Peculiar sounding title, new kid on block and bankable composers! MY NAME IS ANTHONY GONSALVES, a stylish popcorn entertainer is Bollywood’s style of “Julius Caesar” adaptation, set with backdrop of Mumbai underworld breaks no grounds and neither sets any rule in terms of melodic excellence, but works instinctively with the mood of the situations. The album is simply “mediocre” where overtly heard tunes, rhythms from Pritam’s clan gets refurbished with “run of mill” Sameer’s wording stuffing’s. Reshammiya’s finesse gets solitary impressive track with “Tum Mile” while Pritam lives up to his gargantuan status with poignantly refined “Allah Beli” and festive “Jaane Maula Jaane Khuda”, but later its all rehashed and revamped works that fails to attract. Himesh Reshammiya had impressive outing as guest composer with “Tadap” (DARLING) and once again he proves his mettle by scintillating out a smoothening lovable duet in the form of “Tum Mile”. KK’s meticulously poised voice not just adds sheen to songs but also brisk energy with shimmering harmonic decorum that mainly comprises of impressive percussive works with modulating synchronized keyboard works. Even Sunidhi Chauhan modulates herself for the seductive oomph in nurturing out the delectable sensual charm. The rhythmical pattern and formation is somewhat similar to Pritam’s “Tera Mera Rishta” (AWAARAPAN) but overall the romantic serenity gets precariously developed with impressive rendition. “Tum Mile (remix)” by Amit Das has the right ingredients of perfect “club-house” amusement stuff for all disco-freaks with echoing and resonating vocal modulations amalgamating feverishly with bouncy disco beat fillers.
The carefree “girly” sentiments of “Mere Khwabon Mein” (DILWALE DULHANIYA LE JAYENGE) is agitatedly pumped to highest tempo with screeching vocals, echoing chorals, ear-splitting arrangements to create a bundle of joy for pop genre in mediocre sounding “Tere Bina”. Sunidhi Chauhan’s extra yelling is messy and its bondage with loud and chaotic orchestrations makes its even more repelling. This Pritam’s composition is more akin to raunchy dancing feast and there are hardly any elements of naivety or innocence that can mark it as an act of sentimental “dreamy” voyage.
The lusty and energizing hip-hop decorum gets into full throttle in a “party-animals” specialist number “Ya Baba”, where all Pritam’s previous hip-shaking acts get together in tandem to create bedlam on floors. Sunidhi’s coarsely rendition gets into “feel the heat now” type of tempo that was last visited in her outrageously crooned tracks like “Aa Khushi Se Khudkhushi” (DARLING) and “Shake it” (NAKSHA). Shaan gets wasted in a miniscule presence where enthusiastically punched trendy orchestration completely rules the show. The remix version is sweltering hot stuff for floors for its high-tempo, frenzied vocals concocting with infectious DJ’s beat juggling thumps. Overall DJ Amit Das had some enthralling disco endeavors that can really add sheen to couple of lasciviously crooned loud tracks.
“Band Metro” walks up for the first right occasion in soft rock concert feel track “Allah Beli”, a sorrowful solo expression of emotionally beleaguered lover, rendered through vocal finesse of ever reliable KK. Pritam’s instinctively poignant “Metro” feel that was reminiscent in tracks like “Alvida”, “Baatein Kuch Ankahi Si” (LIFE IN A…METRO) is brilliantly revisited through refined rock musical ethics. Sameer’s dramatically somber wordings have the desired sorrowful expressions that are mesmerized to perfection through soul-stirring flowing orchestrations. The tantalizing “sarangi” touches in between the preludes had slender Reshammiya’s feel but overall it’s all Pritam’s finesse that makes it the finest track of the album.
Earlier Pritam delivered rock cum folksy track “Dil Mein Baaje Guitar” (APNA SAPNA MONEY MONEY) with two different voices (Amit Kumar and Mika Singh) and now “razzmatazz” fervor takes another frivolous move in “Jaane Maula Jaane Khuda”. If the former track had “Maharastrian Lavani” affixation in its zest, then the latter correlates impulsively with “Goan” folksy festive sprits. The bouncy vocals of Remo Fernandes get into the groove of this animated feel and collide aggressively with rollicking percussive elements to exude boisterous hard-rock concert feel. The “hard metal” musical decorum may be too jarring for ears but the catchy rhythms makes mood merrier. Amit Kumar’s version has better “filmi” concoction and like “Dil Mein Baaje Guitar”, its spirited execution will be connecting itself more with movie buffs. Do expect this soundtrack to be playing loud and vibrant more in dancing and talent show in coming weekends.
MY NAME IS ANTHONY GONSALVES fails to be as strikingly rich as Pritam’s other bankable albums but still manages to deliver the needful with tracks like “Allah Beli” and “Jaane Maula Jaane Khuda”. Reshammiya solitary offering “Tum Mile” too adds grace to the show but overall it won’t be fetching major grounds in musical world.