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   Music Review : Go

Director :
Music :
Lyrics :
Starring :
 Manish Shrivastav
 Sneha Khanwalkar
 Milind Gadgkar
 Nisha Kothari, Kay Kay Menon, Rajpal Yadav.

By Satyajit, Bollywood Trade News Network Send to Friend

RGV’s films have been benevolent towards upcoming talents and GO; a vivaciously perky youthful flick follows this free-handed trend. This RGV musically stylized album boasts upcoming talents like Sneha Khanwalikar at the prime slot followed by ensemble of his protégés. Like its athletically sporty title, the album too boasts numbers that are credited with exclamatory wordings (“Oooh”, “Go”, “So Cool” and “Dhan Tan Tan”) but the end results isn’t anything “cool” or “oooh” for ears.

It’s romantically intimidating overtures of eternal communion that haunts rather than strikes with huskier vocals and westernized soft-pitched in mushy “Kaash”. Farhad Bhiwandiwala along with Priyadarshini impresses with their lethargically pitched voices with effective violin and chilling percussions giving it a sensuous edges. Upcoming composer Sneha Khanwalkar along with Prasanna Shekhar revamps RGV’s sultry track “Zehreela Zehreela Pyar” (DAUD) by decimating its thriving tempo and infusing it with traditional westernized arrangements. Amar Mohile tries to recreate this seductive feel in “Kaash (remix)” but there is hardly anything strikingly different in terms of melodic excellence or vocal modulation than the original version. Both versions sound too “cold” to strike any blow to hoi polloi but still impresses with its soft tranquil effects.

Sneha Khanwalkar makes first splurge as solo composer by invigorating trendy Tollywood stylized beats and tunes for a contemporary romantic duet in “Oooh”. It’s more akin to South Indian cinema for its raucously punched orchestration and intense loud singing and comes in the vocal strengths of Vinod Rathod and Sunidhi Chauhan. Even the seductive crooning of “Ooooh” followed by sensuous moans and shrieks hardly adds anything substantial to its prospects. Milind Gadgkar’s mischievous lyrical flow is feasible to the situation but the music proves too parallel to be accepted. “Oooh (remix)” by Amar Mohile hardly creates any ripple with conventional remixing in a racy hip-hop thrust with minimal impact.

“Go”, the title track is poor lift from A R Rehman style of work in DAUD infused with tattered “James Bond” style of racing signature tunes ending in delivering an unending irritating jarring effect. Sneha Khanwalkar’s composition disappoints completely with haphazard arrangements while Kunal Ganjawala along with Meenal Jain and Suzanne shrieks out in delivering an irksome track. It befits in initial or end titles than adding any meat to the credentials of the album. Avoidable!

Suzanne graduates into top slot again with “So Cool” after successful “Mahiya” (AWARAPAAN) but the magnetism of flamboyantly punched orchestration and conflagration of lyrical ire is completely missing. It’s a jarring and outrageous love track with excessive rattling and tattering sounds where talented Kunal Ganjawal is wasted. Sneha Khanwalkar’s muddled musical works makes it an all thumbs down affair and “oomph” sensation Suzanne too shows her rough edges with sloppy shrill paced rendition.

Sometimes thumping and loud “sounds” proves inspirational lifts for compositions as now its thrilling sound (“Dhan Tan Tan”) making itself credit for the track “Dhan Tan Tan”. It’s proposed to be satirically inclined towards action flicks or its flashy moves but the crassly wording (Swananad Kirkire) and messy orchestration makes it shoddy show. Sneha Khanwalkar gets behind mike this time with Kunal Ganjawala with a chaotic and cluttered vociferous impact clubbed with muddled arrangements where traditional folk and westernized music is weirdly amalgamated to sheer disappointment.

RGV’s “waiting in the wings” GO is high on messy orchestration and low on melodic quality and predictability it proves to be dismal show in its stylized credited offerings. New composer Sneha Khanwalkar proves incompetent to be labeled as “next big thing” on musical scene as none of her works gleams about her harmonic dexterity. GO will certainly go unnoticed in the marquee and will end up as losing preposition for RGV’s aficionados.

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