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    Mar 2010


    Default Exclusive Music Review Yamla Pagla Deewana

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    The 'Yamla Pagla Deewana' soundtrack is something of a game of roulette. With six composers playing through eleven tracks, one can only spin the wheel and hope for the best.

    'Yamla Pagla Deewana' reunites the Deol clan, sons Bobby and Sunny with their father, the original big daddy of Bollywood, Dharmendra. Directed by Samir Karnik, the film is the first time the trio is coming together since 2007's 'Apne'. And just like last time, this time too, the trio is hoping the Deol magic will light up the box office.

    Given the fact that 'YPD' carries the Deol stamp, it's only natural that the music too has a similar touch, essentially a boisterous 'desi' sound. The film's soundtrack is credited to six different composers Laxmikant Pyarelal, Anu Malik, Sandesh Shandilya, Nouman Javaid, RDB and Rahul B.Seth, along with a host of lyricists.

    In case you're wondering about the 'LP' tag at the top of that list, it's because the title track of the album, 'yamla pagla deewana', is UK based bhangra act RDB's take on the Laxmikant Pyarelal classic of the same name from 1975's Hema Dharam starrer, 'Pratigya'. Synthesised horns and very 'desi' percussive line kick off this track, where Sonu Niigaam takes on the leads originally sung by the great Mohammed Rafi. RDB brings the track up to date beautifully, at once making it sound contemporary without diluting the vibe of the classic.

    'Charha de rang' seems to be the calling card of the album, with some four different versions populating the album. Composed by Pakistan based Nouman Javaid, who also contributes the lyrics in collaboration with singer songwriter Rahul B. Seth. In its first appearance, the track is vocalised for the most part by newcomer Ali Pervez Mehdi, a Pakistani artist who's previously appeared in concerts with A. R. Rahman. Accompanying Mehdi are Shweta Pandit, Mahalaxmi Iyer and Seth himself. The track begins slowly, with an interesting, loud sort of arrangement, with 'dhols', claps, and other assorted sounds laying down beats. Seth's traditional Punjabi interludes and the energetic refrains by Iyer make a nice countermelody to the rest of the tune. It should be interesting to see how the track is picturised in the film.

    Now a Bollywood veteran, Rahat Fateh Ali Khan also get a version of 'charha de rang', which isn't very different from the original, except to say that it has that indescribable 'Rahat' touch that we are all familiar with. The best versions of the track, however, are the two, adlib ones that Pervez and Rahat both get, accompanied by nothing more than the reverb of their own voices. These quiet versions of the track allow the listener to soak in the beauty of the melody and lyrics without the distractions that the other ones bring.

    Anu Malik seems to be revamping himself with his compositions on the album. It's a case of hits and misses for the veteran composer, who also contributes the lyrics to his two tracks, both of which seem to be aiming to occupy the item number thrones that 'munni badnaam' and 'sheila ki jawani' currently sit on. The first of the two compositions is the supremely energetic 'tinku jiya', which starts off with a male chorus that harks back to the days of 'jumma chumma de de'. Mamta Sharma's rustic sounding vocals go perfectly with the naughty vibe of the track, as do Malik's tacky but catchy lyrics. Singer Javed Ali is just as good in his response to Sharma's lines, but the star of the track is clearly Malik's foot thumping melody.

    'Chamki jawaani', Malik's second appearance, is a bit of a disappointment, especially next to 'tinku'. Mamta comes back for this one, accompanied by the brilliant Daler Mehndi and Master Salim, the presence of three gifted voices further exacerbating the letdown. The track is reminiscent of 'namak' from 'Omkara', but doesn't capture the same simmering energy; the track keeps swinging between the slow verses and the energetic refrains, but never quite finds its pace. The lyrics, aiming at a flirty sort of feel also don't quite work, self referencing Sunny's 'dhai kilo ka haath', etc. and setting up a situational face off between the male and female voices.

    Sandesh Shandilya's 'sau baar' occupies a soft rock space. With lyrics by Irshad Kamil, the duet features Shreya Ghoshal and Omar Nadeem, who sounds uncannily like Atif Aslam, who he had once replaced in the Pakistani band 'Jal'. The track is fairly staid, even as Ghoshal and Nadeem are competent in their performances, and doesn't quite make an impression amongst the numerous such songs floating around Bollywood today.

    'Son titariya' sees Rahul B. Seth and Nouman Javaid collaborate for the second time on the album. With Krishna Beura, of 'maula mere le le meri jaan', on vocals, the track is a fast paced part Banarasi part Punjabi number. Seth and Javaid rely on mix of traditional instruments like the 'dholak' and the harmonium to give the track an unmistakable 'desi' air, mixing it well with contemporary sounds.

    Dharmendra turns lyricist on the album, writing the song 'kadd ke botal', completely in Punjabi. Set to tune by Seth, the track is a pure 'bhangra' number for the most part, melody and arrangement wise, sung by Sukhwinder Singh and Harshdeep; Rosalie Nicholson comes in for a short accented western sounding interlude that the song could have done without. Overall, the track is strictly okay.

    The album wraps with a short rendition of the 'Gurbani' by Shahid Mallya, set to tune by Sanjoy Chowdhury. Simple and straightforward, the track is a nice wrap for the album.

    Overall, the 'Yamla Pagla Deewana' soundtrack has more hits than misses. Tracks like 'charha de rang' and 'tinku jiya', as well as the title number, work well enough to overshadow the troughs of the album. So, while the film looks set to be a madcap comedy, the album too is quite an enjoyable affair...




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