If albums like CASH, DUS and ZINDA projected their modish harmonic dexterity then OM SHANTI OM brings their still unexplored multifarious prowess of crafting castles of grandiosity in blends of vintage and trendy vibrant tones, rhythms and beats. Vishal-Shekhar (V-S), leading icons in upbeat musical styling gets into new makeover in SRK’s magnanimous OM SHANTI OM where expectations are humongous and grandeur is gargantuan. V-S prolific musical finesse along with Javed Akhtar’s poetic elegance scintillates splendidly by burgeoning 60’, 70’, and 80’s stylized orchestration in upbeat modulations with amicable spontaneous flair of present day techno-generated works. Hear it to believe it…
“Ajab Si”, a “dream come true” mushy soft rock ballad brings out supreme combo of KK and V-S with delectable prosaic verses creating a soulful magnetism that blossoms out with soft titillating rhythm arrangements. This presumably ‘Abhijeet-SRK’ specialist track brings out appreciation of Vishal Dadlani as competent lyricist after his melancholically conveyed ‘I am coming home’ (HATTRICK). KK’s mellifluously driven vocals works potentially with high acoustic works matched intelligibly with squashy violin, piano and synthesizers notes. Cherish it with graceful poise on enchanting romantic evening and feel its squishy sentimental breeze… Soulful!
“Dard-e-Disco”, a trendy cousin of “Dard-e-Dil” (KARZ) is “six-pack-abs” SRK number that ushers intrinsic Persian-Arabian traditional flair in its prelude as it flourishes forward with disco-thumping frothy flavors. Sukhwinder Singh along with Farah Khan pioneered “Sufi” elements in filmdom with “Chayya Chayya” (DIL SE) and this time there’s high proclivity towards Arabic rhythmic arrangements with cyclical disco-thumping impacts.
Caralisa, Marianne D'Cruz and Nisha Mascarenha’s backdrop sensuous moans and whimpers adds on to glamour quotient but excessive usage of Arabian instrumental elements and repetition of “Dard-e-Disco” retards the “killer” splurge. It’s highly accelerated “remix” version by DJ Aqueel has typical 80’s disco station feel that can be played full volumes and if promoted well, do expect another “Chak De India” or “Chayya Chayya” in making.
Legendary Manmohan Desai’s “dream-merchant” grandiosity is rejuvenated into modern decorum (similar to “John Johnny Janardan” (NASEEB)) where 80’s charm and blistering vocals, arrangements collage effectively with full force in “Deewangi Deewangi”. It’s Shaan-Udit Narayan-Rahul Saxsena (Indian Idol contestant) male bonding that comes full flowing while best-in-business Shreya Ghoshal-Sunidhi Chauhan gives them full tandem feminine support in lifting tempos. It’s overtly heard 80’s “qawalli-bhangra-disco” racy arrangements has hot concert raging outlook with hook-line “Om Shanti Om…” giving it a momentous festive thrill. The infectious remix of this multifaceted disco track is highly animated in its energetically driven disco beat fillers and thrills and predictably a great asset in promotional works.
The tinkling nostalgia of “Main Zindagi Ka Saath” (Dev Anand’s HUM DONO) is revived into new delightful rhythmic notes in conceiving signature theme tune where chiming tuneful notes gives emblematic touches to romantic “Main Aggar Kahoon”. Sonu Nigam relives Mohammad Rafi’s enigmatic appeal in traditional Shankar Jaikishen-Jaidev nostalgia while Shreya Ghoshal’s vocals grace adds on to the show.
“Jag Soona Soona Lage”, a typical Bollywood sorrowful track traces back to 70’s and 80’s era where numbers like “Lambi Judai” (HERO) and “Beshak Mandir Masjid Todo” (BOBBY) made history. It has rhythmical flow of signature tune where Rahat Fateh Ali Khan’s melancholic flow delivers distressing feel with Richa Sharma giving it Reshama (veteran Pak singer) singing style touches in its prelude. It’s no great match to Rahat’s earlier hits like “Main Jahaan Rahoon” (NAMSTEY LONDON) but has the tenacity to be utilized prolifically in film’s narrative flow.
In terms of melodic excellence, “Dhoom Tana”, a conventional Bollywood’s jumping and dancing track scores perfect ten and all credits to V-S visionary skills and techno-wizardry in creating immaculate bygone era magnetism. Shreya Ghoshal’s classical flair has another ace after “Mere Dholna” (BHOOL BHULAIYAA) with Abhijeet’s proving perfect choice for this vintage era special track. Feel the thunderous “dhapli-tabla” drumming of Sridevi-Jayaprada flicks (SARGAM, TOHFA) as the mood shifts to Shammi Kapoor-Helen era (loud percussive elements) and finally to Jeetndra-Babita’s sporting antics in its playful “antaras” that are coordinated well with thunderous arrangements. V-S successfully relives the charismatic punches of legendary iconic figures, timeless classics with enormous magic and “masti” that lives up to full extreme. Cheerful!!!
“Daastan-e-Om Shanti Om”, an emblematic climax number has rhythmical base of “Ek Haseena Thi” (KARZ) where modest lyrical work and Shaan’s engrossing rendition gives it sentimentally vengeful feel. V-S stylized work is not imperative as Laxmikant Pyarelal work but all credits for impressive usage of orchestration where gripping spine-chilling moments can be experienced. Its frothy paced remix work (DJ Nikhil Chinaapa, Zoheb, and DJ Nawed) has the boisterous thump of club-house attire where DJ claps, thumping and drumming makes mood dark and shady on floors.
The supple piano notes played with finesse gives soulful enigmatic feel in “Om Shanti Om (Theme Music)” while “Om Shanti Om (Medley Mix)” by Jackie V sums up proceeding with all vital elements of the album packed in rigorously punched “club” mix flow.
OM SHANTI OM, a noteworthy musical package from Vishal-Shekhar promises to be one of biggest hits of the year and possibly the principal commercial offering from this music duo so far. Do expect grand openings from tracks like “Ajab Si”, “Dard-e-Disco”, “Deewangi Deewangi” and “Dhoom Tana” on charts in coming weeks and deservedly magnificent sales and appreciation for its proud connoisseurs.