Raghav Sachar, the flamboyant musical sensation, who made notable presence with offbeat KABUL EXPRESS, gets his first big commercial opening in Bollywood with comical “bhelpuri” musical stuff in ONE TWO THREE. Barring the exception of semi-hit “Manzar” (SUNDAY), he has been moreover recognized as budding Indi-pop sensation with albums like “Play it loud” and “24 Carat” to his credits. The album showcases his multifaceted skills as a mushrooming prodigy but the word “remarkable” seems to be eluding him.
Raghav Sachar inundates his trendiest “fusion” of mixing vintage Bollywood’s oomph with upbeat (similar to “Anjane Chehre” (Album – “Play it loud”) orchestrations with hip-hop splurge into his “filmi” career first multifarious presentation in title track “One Two Three (hip-hop)”. Sachar collaborates affably with gruffly voiced Kunal Ganjawala and emceeing of Earl in oozing out a flippantly hilarious title track that boasts loads of brazenly poetic spells. Aditya Dhar’s frivolous wordings get into two more versions while Munna Dhiman’s poetic works excels in soft ballad version. Sachar moistens out his vocals chords in shimmering vocal tones in “One Two Three (ballad)” that is akin to sentimental needs of the flick. There is more in store for appreciating comical quotient with quizzically phrases making mood merrier with different genres, moods, situations and vocals mixing audaciously in emanating out hilarious binge in “One Two Three (Amalgamation)”. New Punjabi sensation Kaptan Ladi, Kailash Kher, Kshitij Tare and Aditya Dhar had gibberish overtones of flippant wordings that should surely be fitting well into character’s needs and comical delight of the film. The fourth version “One Two Three (club mix)” is a typical promotional feature work that outrageously mixes seductive feminine oomph in delirious baritones with lead vocalists Kunal Ganjawala and Raghav Sachar flashy voices echoing and bulging out with enthralling disco beat fillers. All four versions carry the titillating signature feel of stylish comical flick with great aplomb and are expected to be picking up well with ever growing promotion in coming weekends.
“Rock Mahi”, a new style statement for fire-cracking chemistry on dancing floors makes mood bizarre with its enthralling upbeat arrangements and rocking disco outbursts. After rollicking “Dil Hai Ye Dil” (Album – “Play it loud”), Sachar’s peculiar vociferous connotations connects appreciably with husky paced Sunidhi Chauhan in sizzling out a track that is musically reminiscent to numbers like “You are My Sonia” (K3G). Its flashy choreographic visual moves combined with glitzy set-up will surely be igniting passion and craze for this rollicking track.
After boisterously punched disco-thrills, the mood takes mushy romantic maneuvers with Raghav Sachar making modest attempts in proving his mettle as cordial vocalist in average sounding “Gup Chup”. It has huge inspirational lift from typical “Chopra-Johar” school of harmonic romanticism (similar to “I’m in Love” (NEAL N NIKI)) where Mahalaxmi Iyer’s svelte vocals along with soft “rock cum jazz” arrangements make impressive supple moves. Haughty and puffed up vocals of Shilpa Rao sizzles out for its pulsating “remix” version with glistering beat juggling and DJ claps taking on all “hot “n” happening” proceeding on floors.
Second lead actor Ninad Kamat had bleak outing as singer with “Police Police” (SHIVA) and now he returns with another fun-filled track that gist out all leading characters and consequential situations and happening in “Lakshmi Narayan” (common name of all three lead actors in film). It is composed on the guidelines of earlier heard “Ganpat” (SHOOTOUT AT LOKHANDWALA) where “bhai-giri” gets glorified in a lingo and expressions of nonsensically penned one-liners rendered through satirically emoted actor’s voices.
Brusquely paced Sunidhi Chauhan gets into pop diva avatar in emoting out the passion for “dream boy” in over-energized “rock cum jazz” solo track “I Wanna Guy”. The lackluster arrangement, an extra loud and screechy vocal coupled with insipid “jugalbandi” of “guy” with “jaye” makes it an avoidable affair. Even the outdated Arabic styled saxophone notes mixed with “thriller” movies stylized background score fails to embark anything flashy or consequential to the track.
ONE TWO THREE is one of those comical extravaganza where musical delights are relegated to backstage with bunch of slapstick hilarious works taking over all the relevant proceedings. Raghav Sachar misses out an opportunity that could have flourished him in a league of upcoming lead contemporaries but still he maintains the mood and tempo of the comical subject. The title track and “Rock Mahi” are likely to be sensation while rest of tracks will be faring from average to below average for their monotonous, unresponsive and routine display.