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Director : Music : Lyrics : Starring :
Babu Singh Mann
Sunny Deol, Ammtoje Mann, Sudesh Berry, Sandeep Kang, Sana Nawaz, Ashish Duggal, Chandan Anand, Girish Jain, Sachin Parekh
By Satyajit, Bollywood Trade News Network
Sukhwinder Singh, the prolific throaty singer had brief outings as music composer and largely it has been as a guest composer. KAAFILA, a film about authenticity and plight of illegal immigrants brings him at the driving seat once again after his miniscule but ethnic offerings in low budget CHOORIYAN. Sukhwinder Singh holds the fort commendably as he is the lead soloist in all the happenings of the album and is audible in almost every track. Despite all his modest and sincere efforts, KAAFILA shapes up as stereotyped Bollywood musical offering with strong shades and textures from 80’ and 90’s flair of music. Daler Mehndi, the controversial pop icon strikes affable retribution with his contemporary style of loud and pompous singing along with “man in command” Sukhwinder Singh in the gleefully joyous “Hum Raks”. Despite its vibrant and stimulated beat structures, it’s no great match to Daler’s super-hit “Rang De Basanti” (RANG DE BASANTI) but a modest situational filling for a bonfire festive zest, well complimented in Arabic “n” Punjabi folk musical base. Sukhwinder Singh’s contemporary musical flow is impressive but it’s too outdated and archaic in present context. “Hum Raks (remix)” infuses technocratic beat patterns with zany DJ spins, scratches and a strong blend of extra enthused synthesizers working in conventional “club” mix attire. It works impressively and largely caters to pub culture “mania” in promising ways.
“Jab Tak Hai Saans”, a “never say die” soundtrack, is marching troupe narrative saga filled with feel of undying grit and determination depicted euphorically in a format of martyr or melancholy number. It’s Abhijit along with Sukhwinder Singh at the helm of affairs ushering out memoirs of J P Dutta’s styled of war fictional drama. The dramatically rendered orchestrations give a “hilly” ambience with loud echoing effect that strikes resonating chemistry with the prominently perceptible expressive vocals. It’s thematically situational but an impressive musical show that should prove poignantly narrative in the flick.
The spirit of comradeship with expressively “dreamy” sentimental feel is forayed with intrinsically profound assorted sentiments of “home-sickness” and patriotism in the expressive “Kabhi Kabhi Sapne Bhi”. It’s insightful and quizzical playful thoughts brings shades of “Chappa Chappa Charkha Chale” (MAACHIS) with cluster of singing talents in most vociferous ways. It’s moreover a 60’s style of enthusiast comrade song where sentimental folksy musical base is preferred with bunch of vocalists. Its classical musical flair with brief rendition of classical westernized orchestration delivered in enthused form are laudable and exhibits the variant shades of emotions. Abhijit, Gurusewak Mann, Sukhwinder Singh and lost in woods Mohammad Aziz voices out this track. It’s another inspiring and moving situational that should catalyzes the narrative elements of the film.
Rajasthani traditional folksy salutation “Kesariya Balma, Padharo Hamare Des…”, a welcome cultural gesticulation embellished in customary Arabic verses delivering the eager anticipation of news from well being comes striking all the way in the sentimental “Sandesa Aaya”. It’s delightful to hear Abhijit delivering his finest efforts with amicably coherent Sukhwinder Singh singing in tandem. “Sandesa Aaya” is much slower in tempo in comparison to “Sandese Aate Hai” (BORDER), though the expressions finds altruistic similarities in its wording and sentiments. Babu Mann’s logical lyrical flow finds the proper trapping of a nostalgic emotional track while both the vocalists make a supreme combination. Undoubtedly the finest among the lot and the most soulful listening treat from Sukhwinder Singh in recent times.
Sukhwinder Singh reconciles his good old golden days of TAAL and brings the signature tunes of “Taal Se Taal Mila” with ethnically enriched Punjabi folksy base and hip-hop flavors in festive delight “Lodhi Di Raat”. It’s the trendiest song where the celebration of “Lodhi” comes with shimmering Dolly Sidhu’s vocals in soft echoing effects with racy hip-hop inflow by Abei. The effective combination of trance and R n B is finely mesmerized in typical Bally Sagoo’s style of UK bhangra that can well played loud at discos. It raises the flaccid spirit of this archaically conceived album as it’s the only upbeat delight that might find few takers among pop genre.
The spirited feel of highly motivated and zestful “Kaafila” (Caravan) in crossing borders and reaching their dream destinations gets into contemporary Bollywood musical mood with vigorously punched arrangements in “Chala Kaafila”. Its Sukhwinder Singh is at his throaty vociferous best in delivering rustic “boliyan”, playful “jugni” and spirited “garbha” to depict Indian ethnicity. Shahana Pandit’s shrill voice is unimpressive in creating pathos while Gurusewak Pandit is hardly audible in the track. It’s a sub-standard offering that depicts the inhibited sentiments of immigrants but overall its messy appeal kills the mesmerizing impact.
Unlike Himesh Reshammiya or Mithoon, Sukhwinder Singh fails to graduate into the cadre of composer cum singer though he produces couple of impressive soundtracks. KAAFILA, a low profile album holds no big surprises as it delivers stereotype musical works heard zillion times in last few decades. Its high point are the soundtracks “Sandese Aaya” and “Kabhi Kabhi Sapne Bhi” while “Lodhi Ki Raat” is the only upbeat musical delight of the album. KAAFILA proves to be non-starter for its old fashioned stereotyped musical display and the below average promotion will further decimate its commercial prospects.