DHOL, an effervescently youthful extravagance comes out as first major “boyz” bonanza from comedy specialist Priyadarshan and hot “n” happening Pritam. The album pinnacles in its title track but thereafter juxtaposes with dull phases of mediocrity.
Pump up the “dhols”! Pritam’s eclectically fervent Punjabi musical flavors that rocked the floors in “Rabba Khair Kare” (HATTRICK) and “Pyar Karke” (PYAR KE SIDE EFFECTS) strikes back with full venom to rule the show in the title track “O Yaara Dhol Bajake”. It’s a hullabaloo of commotions about a wooing girl by bunch of teenyboppers that comes in three versions with the strikingly rich vocal qualities of Sohail, Soham, Mika Singh and Labh Januja. This snazzy hip-shaking track is colloquial combination of Punjabi folksy instrumental works with blend of frothy lyrics and trendy hip-hop rendition. The title track comes more like a new anthem for Gen X listeners where Irshad Kamil’s massy wordings forms a flagrant chemistry with catchy rhythms and thumping beats. Sohail and Soham’s version is more perceptibly viable than Mika Singh’s rendition while Labh Januja’s folksy rendition is more akin to the booty-shaking masses for its pub-decorum fest in disco friendly “O Yaara Dhol Bajake (remix)”. Rocking!!!
Old-age disco sensation Usha Uthup proves too loud to ears where she is cushioned with jarring orchestration with tinge of hip-hop in chiseling out a muddled disco track “All Night Long”. Pritam’s intellect failed to capitalize the vintage charm of 80’s disco-station as he is torn between the old styled disco thumping moves and hip-hop stylized renditions. It shrills rather than thrills for its chaotic display and it’s certainly not for “all night long” baby.
The harmonious recipe of Shaan’s jocularly singing and Pritam’s composing that strike gold in “Miss You Everyday” (KYA LOVE STORY HAI) has different anecdotes to display in “Bheega Aasman”. Pritam’s orchestration sounds too plaintively rigorous with the recurring usage of “Gregorian chants” in its prelude and interludes with minimal impact. Vijay Yesudas’s husky vocals concoct in the later interludes but overall this westernized soft rock ballad proves too mediocre to cast any spell.
Voguish charm embellished in “disco-qawalli” textures in a pub friendly decorum comes in unimposing singing charms of Shreya Ghoshal in unimpressive track “Dil Liya Dil Liya”. This mediocre dancing floor number sounds pretty similar to “Halla Re” (NEAL N NIKKI) with decimated tempo striking loose with lethargically synchronized arrangements. It’s a big disenchantment for its “run of the mill” lyrical work (Amitabh Verma) plugged with unimposing vocal display in delivering out an avoidable track. Skip it!
“Haadsa”, another femme fatale specialist soundtrack works on voguish singing charms and thrill of “girl” power strikes rich with more vivacious impulse but lacks the charismatic touches of being chartbusting treat. Sunidhi Chauhan clubs with Akriti Kakkar in voicing out this “girly” track where contemporary lyrics (Irshad Kamil) punched in overtly flashy arrangements fails to create any major ripples. It plummets out as another mediocre situational track that might provide some eye candies to eyes than listening pleasure to ears.
Shaan along with Kunal Ganjawala forms the voice-over for vociferous “boyz” singing bandwagon with full zest but again the fervor of “feisty youth” is mislaid by sloppy and monotonous orchestration in “Namakool”. It rhyme and rhythm with the signature punching beat effects of frolicking “Golmaal” where Ashish Pandit lyrics proves too incompetent to lift the tempo of festive youthful spirits. Mediocre!
DHOL proves to be rare displeasure from the “man-in-form” (Pritam Chakravarty) and shockingly it has come in a campus-loving musical bonanza. It’s a rare malfunction where Pritam’s music has proved insufficient in invigorating youthful impulse but still succeeds in inundating a new frolicking anthem “O Yaara Dhol Bajake” to his listeners.