It’s Sanjay Leela Bhansali’s aesthetical innuendos in SAAWARIYA with scintillating glimmer and profound Indian classical musical base that forms its indomitable forte and repertoire. After classically refined Ismail Darbar’s prowess, the stage is set for Monty Sharma (prodigal background scorer of BLACK) genius that’s amicably harmonized to perfection with bunch of superlative prodigious talents (Shail Hada and Parthiv Gohil), conferring it to be the “music of the year” with estimated promising results. Against all odds, it serenades out to be a refreshing breather for its rhythm divine structural base and welcome relief from inspired earsplitting and vociferous hip-hop’s, rap’s and reggae’s.
If Shreya Ghoshal was the find of DEVDAS, then SAAWARIYA showcases youthful yore and yell of Kishore Kumar’s 70’s yodeling into new power house named Shail Hada in delightfully mesmerized title track “Saawariya”. Monty’s tantalizing rhythm arrangements complimented with briskly guitar strumming forms enchanting chemistry in making it a chartbusting “yuppie” track. Ironically, it was Shailendra Singh’s vocal finesse in Rishi Kapoor’s debut BOBBY (1973) that stormed and now it’s again Shailendra Singh (alias Shail Hada) making big news for his son Ranbir in this outstanding track. Shail Haida’s modulating baritones are reminiscent to Abhijit’s vocal textures as it pounces back with the decorum of contemporary concert rock feel amidst loud cheering and whistling in “Saawariya (Reprise version)”. Do expect big ovation when it storms charts and undeniably one of worthiest numbers of year 2007. CHARTBUSTING!!!
Monty’s melodic voyage gets into typical Laxmikant Pyarelal-A.R Rehman mold as one hears delectable sitar riffs, rhythmic drumming, supple percussions and loud chorus pitched thunderously in textures of soft echoing vocal tones in “Jab Se Tere Naina”. Shaan’s volubly supreme effort makes it laudable while it’s traditional arrangements and contemporary wording gives it an enchanting euphoric romantic outlook. Worth-a-hear!
“Masha Allah”, a rhythm divine romantic track is typical “chorographer-art director” elemental work where serene aura of eternal love in natural surroundings concocts appealingly with volubly soothing romanticism. Kunal Ganjawala’s soulful vocals create magnetism while Shreya Ghoshal’s mellifluous tinge in interludes adds more shades into it. Rhythm divine!
Surprise! Sanjay Leela Bhansali holds baton from Monty and gets his favorite Shreya Ghoshal into solo singing with her stylized “Bairi Piya” (DEVDAS) baritones contorted in sluggish tempo in “Thode Badmash”. Nusrat Badr’s wording may not be poetic delight but Bhansali’s harmonic intellect and Shreya’s supple vocals serenades desired mushy ambience.
After vibrant Shail Hada, surprises are in store in the form of prodigy named Parthiv Gohil for his synchronized vocals emanating out the variable modes of meeting soul-mate in soul-stirring “Yoon Shabnami”. This verbally captivating track has transcendental modes as it swivels from its soft serene feel in its prelude to thunderous “qawalli” flows gleaming out the arrival of “chand” (moon) in the form “saawariya” (eternal soul-mate). Sandeep Nath’s lyrical wordings are outstanding and its “rubaiyya” styled prosaic binding enlightens up the romantic flare with sheer innocence. Parthiv Gohil’s impressive intense singing has glimpses of Hariharan’s vocal flair and with added “Saawariya” signature tuneful notes, it justifies itself to one of all-time Bhansali’s nostalgic outings. ENCHANTING!!!
The grandeur and opulence of this opera styled romance gets the affluence of Hindustani classical musical base in the ethical forms of tuneful “thumri”, inspired “alaaps” and rigorous instrumental works in thematically inclined “Daras Bina Nahin Chain”. Richa Sharma’s folksy works gets a significant attribute with new finds Shail Hada and Parthiv Gohil supporting expertly in intensely classical resonating tones.
Monty’s eminence in impressive background scores gets a major lift when soft titillating chiming, shrilling “ghungroo”, bell ringing and ear-splitting thunderstorms delivers a mantle for soulful feminine solo track for mellifluous Shreya Ghoshal in “Sawar Gayi”. Shreya’s refined flow is divine and the supple arrangements underneath forms a noteworthy bondage with rhyming of “Sawar Gayi” with title word “Saawariya”.
Kunal Ganjwala’s well-nurtured “Jaan-E-Jaan”, a 60’s styled melancholic romantic track has patent R.K banner branded swaying piano and violin notes that are smoothen up with dramatically emoted choirs. Its mediocre feel fails to be as striking as earlier tracks and even Shreya Ghoshal added feminine grudge and sorrow proves too flat.
Kunal gets into stereotypical costume-drama vocal modes with tranquil-paced arrangements, serene feminine chorals and soft titillating sounds permeating into contours of soulful love bonding in impressive “Pari”. Monty’s harmonic brilliance is ecstatic and so does its decorum that promises visual extravagance in its serene touches.
“Chabeela”, a teasing-pleasing feminine track brings out the vibrancy of versatile Alka Yagnik after a sabbatical with playful baritones mesmerized in festively arranged orchestrations. This conventionally playful repartee brings memoirs of “Anaardana” (HENNA) and suitably matching and delivering refreshing lighter moments in this intense love drama.
SAAWARIYA is a pure gem and a captivating listening feast for all melody loving ears. Monty along with Shail Hada, Parthiv Gohil excels out to be “men of the moment” for their brilliance par excellence. It’s moreover an Indian “Moulin Rouge” delivered in arduous Indian classical base and predictably a jigsaw puzzle for average reviewer but an asset to quality listeners after VEER ZAARA. The album is expected to grow exponentially with aggressive promotion, good mouth of publicity and above all its cinematic opulence that will positively crowns it to be the ALBUM of year 2007.
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