Hats off to “Panchamda”! The legacy of SHOLAY still lives on and so does the geniality of his immortal melodies. RGV KI AAG can be faithful tribute to this landmark flick but cannot be any sort of comparison with the splendor and genius of R D Burman’s indomitable work.
Ganesh Hedge saviors and anchors the album with the most scintillating and strikingly commercial soundtrack as he pulverizes R D Burman’s archetypical rhythmical patterns with fine blend of brazen hip-hop and snazzy electronic sounds in “Mehbooba”. Sunidhi Chauhan croons as Sukhwinder Singh goes full throttle in adding spark and fire into it. Shabbir Ahmed’s innovative lyrical capabilities catalyzes the intimidating and horrifying semblance of brawny “don” swaying to the body-gyrating moves of the seductress with affable wording and phrasing. The infusion of Panchamda’s everlasting daunting signature tune into rehashed harmonic setting is the prize winning factor while both vocalists along with great Amitabh Bachchan deliver the needful to make it sure-shot chartbuster. “Mehbooba (remix)” pulsates, sensationalizes and rocks senses and comes with strikingly effervescently animated disco fillers that form flaring chemistry with Panchamda’s vintage hip-gyrating tunes with effective vociferous binge of all leading vocalists. DJ A Myth gives it a flashy outlook that will be enchant party animals and will be hip-shaking delight for party freaks.
The flagrantly roguish “Koi Haseena” (SHOLAY) is brutally battered as the innovation of rehashing this lovable track into different musical mold goes wrecked in poorly composed “Ruk Ja”. Harsh and gruffly Vinod Rathod can be no match to Kishoreda versatile genius and Amar Mohile’s daunting (read irritating) music is no way equivalent to Panchamda’s ebullience. Sajid-Farhad’s crassly delivered lyrical quality is at its lowest while Sunidhi matches step-to-step with her callous and crude voice in making this an avoidable affair. Skip it!
The post-mortem continues as now joyfully festive “Holi ke Din” (SHOLAY) faces the dearth of mediocrity with volubly insensitive vocals, shoddy arrangements with slipshod lyrical work in chaotically rendered “Holi”. Sharim Momim’s weird lyrical work fails to evoke festive sentiments with some insensate writings and with haywire vocals it even sounds messier. Prasanna Shekhar’s chaotic orchestration is feebly coordinated by the lifeless vocal display of Farhad Bhiwandiwala, Ravindra Upadhyaye, Shreya Ghoshal, Shweta Pandit with Sudesh Bhosle getting into “Gabbar” act for Big B. It will last long till the flick stays in theatres.
“Cha Raha”, an attention-grabbing seductive soundtrack strikes first innovate and experimental musical binge in the album that tries to invigorate the sensual extravagance of the lead pair. This Nitin Raikwar’s penned and composed is similar to “Makhmali Yeh Badan” (ROAD) where atypical RGV’s style of arrangements rules the show. It scores better than the previous two muddled tracks but it will be newsmaker more for its outrageous body display than for its contemporary musical rendition. Vinod Rathod, the lead man of the album shift gears to soft-pitched rendition with effective voice modulation while Shweta Pandit shriek’s out with her shrill-paced rendition.
The fervor of historical SHOLAY strikes back rich and this time its Panchamda’s everlasting daunting background score that blends mellifluously with animated vocals in thematically expressive “Hai Aag Yeh”. Amar Mohile makes finest of all the vintage momentous hiccups as he infuses gun-shots, blood-curdling hounds, and spine-chilling thrilling impacts in this signature musical work. Sunidhi Chauhan’s gruffly voiced impresses to hilt and strikes back with full venom and deliver a hit. Sharim Momim’s razor edged lyrics concocts the serpentine flow of noxious wording with splurge of spine-tingling musical tinge. “Hai Aag Yeh (Theme Music)” works effectively as daunting background score with peculiar SHOLAY signature tune infused in terrifying musical blend. Feel the “hot and happening” spine-chilling engrossing chase when series of events will be unfolding with this petrifying numbers.
Cacophony at its best! Mediocrity plagues big as now its time for “Yeh Dosti” (SHOLAY) to be musically defaced with soulless vocals, crap wordings and chaotic arrangements in ridiculously delivered “Jee Lee”. The combo of Vinod Rathod and Farhad Bhiwandiwala makes mockery of the show while Sajid-Farhad’s insipid lyrics make this a “non-happening” show. Absurd!!!
The concluding track “Dum” sounds more like musical sequel to the title track of DARNA ZARRORI HAI for its weird rattling sounds matched with gruffly vocals and jarring musical display. It sounds more like a fatigued theme track of horror flick with jarring effects. Avoidable!
RGV KI AAG is an apology of an album as none of the innovatively penned and composed tracks impresses but rather irritates with their exhausted and dragging musical displays. The success of two soundtracks (“Mehbooba” and “Hai Aag Yeh”) is moreover an attribute from legendary Panchamda’s nostalgic work while rest of the numbers simply disappoints. It’s another horrendous musical exhibit from the stables of RGV that speaks about poor conceptualization and sloppy innovation of the subject.