Bollywood is fast emerging as the 'El-Dorado' for upcoming musical talents and as predicted Onir's SORRY BHAI has some magical moments in store for its listeners. Earlier Onir has shown great aesthetics for soul-enchanting music and the results were quite evident in the success of his earlier two ventures - MY BROTHER NIKHIL and BAS EK PAL. After Vivek Philips and Mithoon, once again he entrusts his confidence in an upcoming composer in the form of Gaurav Dayal (SAY SALAAM INDIA) to deliver the needful for him in SORRY BHAI. It has another ground breaking surprise in the form of Nannette Natal, US based jazz singer who makes her mark in Hindi filmdom with her solitary presence. The flick is again counted special for the return of prolific actress Chitrangada Singh in tinsel town. So can this bundle of surprises be big listening feast for its listeners! Will SORRY BHAI be a fortune-maker for promising Gaurav Dayal and success for international talents like Nannete Natal? Let's make a trip downhill into its workings to find these facts out!
Gaurav Dayal comes out to be biggest musical surprise package of this season as he picks up the racing stream of KK's snazzy singing with the tempestuous feel of soft rock ballad in enthralling sounding 'Mere Khuda'. It could have made Pritam proud as the musical ingredients and stuffing's belongs to his kind of composing. The tracks thrill to the hilt and strikes vigorously as it is loaded with outrageously pulsating guitar riffs, appealing saxophones and belligerent sounding percussive elements that collages animatedly to create compassion of lively rock feel. KK pulls out another winner by energizing out his engrossing vocal outburst in the racy whirlpool of instrumental commotion. Onir makes genuine choice in picking up 'Mere Khuda' as the introductory soundtrack as it has got that infectious 'yuppie' feel that can captivate listeners to listen further with never ending zest.
The pulsating 'remix' version adds up fervor of 'club' remixing flavors as it matches the zing of the track with bouncing DJ claps and echoing impacts. The feel of Spanish guitar riffing along with feminine soothing 'alaaps' can surely add to glam quotient and can well be served as rollicking feast for pubs and discotheques. If 'Tere Bin'(BAS EK PAL) was the one that proved pioneering in its segment then 'Mere Khuda' can well script out the positive word for this urbane friendly social saga.
It was sensuous cum svelte voice of Sunidhi Chauhan in tracks like 'Ashq Bhi' and 'Dheemey Dheemey' (BAS EK PAL) that erupted out the inhibited eroticism in somber tones and now she makes another smoothening impact in the immensely romantic track 'Pal'. The mushy jazz feel in its prelude followed by the intimidating tempo of soft rock comes out with nimble-touched flair. Earlier it was KK's refined voice and now its upcoming talent Chayan Adhikari that forms to be part of this mushy romantic bon-voyage that carries out the serene emotions with great dexterity. Gaurav Dayal's wizardry in incorporating out beautiful saxophones notes (similar to couple of impressive Kenny G numbers) in the interludes is captivating as well as mood-relaxing in it subtle overtones. Amitabh Verma's poetic phraseology ('Pal Yeh Pal, Hawle Se Muskurate Hai, Pal Yeh Pal, Dhere Se Gun Gunatein Hai'...) has that feather-touched feel of romanticism that seeps into the senses with the overtly sappy instrumental touches. It's 'remix' version by Eric Pillai comes out with Afro-American hip-hop fervor that gets pulverized with 'lounge' feel impacts but finally it plummets out to be racing disco track that works moreover as strong promotional feature element in the album.
KK makes another remarkable presence as he pounces back with his peculiar zestful vocal thrust in the title track 'Sorry Bhai'. Vivek Philips, the brainchild behind BAS EK PAL and MY BROTHER NIKHIL musical success makes noteworthy presence as he mesmerizes the title track with the subtlety of over-sappy sentimental melodic hues embellished with sparkling voices. KK gets amicable support of vivacious Sunidhi Chauhan and promising Abhishek Naliwal in gesticulating out the emotional feel for the lovable 'bhai' (brother). Amitabh Verma's emotionally affluent wordings are again a great asset that catalyzes out a thematically somber feel for the flick. It's likely to be big asset for both the album as well as for flick's success as one can really feel the penetrative tinges in its supple tones and excruciating vocal gestures. The song comes out special for music friendly urbane listeners for its mixed and matching of English cum Hindi lyrics flavors and that too with varied shades of tempos and styles of singing. Do play this loud when you really want space from somebody you miss the most in your most happening time, it will work!
Gaurav Dayal has points to prove and the show is still on for him as he delivers out another promising melodic work in his most consequential outing 'Jalte Hain' that comes out in three different versions. Abhishek Naliwal makes the finest effort in ushering out life in the first version with his sonorous and reverberating baritones. This one comes with Onir's peculiar style of visual narration (similar to 'Le Chale' -MY BROTHER NIKHIL) as Amitabh Verma's poetic works transits from pensive and thoughtful wordings ('Na jane khoye kahan mere armaan, Poochti hai dil ki teese na jane kyun khafa...) to ultimate romanticism ('Jalte hai chalte hai sang sang mere, Khamoshi aahein andhere...) with flair. It's a gem of vocal rendition as there is variation in the modulating pitches as well as in the control of emotions that works with the tangy feel of penetrative orchestration. KK's version comes with similar lyrical flagrance that is captivating in expressive flows but the feel is strikingly rich in soft rock feel with brilliant display of guitar riffing and strumming. The arresting feel of the track with mushy feel romantic overtures makes it a special for some really fascinating romantic moments in the flick. The third version is a racy 'remix' outburst comes out with snooty jazz feel and loads of 'club-house' grooves. Abhishek Naliwal's version gets elated for this 'spice for life' disco big bang and works up progressively as his sonorous voice melts down with thumping disco bangs.
'Some Times' by Nanette Natal, New York based jazz singer comes out as one of the most ground-breaking endeavors of this year in the marquee as it enlightens up senses with innovative feel of soft rock jazz in its soul-mesmerizing exhibit. It packs up the enchanting combination of characteristic jazz combo of piano, double bass, soft drums and smoothening saxophone notes in subtle tempos to match silken vocal flair. Gaurav Dayal makes positive moves by incorporating Nanette's English lyrics with her style of music that works well with the mushy mood of the situation. 'Some Times' is one special number that can charm up your evening and rekindle the flare of romance in the air. It's a great creative melodic gesture by the filmmaker and if the jazz flavor hits the mood of hoi-polloi then one can expect more coming out from this genre in coming days.
Onir's SORRY BHAI has his hearts at its place and presumably hits the right notes at the right times. Like MY BROTHER NIKHIL and BAS EK PAL, the trendy feel of captivating westernized music gets skillfully and vibrantly exuberated out with each and every soundtrack of the album. Gaurav Dayal proves to be 'new kid on the block' in the musical fraternity and it clearly shows in his flair of work has that infectious youthful thrust that can work wonders and it shows in tracks like 'Mere Khuda', 'Jalte Hai', 'Pal' and 'Some Times'. Vivek Philips composed 'Sorry Bhai' too works positively for its quality work and all together the complete set of soundtracks shapes out into a brilliant album that props up to be winning preposition for its composers as well as for its connoisseurs.