Indra Kumar, the king of romance in 90’s took an unprecedented contorted maneuver with the conceptualization of sex comedy in MASTI with surprise success followed with mediocre PYARE MOHAN and now he extols back with “all boys” show in DHAMAAL. Like the indefatigable hilarious flavors of his new trendy cinema, the musical tang of his flicks shifted from sweet “n” syrupy melodies to ear-splitting and jarring party melodic hiccups but with mediocre to forgettable results. DHAMAAL reintroduces Adnan Sami at composer’s chair after his impressive soft serene LUCKY-NO TIME FOR LOVE as now he shifts lanes to all together different upbeat “campus-loving” musical thrill. This one comes straight for urbane teenybopper’s and no brains are to be applied even in its musical presentations as it comes with gratuitous wording, cantankerous phrases and ear-piercing vocals matched relentlessly with rumbustious flow of music in almost every track.
Pump up the volume and racy beats and thumps will come all the way with funky paced electronic sounds, synthesizer notes and over-animated vocals in loud and ear-deafening youthful track “Dekho Dekho Ye Hai Dhaamal”. Its flashy cinematic vision will be its major highlight over its loud tuneful exhibit while the contemporary ever-energetic pub-friendly musical mood proves incompetent in delivering any jitters. Over-enthused voices of Adnan Sami and vibrant Shaan delivers a rollicking thrill on the floors where the signature punch-line “A-aa-oo” forms the base of the track. Sameer’s bouncy lyrical flow gives it an unending spontaneous thrust that coagulates effectively with impressive vocals. It’s no groundbreaking toil and neither equivalent to Sami’s earlier composed “Zaara Si Lift Karadey” but an affable joyous situational track that can well be enjoyed in its visual display.
Flirtatious and philandering acts of street-smart kids get harmonized into silly mindless crap of lyrical work with penchant and pugnacious arrangements making all “Dhamaal” in garrulously pitched “Miss India Marti Hai Mujhpe”. After mass friendly “Dil Mein Baje Guitar” (APNA SAPNA MONEY MONEY), Amit Kumar excels back into skin of another madcap track where he is ably supported with Adnan Sami’s boisterously paced voice. It’s all about gibberish and outlandish “talkathon” where bunch of daydreamers dreams about Miss World, Miss Universe…to making their pets stroll through planes…to buying Taj Mahal etc. If this hilarious and mindless phraseology finds trapping of aesthetically conceived choreographed work, then it can be another “Masti” in making. So don’t apply brains while listening to it but wait till it arrives with its visually pernickety acts on theatres!
Adnan Sami tries to spice out another “Kajre Re” (BUNTY AUR BABLI) as he innovates out with evergreen pop queen Asha Bhonsle making all chirpy vocal moves with fervently ear-piercing Amit Kumar in “pop-quawalli” “Chandni Raat Hai Saiyaan”. Sami’s last association with Ashaji was booming in playful “girly” track “Lucky Lips” (LUCKY-NO TIME FOR LOVE) but this comes moreover as inspirational lift from chartbusting numbers. Its no “Beedi”, “Namak” (OMKARA) and certainly not Alisha’s award winning “Kajra Re” but a refreshing welcome treat from Asha Bhonsle for all her ardent fans. The number has classical musical backdrop where old-styled instruments (harmonium, tabla, sitar, sarangi) are evidently audible at every “antaras” than any technocratic musical impulse in its harmonic flow. Sami felt extra-special for the number and predictably a “larger than life” success for this “pop-quawalli” as he pitches two different versions (instrumental and remix) for this track. “Chandni Raat Hai Saiyaan (instrumental)” is impressive work of electronic flute rendition by Raghav Sachar where entire lyrical work are synchronized amicably with free-flowing “Sarangi” work with dash of Ashaji sensual whimpers of “Aaeeyaa” in its prelude. It’s more avid to initial or end titles than forming a trend for others to follow but still an affable approach to accommodate space in the album. “Chandni Raat Hai Saiyaan (remix)” works more like a “disco-quawalli” this time with electronically tuned echoing effects creating reverberating impact with fine collage of classical instruments and Asha Bhonsle and Amit Kumar’s voices making it pub-friendly for listeners. DJ Sandeep Shirodkar disco appeal adds to the merits of the track but with no major surprises.
“Chal Nache Shor Machalein”, a perky “all-boy” frolicking track on floors comes as a resounding “title” track with the tangy pub-culture feel and vociferous tinge to it. Once again it’s the clubbing of Adnan Sami and Shaan for this loud and peppy track with strong affixation of hip-gyrating musical structure. It emanates out a male bonding zany ensemble on floors that should possibly collage all lead characters in it. Like “Dekho Dekho Ye Dhaamal”, it works mechanically as “disco-station” number with overtly quivering disco thumps and percussions bangs adding zing to it. Feel its animated thump in its acrobatic dancing and jiving moves amidst flashy lights and let it be cinematic delight as its tuneful display hardly delivers anything chartbusting in its thunderous and boisterous impulse. Its instrumental version comes in contemporary saxophone works by Naveen where the soundtrack is feebly pulverized into situational filler stuff that can either be placed in initial or end titles of the film.
DHAMAAL is all over a “masti” musical album that caters mainly to urbane youth who befriends pub-friendly culture of music. The album failed to muster anything chartbusting and its most striking number comes in “Chandni Raat Hai Saiyaan” while tracks like “Dekho Dekho Ye Dhamaal” and “Chal Nache Shor Machalein” are picturesque delights. After impressive LUCKY-NO TIME FOR LOVE, Adnan Sami delivers a mediocre album that works mechanically with the frivolous moods and frolicsome sentiments of the film. Feel its upbeat styling and boisterously paced thumps on silver screen rather than expecting anything consequential in its audio packaging.