JOHNNY GADDAR, a fictional crime thriller brings out the introspective musical expedition from musical trio SEL (Shankar-Ehsaan-Loy) into the musical substance of bygone era’s momentous crime thrillers. It’s flooded with funky beat instrumental numbers that are soaring high on orchestral works with couple of volubly resounding tracks delivering booming vintage feel of golden era in the form of medleys.
“Johnny Gaddar”, the bloodcurdling impact title track has westernized noir cinema appeal where shrieking modulating vocals, jarring arrangements strikes combustible chord with the electrified sounds of heavy metals and enthused guitar riffs. New talent Suraj Gagan’s effervescently loud vocals along with mediocre Akriti Kakkar sing out the deceitful endeavors with zeal amidst the surrounding of gambling racquets. SEL’s high on orchestra instrumentals clubbed with screechy vocals are flagrantly profound for the background score needs. It’s remix version “Johnny in the House” is mild “club” remix interpretation with stirring DJ hiccups making it exceptional for promos, teasers stuff.
Shankar Mahadevan’s vocals along with voluptuously sounding Hard Kaur goes full throttle in a racy “club-house” disco frenzied mood in “Move Your Body”, where the covetously clamors about “paisa” (Money) makes motivated moves with loud noises. It can be reciprocated to Vishal-Shekhar’s “Sabse Bada Rupaiya” (BLUFFMASTER) with creative harmonic inputs giving out a fusion feel of “retro” and hip-hop stylized work. This rollicking sounding track has trio (Shankar Ehsaan Loy) voices clubbing in it with tangy thumping bangs and has already been shoving high in promos. “Move Your Body (Phatt Mix)” stretches to some miles ahead for it snazzy disco fillers in sluggish mode where Shankar’s voice along with hook-line (“Doob Ja Mere Pyar Mein…”) and racy hip-hop works delivers out sweltering feel on the floors.
The intimidating 70’s touch is very much in with daunting track “Dhokha”, another throbbing background score catering to compelling situations of the flick. It’s a club crooner stylized track where Anousha Mani sassy vocals along with Shankar, Loy and Tarranum sizzles out in the middle but with mediocre appeal.
“Johnny Breakbeat Mera Naam” courteously maintains 70’s aura where Dev Anand’s blockbuster JOHNNY MERA NAAM is idolized to perfection with it’s favorite punch-line “Johnny Mera Naam” steaming out with high –voltage trance orchestral outburst.
The greats of 70’s (Kalyanji-Anandji, Laxmikant Pyarelal, R D Burman) gets a standing ovation as conventional 70’s “background score” is revitalized into dexterously inundated arrangements in “Revenge of 70’s”. Do feel the engrossing scorching “heat and dust”- of the climax of Manmohan Desai, Prakash Mehra, Subhash Ghai, Vijay Anand etc style of cinematic work in this typically 70’s sounding background score track. The rigorous feel of spine-chilling “run and chase” in hot-shot action sequences delivered in 70’s crime thrillers (DON, KALLICHARAN, SHOLAY etc) is revisited with same finesse in the soundtrack “The Caper Begins”.
‘Toss”, another enthralling instrumental work has typical 60’s Turkish style of orchestration that was felt intrinsically in the closing stages of 70’s crime fictional thrillers.
The instrumental number “Confidence” has polished 50’s and 60’s killer appeal that have worked wonders in the suspense-chilling moments of films like MAHAL, CHINA TOWN, KAALA PANI etc with added pulsating disco punches.
After bountiful of instrumental works, “Bhule Bisre Geet” comes out as an ode to bygone era of 50’s, 60’s and 70’s in conventional Bollywood vocal modes with archetypical harmonic interpretation of some of classical and prominent works. This “cover version” stylized conceived track unravels from Geeta Bali’s nasal twang (“Ghadi Ki Suiyaan…”) to Shankar-Jaikishen 60’s style heavy metal percussive work (“Na Jaane Maine…”) and finally ends up into 70’s overtones of Kalyanji-Anandji- R D Burman (“Yeh Zindagi Ke Raaste…”) works with theatrically profound appeal. If SEL’s innovative approach in recreating vintage era in track like “Woh Ladki Hai Kahan” (DIL CHAHTA HAI) was hilarious then this is more of an attribution of all immortal melodies of vintage era. It’s unlikely to be creating any buzz similar to Vishal-Shekahr’s scintillating “Dhoom Tana” (OM SHANTI OM) for its outdated outlook but will be positively be counted as a tribute to bygone era by prolific SEL.
JOHHNY GADDAR is more of an experimentation or introspection where upbeat composers (SEL) have whole-heartedly attributed to the grandeur and opulence of vintage era than deriving anything chartbusting to their listeners. Unlike their previous accomplished works, the album will certainly not be hitting high on charts but will be catalyzing all the blood-chilling and enthralling moments with its conventional old-age “killer” appeal.