Himmatwala’s soundtrack revisits the bygone era in the loudest possible manner. Reprised in a way that almost replicates the original, the first song, ‘Naino mein sapna’ could well be a part of the 1983 film. With all the flippant dholaks (drums), backup vocals and shocking violins, it has all the fluff that made up the original number sung by Lata Mangeshkar and Kishore Kumar. The latter’s son — Amit Kumar — who’s sung this version along with Shreya Ghoshal, however, does a great job of instilling some life in the song.
Mika Singh’s mischief-laden vocals are the only saving grace in ‘Taki taki’. For a song that was in the news for over six months for recreating the magic of the ’80s, it disappoints. Looks like the composers took the business of recreating the original too seriously and dished out a clone. Also, Shreya sounds shrill. ‘Dhoka dhoka’ is another flimsy, upbeat number. Even the combined vocal prowess of three established singers — Sunidhi Chauhan, Bappi Lahiri and Mamta Sharma — fails to salvage the song.
The soundtrack reaches its lowest with ‘Bam pe laat’ — a ’60s style rock ‘n’ roll number. The only potential the song has is to be used in the background during a slapstick sequence. ‘Thank God it’s Friday’ (composed by Sachin-Jigar) sounds like a cross between a Michael Jackson and Boney M number.It’s surprising that the singers even agreed to lend their voices to what is one of the lamest soundtracks in recent times. It’s going to be an ugly albatross around Sajid-Wajid’s necks.
What we like
What we don’tlike
Pretty much everything
Punjabi da celebration
Film: Mere dad ki maruti
Composer: Sachin Gupta
Lyrics: Kumaar, Anvita Dutt Guptan
This album could be Bollywood’s biggest musical tribute to the undying spirit of Punjab and Punjabis. ‘Punjabiyaan di battery charge rendi hai’ has become a rage (a regional telecom giant even offered R1.5 crore to use it as an ad jingle). It is an over-the-top celebratory, and even narcissistic, offering from two of the most popular Punjabis in the music circuit — Mika Singh and Honey Singh. But the trippy hook line is the only memorable bit in this run-of-the-mill R&B-bhangra track.
‘Main senti hoon’ is groovy but keeps harping on the chorus line ‘Main senti tha, main senti hoon, main senti rahoonga’. Jaspreet Jasz and Shalmali Kholgade’s vocals sound playful.
With its wannabe raps and rustic Punjabi vocal hooks, ‘Haay!’ sounds very 2002. Two verses down, this house song begins to sound very monotonous. It pains when composers unnecessarily process vocals of someone of the calibre of Sonu Kakkar to make it suit the mood of the song. Thanks to producers of such synthetic pop songs, this amazingly gifted singer’s voice is reduced to nothing in ‘Hip hip hurray’. ‘Mere dad ki Maruti’ has a catchy chorus line that might keep playing in your head for hours. The bhangra track features EDM-like build-ups and is replete with dhols. ‘Mere dad ka mash up’ is a dance mix, featuring bits from the five songs from the album.
If there’s one thing that the album successfully achieves, it’s consistency. The sound is unswervingly Punjabi and bhangra-oriented and never once strays from this mood. Let’s say, if the album had released three months ago, it would have made the best wedding album ever – somewhat on the lines of Jazzy B’s epic 2001 album, Oh Kedi, that featured one of his most popular songs ever — ‘Naag’.
What we like
The consistent mood of the album
What we don’t like
Using a tried-and-tested formula