Amitabh Bachchan, Tabu, Paresh Rawal.
By By Satyajit, Bollywood Trade news Network
Big B, the big sugar daddy of tinsel town gets into sugary “n” spicy affair again after his infamous NISHABD in comical CHEENI KUM and this time the lucky gal is Tabu. Illaiyaraja, the South Indian musical maestro makes promising indentation (if not trendsetting) in Bollywood after his mediocre offering in RGV’s SHIVA. Illaiyaraja cadence’s out frivolously played rhythmical work in almost all soundtracks with dash of sentimentalism. The maestro excels to large extent in conceptualizing its satirically peculiar theme in fine sets of saxophone work along with finely tuned instrumental display.
“Cheeni Kum”, the hilariously conceived title track works more like a chirpy and bubbly “tête-à-tête” of “sugar-less” relationship culminating from peculiar love liaison. Shreya’s subtle vocal tones mellow superciliously with Illaiyaraja’s deliriously delivered pulsating orchestration. Big sugar daddy fixed in a “sugar-less” commotion of affairs and the comically filled titillating beats deliver it all. This may not be prize-winning harmonic treat from Illaiyaraja’s experienced camaraderie but is reminiscent to Hrishikesh’s style of theatrical feel. It’s a spoonful dosage of “syrupy” n hilariously packed musical work that sparks “cold” but flammable love chemistry.
Shreya Ghoshal, the mellifluously pristine “nightingale” amalgams her chirpy vocal dexterity with Big B’s hilariously tinge in another verbal combat of words in impressive “Baatein Hawa”. This romantically cheerful tête-à-tête is filled with tattling sentimentalism where the heartfelt expressions come in juvenile admirations and assumptions (flowers, Robert Albert Hall concert, expensive jewelry etc) of delightful romantic evening. Shreya nurtures and enthralls her finest track of the album and by far the most amusing in terms of content and rendition. Illaiyaraja’s moderately placed melodic orchestration is filled with tantalizing percussions thrust plus rhythmically played saxophones notes reflecting romanticism. This bubbly vivacious number has the nuances, naughtiness in question-answer format that brings nostalgia of Lata-Kishore’s everlasting melodies “Aankhon Mein Kya Ji” (PAYING GUEST) and “Haal Kaisa Hai Jaaanab Kai” (CHALTI KI NAAM GAADI). It’s a delightful feminine solo offering and surprise package for Big B fans after sadistically romantic “Rozana” (NISHABD). “Baatein Hawa” catwalks into solo melodic offering by Shreya Ghoshal which minuses Big B’s chirpy one-liners and comes straight for all class listeners who treasures honey-coated melodies. Melodious to the core!
Shreya Ghoshal’s skillfully synchronized vocals paced with tunefully harmonized orchestration in “Jaane Do Na” recreates a mood swinging tempo of “Bairi Piya” (DEVDAS). It’s a situational soundtrack where the beloved wants to breaks loose and the sentiments are well enamored with jittering and tattling paced rhythmic beat patterns. Illaiyaraja’s musical work is apt to cater the situation but not catchy and are suffused with strong tinge of South Indian musical flavors.
Illaiyaraja’s music has always been complemented with the likes of stalwarts like Yesudas or S.P Balasubrahamanium on its credits. “Sooni Sooni”, the gloomy and respondent soundtrack brings the vocals of Vijay Prakash (sounding similar to Yesudas) in a solo track. The song is depressed male version of the title track where sonorous vocals booms with melancholy paced synchronized orchestration. Illaiyaraja’s finest works in films like SADMA and HEY RAM had similar musical tonality in sentimental tracks and this carry forwards his branded style and flair. It fails to be penetrative but brings the peculiar style of musical rendition with impressive orchestration that can be materialized in grim and emotional situations.
“Melody (Saxophone” is no big inspiration from Kenny G’s everlasting works but has the hilarious romantic feel of CHEENI KUM, which can well be complemented in end or beginning titles or as effective background score in the film. This instrumental has fine textures of saxophones notes overlapping with each other along with sinusoidal rhythmical patterns that successfully melt frothy and peppy emotions into synchronized beats and rhythms.
“Theme Melody” is filled with the impressive European style of opera music with titillating signature tunes of “Cheeni Kum”. This instrumental can recuperate “waltz” form of dancing on floors besides being an effective and communicative background score.
Illairaraja’s benchmarks his flair of music in a compilation that deserved an “off-beat” musical treatment with fine blend of humorously filled lyrics. His music delivers a zingy tenor in his peculiar rendition in tracks like “Cheeni Kum”, “Jaane Do Na” and “Baatein Hawa”. Illaiyaraja’s stood the onslaught of time as the soundtracks sounds meaningful and evocative to the content. Shreya Ghoshal gleams to perfection and excels gloriously with her mellifluously rendered soundtracks. In nutshell, the album proves to be tender “n” melodious from her and the numbers can be counted finest from her in recent times.
The album deserves “well-groomed” publicity as it caters to niche sect of listeners but there can’t be anything commercially extravagant for its connoisseur’s.