Corruption...the menace that has crippled our nation and political system has finally become the new buzz word for B-town! GALI GALI CHOR HAI, a satirical endeavor by writer turned director Rumi Jaffrey, sings, talks and discusses this issue with a blend of humor and drama. As far as music is concerned, there is a huge speculation that it will be more of situational or narrative in nature. Riding high on tides of flashy raunchy item-songs, this socio-politically relevant has caught attention with its eye-grabbing garish number ''Channo'', the second big sizzler of this year (after ''Chikni Chameli'' (AGNEEPATH) in this category. Old-war horse Anu Malik leads this musical march that has likes of renowned names like Kailash Kher, Mamta Sharma, Mohit Chauhan in its credit listing, an engrossing affair is expected to be on cards. Can they together make it? Let's find out...
Corruption ka shor hain...! Anti-corruption slogans are on rise and have given satirist many reasons/inferences to take dig at present corrupt political scenario. The title track, ''Gali Gali Chor Hai'', innovates and promotes one such anti-corruption slogan and tries to spread the positive word in folksy satirical musical flavors. After highly acclaimed ''Mehengai Daayan'' (PEEPLI LIVE), this number comes like a socially relevant eye-opening musical piece but the flair and spice of narrating an interesting anecdote is strikingly missing. Kailash Kher's resounding voice has rustic touches that strikes chords with archetypically Bollywood's 70's ''qawalli'' feel. Anu Malik makes an honest effort in recreating his old magic but fails considerably in his contemporary style of composing. Rahat Indori's bold and ''tongue-in-cheek'' lyrics are apparent as well as appropriate at places but the composition is too old-fashioned to make any impact. This number appears in two other versions. ''Gali Gali Shor Hain (remix)'' comes more like a promotional feature while its ''chorus'' version is well suited for situational needs of the flick. Down memory lane, in 70's one such anti-slogan soundtrack titled ''Jai Bolo Beiman Ki'' (BEIMAAN (1978)), sung by great Mukesh and choreographed on legendary Manoj Kumar, made promising impact on ears but this one proves to be an average situational score.
Following the lovely breezy romantic ambience of enchanting sounding ''Bheegi si Bhaagi Si'' (RAAJNEETI), the next one, ''Suno Suno'', a pleasant sounding duet, brings backs the vocal charms of Mohit Chauhan to the fore. This soundtrack has a soothing feel for ears in its light-hearted westernized orchestral flair and promises to be ''stress-buster'' or mood-reliever for this socially relevant saga. Mohit excels again in his sonorously profound voice while Anmol Malik's (daughter of Anu Malik) simple sounding voice proves to be an ordinary fare, overall a passable listening affair.
''Channo'', a garish newsmaker...finally! Sweltering sizzling in visuals and mischievously chirpy in wordings, the peppery recipes of hugely accepted ''Munni Badnam'' (DABANGG) and ''Beedi'' (OMKARA) gets a new make-over of overtly gaudy happenings in ''Channo''. Mamta Sharma, the earthen sounding folksy voice behind ''Munni Badnam'' success, is again at helm of affairs for this energetically pumped item-song, a musical feature that has so far been newsmaker for the flick. Going with present massy trends, ''item-songs'' have been a bombastic rage, no matter how lewd or nonsensical they sound, this one too promises to strike chords with front-benchers. ''Channo (remix)'' fuels up passion and senses and transforms all the ''masti'' and madness to the floors. It's a frolicsome DJ's delight that should be going loud and high in discotheques and parties. GALI GALI CHOR HAI proves to an ordinary musical fare.
As far as commercial prospects are concerned, hugely promoted ''Channo'' stands out to be only hope while the rest two soundtracks are damp squib. If the magic of Veena Malik's ''latka-jhatkas'' works on big screen then one might expect a surprise on cards with ''Channo'', otherwise it's an out and out ordinary musical effort.