumped spins, scratches and beat-juggles. The zingy 'ektara' stringy flows with bouncy disco beat fillers adds to the dancing moods.
After spicing up with UK 'bhangra' based entertainment, the composer duo contorts their way with A.R Rahman's style of Sufi pop in youthfully vibrant 'Tarkeebein'. It's got that 'yuppie' campus feel with breezily ushered vocals of Benny Dayal and Salim Merchant as its prime forte. In terms of bouncy arrangements and chirpy wordings, this impressive Salim-Suleiman composition is strongly reminiscent to Rahman's popular tracks like 'Masti Ki Paathshaala' (RANG DE BASANTI) and 'Anjana Anjaani' (YUVA) and encourages the pep-factor of the album. Zany electric guitar riffs blended with eclectically mastered electronic rhythmical tuneful impacts, 'Tarkeebein' props up as a typical Indi-pop stylized offering that will surely be having huge takers among urbane youth listeners and will be great asset in promoting BBB as the next desirable multiplex popcorn flick. Go for it!!!
The word 'innovation' strikes chord for the first time with anglicized European opera stylized feels getting into the groove of mushy love ballad 'Aadha Ishq'. Shreya Ghoshal's feminine vocal textures have always been reliable in ballads and now it gets added oomph of Natalie Di Luccio's back-up vocals in typical opera rendition to deliver out a soothing listening delight. In terms of composition and arrangements, Salim-Suleiman play routine and deliver supple set of instrumentals that are primarily guitar riffs, piano drills and lovable flute notes. Amitabh Bhattacharya's dreamy lyrical attire ('Intezaar sa hai, Imtehaan sa hai, Itmenaan sa hai, kya hai na jaane, Itra rahi hai, Itna hui hai, Inteha hui hai kaise na jaane...) is appeasing and works in tandem with romantically comforting feel of the track. It fails to be as enticing as songs of its cadre like 'Yeh Tumhari Meri Baatein' (ROCK ON) or even 'Nain Parindey' (LAFANGEY PARINDEY) but comes out as decent toil with singers taking out big credits.
In Sufi music based album KURBAAN, Salim-Suleiman delivered fine spells of Sufism and this fervor returns back with 'Dum Dum'. Despite having suavity of traditional Sufi music, it works sporadically as a dance number with rigorously punched beats getting in tandem with effervescently loud vocals. Benny Dayal's yelling tones are appealing and so are Himani Kapoor's shrill rendition in backdrop of pulsating arrangements. Salim-Suleiman try to recreate the dancing floor magic of 'Kaal Dhaamal' and 'Nassa Nassa' (KAAL -2005) and succeed to a large extent. It will be interesting to view its opulence when it strikes big on the silver screen.
'Dum Dum (Sufi Mix)' packs a solid punch with throaty Sukhwinder Singh's effervescently vibrant voice giving it an 'extra-large' dancing thrive. It's a thriving DJ's display which makes it better from the original soundtrack and all it desires is a pack of youngsters to shake their legs on the floors.
Amitabh Bhattacharya has shown his resilience in penning cheery wordings and now its time to show his tenacity at vocals as he impresses in somber tones in likable 'Mitra'. It has relaxing soft-rock music appeal and brings out the solemnity of 'lost-love'. Its Sufi tones in back-up vocals are appreciable and so do delightful distorted electric guitar riffs and eclectic bass-line that makes combustible chemistry with rigorous drumming and gives it a perfect urbane Indi-Pop band feel. Salim-Suleiman's rock-music aesthetics are cool and energizing and delivers impressive spells of romanticism. Bhattacharya's vociferous flows with Salim Merchant as its aide at back-up works in finely controlled tempo are really remarkable and are somewhat analogous in situational mood to Shaan's rendered 'Aao Milo Chalo' (JAB WE MET). It deserves special mention for its quality musical display and is likable to be positive factor in climax stages of the flick.
Just hear this, 'Baari barsi khatn gaya si, khat ke leyandi chaabi, Dekh Shakira jaise thumke le dulhe ki bhaabi, Baari barsi khatn gaya si, Khat ke leyanda pizza, Style mein desi disco karta ve dulhan ka jeeja...' Hilariously enterprising! The age-old Punjabi 'boliyan' (folklore) sung at wedding makes its presence loud and clear with loads of 'tadka maar ke' spicy wordings in highly amusing 'Baari Barsi'. Harshdeep Kaur's outrageously feminine tones are not only entertaining but also melodic and make perfect 'jugalbandi' with Labh Janjua's throaty vocals. Amitabh Bhattacharya's cheeky 'n' naughty lyrics are hilariously enticing and makes the mood merrier, it scores perfect ten in innovation and deserves worthy choreographic move to cast magical spell. Salim-Suleiman's music is vigorously spontaneous but tempo is relatively sluggish in earlier 'antaras' but picks up well in latter stages. Harshdeep's cheerful motor-mouthing is really witty 'n' amusing in describing relatives of bride and groom and so do snazzy sounding Salim Merchant's English overtones. Once again, the feel is purely situational and deserves loads of eye-candy visuals, garish costumes and loud on-set display in setting picturesque of a perfect Punjabi wedding, a racy 'club-remix' would have been sure shot winner this time.
Marriage celebrations are over and the finale comes in anthem-ic tuneful beats of title track 'Band Baaja Baarat'. Its tuneful celebratory rhythmical flows are mixed and match of 'Chance Pe Dance' (RAB NE BANA DI JODI) and 'Emotional Atyachar' (DEV D) and are tailor made for comical funny situations of the flick. It adds to the credits but fail to create any special style statement in its brief duration.
BAND BAAJA BAARAT welcomes its invited patrons with Punjabi celebratory musical zing and leaves no space for mediocrity in its entire package. As compared to YRF's earlier successful musical albums, it falls below expectations but carries the mischievously loud appeal with appreciable set of soundtracks. If 'Tarkeebein' and 'Mitra' has trendy verve to entice then 'Baari Barse', 'Ainvayi Ainvayi' and 'Dum Dum' sets the zestful mood for a colorful evening. Salim-Suleiman's composition may lack novelty factor but are sufficiently high on glam-quotient and gives desirable lively entertaining moments. Bleak face value and mediocre promotions will be its roadblocks but potential box-office results will surely be big energizing boost for this fun-filled 'filmi' album.
Rating - 3/5
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