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Music Review : Gangs Of Wasseypur

 Gangs Of Wasseypur
Director :  Anurag Kashyap
Music :  Sneha Khanwalkar
Lyrics :  Varun Grover and Piyush Mishra
Starring :  Manoj Bajpai, Reema Sen, Nawazuddin Siddiqui, Piyush Mishra and Tigmanshu Dhulia

June 11, 2012 02:42:51 PM IST
By Satyajit, Glamsham Editorial
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If any Bollywood film gets felicitated in Cannes Film Festival, it creates a furor worldwide and makes a style statement of its own. Anurag Kashyap's GANGS OF WASSEYPUR is one such celluloid offering that has garnered rave reviews worldwide and is now all set to hit big screen. Kashyap (BLACK FRIDAY, DEV D, GULAAL), an iconic name in path-breaking parallel cinema, makes another bold and innovative statement this time, as now he enters into the underbelly of coal and scrap trade mafia of Wasseypur. Sneha Khanwalkar (GO, OYE LUCKY! LUCKY OYE and LOVE SEX AUR DHOKHA), a lone woman survivor among present-day composers leads the musical march with music that has intrinsically rural folksy flavors. On innovative scale, it can be considered to be highly experimental as no B-town movie has dared to enter this territory in this big way (14 soundtracks in credits!!!). Can she deliver it this time with great grand success? Let's find out...

Manoj Tiwari, a renowned musical figure in Bhojpuri world, makes the world go frenzy in the opening track titled 'Jiya Tu (Bihar ka Lala)'. It's enthused and boisterous in nature and sketches out the cheerful caricature of 'Bihar ka Lala' in earthen folksy touches. Sneha Khanwalkar's musical aesthetics pitches a piquantly loud set of electronic fillers and rhythms in flows of customary folksy instrumentals. Targeted at Bihari and Bhojpuri sect of listeners, it entertains as well as amuses and brings memories of Bollywood's evergreen 'Bina Badra ki Bijuria' (BANDHAN (1969)) to a large extent. Hugely promoted and getting rave reviews for its experimental 'fusion' flavors, 'Jiya Tu' is expected to be growing big and loud in cow belt regions, especially where Manoj Tiwari's songs are a big rage.

After an impressive start, 'Hunter', a coquettishly blabber-mouthed soundtrack in Hinglish brings out an impish feel of 'Emotional Atyachaar' (DEV D) and as anticipated; it comes out in narrative singing mode. For a regular Bollywood listener, it may strike outlandishly as it brings out a tinge of Trinidadian 'Chutney Music' singing feel with supports of folksy earthen chorals and quirky lyrics. It brings out an ensemble of singers- Vedesh Sookoo, Rajneesh, Shyamoo and Munna together and makes this as another amusing affair. To be precise, Sneha experiments with tangy feel 'Trinidadian Soca' music and mixes it with a typical Bihari folksy feel to deliver it out for international audiences. Do give it a try!

CHECK OUT: Movie Preview - Gangs Of Wasseypur

Quirky earthy feel remains the flavor of the album as now the melodic feel transcends to the underbelly of Wasseypur, and delivers out a customary 'ladies-sangeet' form of number in 'O Womaniya Live'. Like 'Sasural Genda Phool' (DELHI-6), it has inherently feminine celebratory touches with strong folksy 'Bihari' feel that should work wonders in serenading out light moments in this terrifying action saga flick. Screechy and rustic to core, it has bizarre vocals of Khushboo Raj and Rekha Jha coming together in tandem with a host of equally enthused female chorals as the back-up vocals.

'Womaniya', the second version of this track comes with added techno-improvisations and strikes moreover as a likable 'fusion' number for urbane listeners. To make it trendier, it has lots of jazz elements coming at intermittent phases with added dosages of shehnai sounds and electronica works, a bombastic treat for a Bihari DJ!

Under the aegis of RGV's and Ekta Kapoor terrorizing flicks (GO and LOVE SEX AUR DHOKHA), Sneha Khanwalkar pioneered herself in the marquee and delivered couple of impressive haunting tracks. 'Keh Ke Loonga', the punch-line of this flick and the next track retraces back this Sneha's characteristic feat (both in vocals and composing) along with Amit Trivedi's husky toned voice. After a string of folksy based tracks, it brings back the multiplex musical feel where modernity in lyrics as well as in composing is quite impressive. Haunting drums, frightening sounds and rhythms forms a strong gripping hook-line that delivers out a daunting edgy feel (reminiscent to RGV's background score feel), a compelling background score that should work well in gory moments of this hot-headed action flick.
Tracing back to Raj Kapoor's evergreen number 'Dil Ka Haal Sune Dilwala' (SHREE 420), 'Bhoos' (meaning fodder) creates the similar rip-roaring dancing feel but this time the feel is intrinsically bucolic where earthen sounding vocals jesters out in loud stream of ethnical instrumentals. To be precise, it comes out as Bihari's 'Lok-Sangeet' where dhol, manjiras, damaru and harmonium are played zestfully to create a colorful festive feel. Manish J Tipu along with Bhupesh Singh's rustic voices sings this with full zeal and adds more light moments in the narration of the flick.

Piyush Mishra's countrified jingoism in 'Aarambh' (Anurag Kashyap's GULAAL) glorified Kavi Pradeep's style and format of singing and composing that worked potentially. 'Ik Bagal', a track following in similar genre revamps back the desired jingoism, pain and pathos and comes in acrimoniously sharp and poetic expressive wordings that add to the fervent melodic feel. To a large extent, it re-creates 50's bygone era and has modesty of somber arrangements that connects well with deep-toned Piyush's voice. Impressive!!!

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Resonating bouncy electronic fillers with a sharp trance musical feel welcomes the blood-curdling feel of gory happenings in racy sounding 'Bhaiyya'. Crooned to perfection by 'The Musahar of Sundarpur', it brings back the outrageously loud feel of 'fusion' music back where trance music is interspersed in Bihari folk tones, and the outcome is melodramatically dark and haunting; an impressive background score work again by Sneha.

Blabber mouth-watering in vocals and cantankerously ear-piercing in expressions, 'Tain Tain To To', a sound-oriented soundtrack comes as heavy-duty experimental work. Sneha's blabbers out this lyrics-less number that works primarily on sounds created by mouth with siren sounds, haunting rhythms and bombastic orchestrations; a weird experimentation by all standards.

Like the loud rustic feel heard in 'O Womaniya Live', 'Soona kar Ke Gharwa' delivers the similar folksy tones and touches in the voices of Sujit and Gaya. It has the peculiar 'Lok-Sangeet' feel where manjiras, dhol can be heard in brief modest tones.

'Aye Jawanon', a volubly sound number comes in monologues, where a singer explains the reality of life in simpler words. Ranjeet Baal Party delivers it in a typical brass 'band and baaja' displays with enthused orchestrations coming loud and high. 'Loonga Loonga', an accelerated and enthused version of 'Aye Jawanon' and 'Keh Ke Loonga' by Ranjeet Baal Party and Akshay is tailor made for promoting the flick and impresses with its funky DJ exhibits.

CHECK OUT: Manoj Bajpai & Anurag Kashyap had a fall-out over PAANCH

Old wine in a new bottle! After an impressive display of 50's musical era in 'Ik Bagal', there is an extra attraction coming in listener's way in a typical Bengali romantic folk ballad titled 'Manmauji'. Usri Banerjee's simple 'n' earthen vocals suit the mood to hilt and remind of a couple of fine tracks by Geeta Bali and Suraiya. It's indeed an innovative musical move to trace back 50's golden era where there was strong influence of Rabindra Sangeet in filmdom. Impressive!!!
Finally, there is an unplugged singing rendition coming in boyish tones of Deepak Kumar- Muzzafarpur in 'Humne Chodi Hain'. Barring the harmonium notes in simpler tones, there is hardly any instrumentals and its all vocals that narrate out various facades and happenings of life.

GANGS OF WASSEYPUR is a notable experimental musical toil where producers have dared to enter terrains of 'Lok-Sangeet' and have delivered the needful with as much as one dozen of least heard and amateurs singers and musicians. It's not a regular or routine Bollywood film album and will not be striking rich in metros, but will surely create ripples in interiors (especially in Bihari and Bhojpuri speaking regions). From the shaky days of RGV's GO to GANGS OF WASSEYPUR, Sneha Khanwalkar matures as well as graduates to another level for being bold, innovative and still modest in delivering out the finest in this genre. It will really be interesting to view these soundtracks coming alive on the big screen.

Rating - 3.5/5

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